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531:, were often made from old kimono that had become unwearable, resulting in a sometimes complex, often symmetrical patchwork of motifs and fabrics, and were a common use for old kimono until the Taisho period, when it was no longer economically viable to make one's own clothing in the face of cheaper ready-to-wear garments. For men, under-kimono often featured highly-decorative and often heavily pictorial scenes that would then be covered entirely by the outer kimono, which was typically very plain or designed with a simple and subtle pattern. Example of men's under-kimono within the collection display depictions of performers, dancers and
29:
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92:
698:(modernism), which utilised imported Western art movements and fashion as a way to experiment within Japanese culture. In many aspects of Japanese culture, debate raged over traditional aspects of Japanese culture in the face of new Western styles. For many, the new, bold designs on kimono were a comfortable middle ground combining aspects of both. As well as stripes and checks, these new, often geometric patterns also included the use of arabesques and swastikas - in some cases the traditional interlocking swastika motif known as
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513:
the home) and most women continuing to wear the kimono in everyday life. Despite the introduction of
Western dress, the kimono did not quickly fossilise as an object of tradition worn out of obligation by women and those unable to afford Western clothing; advertisements within Japan up until the 1940s display both the kimono and Western dress as items of fashionable wear, suggesting a more parallel evolution of the two within the Japanese wardrobe as equal, if differing, items of clothing.
222:. Motifs may also refer to folklore, classical literature or popular culture, and sometimes include visual puns. Kimono differ slightly in construction for men, women and children, and the choice of fabric, colour and decorative techniques can signify the wearer's age, gender, formality of occasion and — less commonly — marital status. Variations of fabric type, weight and lining exist for different seasons, with unlined and sometimes sheer kimono being worn in the summer.
1950:
1940:
296:, with women in particular adopting brighter and bolder designs in their clothing; in previous eras, both men's and women's kimono had been relatively similar in appearance. Though everyday kimono would have been woven and sewn by women at home, the most elaborate examples of kimono produced within this time period were designed and created by specialist craftsmen and artists who were typically men.
838:, edited by Anna Jackson, first published in English in 2015 with French and Italian translations. It describes, with photographs, 220 items from the collection, including essays explaining how the evolution of the kimono reflected political, social and cultural changes in Japan. Jackson is the Keeper of the Asian Department at the Victoria and Albert Museum.
723:, including soldiers, bombers and tanks. As was common with men's kimono, the designs were featured on linings and undergarments. The kimono worn by young boys were more often openly militaristic in style. The Collection also has examples of highly-pictographic contemporary kimono, whose decoration celebrates modern forms of transport including ocean liners.
644:. Kimono of these periods are identifiable by their vibrant colours and highly-varied, often incredibly modern designs. The Collection features items illustrating the overlap between the traditions of previous eras and the introduction of new ideas to contemporary kimono designs, with many featuring traditional motifs depicted in bold, bright colours.
305:. These were worn by women of the merchant class, who in later years dressed in kimono more subdued than those of the samurai, despite following the same colour trends and naturalistic designs; with the introduction of dress edicts designed to oppress the merchant and socially-lower classes throughout the Edo period, an aesthetic style known as
681:-dyed and woven designs in the Art Deco style, and ranged from basic to incredibly complex in their woven patterns, a number of which are represented in the Collection. One such common example of woven trends of the 1930s, represented in the Collection, is black kimono with abstract woven patterns in red, yellow, cream and white.
391:
patterns independently, and that fabrics imported from France or
Britain were also used to make kimono; ownership of these textiles would have signified both wealth and cultural taste, though the example found in the collection of a kimono using these fabrics is an undergarment, where the fabric would not have been seen once worn.
521:
technique achieved through the dyeing technologies of the time. Another trend represented in the collection is both outer and inner garments of the same design, though this technique was usually reserved for those who could afford both brand-new kimono and undergarments of the same design to be commissioned at once.
684:
Mass-produced garments in new, cheap fibres such as rayon used printing to cheaply imitate traditional dyeing processes; the kimono of young children, particularly during the 1930s and 40s, was often made of rayon, and was commonly printed with mass-produced modern designs, with the imagery on young
512:
issued a proclamation promoting
Western dress over the allegedly effeminate Japanese dress, leading to the introduction of Western-style clothing within the public sphere, with some men typically adopting Western dress in the workplace (despite both women and men continuing to wear the kimono within
516:
Cheaper synthetic dyes in the following decades meant that both purples and red - previously restricted to the wealthy elite - could now be owned by anyone, though they retained their symbolic importance of representing wealth and power. These kimono are represented in the
Collection, illustrating
538:
The use of bold colours and intricate designs spurred on by technological advancements can also be seen in the clothing of infants and young children represented in the
Collection, including a boy's kimono and under-kimono set decorated with cranes and pine trees, and a girl's set that combines a
520:
Kimono also began to incorporate a number of
Western motifs; a number featured in the Collection have a plain, bold colour, and feature an elaborate design around the hem, a common feature on Meiji period clothing; several have subtle colour gradients from the top to the bottom of the garment, a
329:
As well as merchant-class pieces, the
Collection also includes examples of formal samurai women's kimono; despite the militant connection, these are patterned with flowers, geometric patterns, or motifs such as clouds or waves. However, some examples within the collection do display the military
504:
Japan's newly-opened border also saw the export of
Japanese culture to the West, where the kimono became an object of fascination. The Japanese textile industry rapidly Westernised in the face of foreign weaving technologies, and silk from Tokyo's factories became the principle export of Japan.
390:
importers, were received with enthusiasm and found many uses; the collection includes a flamboyant under-kimono for a man made by combining these finely-patterned fabrics with plain-weave silk and cotton. Other items show that
Japanese designers started printing designs influenced by the Indian
313:
developed, emphasising subdued displays of luxury and wealth over the obvious presentation of money shown through the clothing worn by the samurai classes. Red became a popular colour for merchant-class women, partly because of its cultural association with youth and passion, and partly for its
213:
belt. While
Western clothing styles emphasise the body of the wearer, kimono have a distinctive T-shape which conceals more of the wearer's body, but provides, on the back and along the hem, a large area for decoration with patterns or motifs. Kimono are commonly decorated with motifs of either
119:
The Khalili Collection of Kimono includes formal, semi-formal, and informal kimono made for men, women, and children, illustrating the evolution of the kimono through cut, construction, materials, and decorative techniques from the 17th through the 20th centuries, with kimono representing the
166:. The exchange of envoys between the two countries led to the Japanese Imperial Court adopting Chinese culture, including, among others, clothing, which consisted of wrapped-front garments with long sleeves of both a closed-neck and open-neck nature. The halting of envoy missions in the
524:
However, the process of modernisation was still slow, and a more typical representation of Meiji period underclothes found in the Collection is women's under-kimono, made of different pieces of fabric, often with radically different colours and designs; these under-kimono, known as
766:
280:, which saw a rise in a wide variety of designs and decorative techniques, particularly on kimono designed for women. Though the main consumers of expensive and highly-decorated kimono at the beginning of the Edo period were the
162:"Kimono" literally means "thing to wear on the shoulders", and originally referred to clothing in general rather than a specific garment. Clothing similar to the kimono was first introduced to Japan in the 7th century through
364:). These kimono - also featured in the collection - featured landscape scenes, commonly accompanied by motifs referencing classical literature, and symbolism referencing stories made popular amongst the upper classes through
318:; a bright red garment would have been an ostentatious display of wealth, examples of which are found throughout the collection. Worn by less wealthy merchants, lower down the social scale, are kimono made of cotton or
452:
948:
148:, describes kimono as "one of the wonders of the world." He started the kimono collection with the aim of collecting and cataloguing cultural works that were not already actively being collected.
508:
With the introduction of cheaper and faster manufacture, more people could now afford silk kimono, and designers were able to create new patterns using the new methods of production. However,
497:
to the world in the 1860s, and this saw the rapid import of Western culture, clothing and technologies, including the introduction of synthetic dyestuffs to Japan; the first synthetic dye,
553:
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in the 1930s, many previously-adopted aspects of Western culture were abandoned in the face of a new wave of nationalism. The Collection features a number of military-themed kimono from
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Garments outside of the samurai classes within the collection feature rich decoration from the waist-down only, with family crests on the neck and shoulders, a style known as
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throughout the rest of the Edo period fuelled lower-class demand for increasingly elaborate clothing. This included the development of sophisticated methods of weaving,
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Examples of Japanese garments created during this time period using imported Indian fabrics are also found in the collection. Indian fabrics, brought to Japan by
1557:
339:. Samurai men typically dressed with a more understated style, exemplified by items in the collection featuring geometric designs concentrated around the waist.
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style is also represented in the Collection in examples from this time period, as is a formal, black style with decoration limited to below the waist, known as
809:
1818:
571:
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are also represented in the Collection. The Meiji period was defined by its drive towards both Westernisation and industrialisation, kickstarted by Japan
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led to the stronger independent development of Japanese culture, including the further development of clothing into the kimono-like garment known as the
383:
featured elaborate designs in garments made of silk in contrast to the typically simple and almost-entirely cotton examples used by the lower classes.
136:. The kimono within the collection are not on permanent display, but are periodically lent or donated in part to cultural institutions; including the
116:
assembled, published and exhibited by Khalili, each of which is considered to be among the most important collections within their respective fields.
517:
the evolution of Meiji period trends from subtle, grey-toned colours to a shift towards brighter and more vibrant designs at the end of the period.
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225:
Contrary to popular belief, the variation and experimentation visible in the history of kimono shows that kimono were - and remain to this day - a
902:
655:
found cultural purchase in kimono designs of the TaishĹŤ period, as a style of inexpensive, durable and ready-to-wear silk kimono known as
1848:
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deep blue outer-kimono with a bright red under-kimono. These colours and designs often utilised materials common to adult fashions.
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and industry, with its own rapidly-changing popular styles and trends, whereas this used to be thought of as a Western phenomenon.
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377:, or sleeping kimono, known to have been owned by samurai families; a type of thickly-wadded, wearable bedding, samurai
1999:
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284:, who used lavish clothing and other luxurious to signify their place in the social hierarchy, the rise of the wealthy
145:
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262:("short sleeve"; the term used for all forms of short-sleeved garments before the usage of the word "kimono") and the
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949:"The Khalili Collections major contributor to "Longing for Mecca" exhibition at the Tropenmuseum in Amsterdam"
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1974:
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poems; one piece combines postcard-like scenes of Japan's progress with a textual diary of the Meiji era.
1979:
1886:
863:
141:
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1989:
980:
Kramer, Elizabeth (2017-07-03). "Book Reviews: 'Kimono: The Art and Evolution of Japanese Fashion'".
719:, depicting tanks, warships and aircraft. Male kimono designs, including that of young boys, adopted
214:
seasonal, cultural or religious significance, with some auspicious groupings of motifs — such as the
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boy's kimono reflecting this especially heavily through designs of skyscrapers, cars and planes.
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955:. United Nations Educational, Scientific and Cultural Organization. 16 April 2019. Archived from
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The modernisation and development of kimono carried forwards into the early 20th century and the
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661:(lit. "common silk stuff") became immensely popular, particularly following the devastating
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348:, or "palace court style", which would be worn in the residence of a military leader (a
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status of the samurai, seen by way of example on a bright red kimono illustrated with
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1094:
at the V&A Explores the History, and Global Appeal, of Japan's National Dress"
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326:, with less dense designs but still a variety of dyes, patterns and techniques.
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The different forms of kimono represented in the Khalili Collection include the
1892:
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Iwao, Nagasaki "Clad in the aesthetics of tradition: from kosode to kimono" in
1186:
Iwao, Nagasaki "Clad in the aesthetics of tradition: from kosode to kimono" in
232:
109:
53:
28:
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Examples of TaishĹŤ and early ShĹŤwa period kimono within the Khalili Collection
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1244:
1207:
1001:
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476:
Summer kimono for a woman depicting a landscape with fishing nets, 1820–1850
1514:
Guth, Christine M. E. "The Meiji era: the ambiguities of modernization" in
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kimono became widely sold following the loss of many people's possessions.
490:
167:
705:
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387:
125:
1609:"Omoshirogara Textile Design and Children's Clothing in Japan 1910–1930"
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268:(a formal outer kimono worn unbelted, typically by brides to weddings).
219:
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323:
293:
277:
208:
121:
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assembled by the British-Iranian scholar, collector and philanthropist
464:); landscape scene with bridge, pavilions and thatched huts, 1840–1870
315:
1551:"The Impact of Synthetic Dyes on the Luxury Textiles of Meiji Japan"
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36:
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became the predominant garment within Japan, developing from the
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105:
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1124:"The Kimono, Examined: A New Book and a Definitive Collection"
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Kimono for a young girl depicting drums and flowers, 1912–1926
342:
Another kind of kimono specific to the military elite was the
218:— being commonly seen on kimono worn to formal events such as
627:
544:
Examples of Meiji period kimono within the Khalili Collection
532:
319:
276:
The Collection includes kimono and related garments from the
1556:(Symposium Proceedings (474)). Textile Society of America.
1494:(3rd ed.). London: Vintage Random House. p. 276.
678:
1613:
Textile Society of America Symposium Proceedings. Paper 77
1152:
1150:
1148:
254:("swinging sleeve"; a formal kimono for young women), the
1635:"The Propaganda Kimonos Japan Kept Hidden From Outsiders"
1163:(1st ed.). Seattle: University of Washington Press.
396:
Examples of Edo period kimono with the Khalili Collection
365:
191:
Kimono are made from long, thin bolts of cloth known as
1145:
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by Jacqui Atkins is scheduled for future publication.
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704:, but towards the early ShĹŤwa period, the explicitly-
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frequent interaction between Japan and mainland China
1583:(1st ed.). Milano, Italy: Skira Editore S.p.A.
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850:
Items from the collection were included in the 2017
188:
onwards into the garment known as the kimono today.
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1729:. London: Penguin Random House. pp. 131–144.
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834:The collection has been the subject of two books.
772:Bridal outer kimono for a high-class young woman (
104:is a private collection of more than 450 Japanese
1520:. London: Thames & Hudson. pp. 106–107.
1518:Kimono: the art and evolution of Japanese fashion
1335:Kimono: the art and evolution of Japanese fashion
1227:Kimono: the art and evolution of Japanese fashion
1190:Kimono: the art and evolution of Japanese fashion
836:Kimono: The Art and Evolution of Japanese Fashion
1966:
1725:Khalili, David (2023). "Kimono — an interlude".
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800:), 1920–1940. An example of patterns created by
1727:The Art of Peace: Eight collections, one vision
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821:kimono woven with a skyscraper motif, 1930–1940
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371:The collection also features some examples of
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778:), 1920–1930. A wedding kimono, this depicts
59:Dror Elkvity (curator and chief co-ordinator)
1480:
1401:
1399:
1397:
1395:
1251:
1088:Borrelli-Persson, Laird (29 February 2020).
840:Images of Culture: Japanese Kimono 1915–1950
501:, had been invented in the previous decade.
1581:Taisho Kimono: Speaking of Past and Present
1229:. London: Thames & Hudson. p. 10.
1016:
692:(stylised as "TaishĹŤ Roman") was marked by
613:Outer kimono for a high-class young woman (
595:Outer kimono for a high-class young woman (
559:Outer kimono for a high-class young woman (
484:
458:Outer kimono for a high-class young woman (
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1773:
1757:
1192:. London: Thames & Hudson. p. 9.
628:Taishō and early Shōwa periods (1912–1950)
565:) depicting hawks in pine trees, 1870-1900
446:) using imported Indian fabrics, 1800–1850
236:Over-kimono for a high-class young woman (
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27:
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1607:Atkins, Jacqueline M. (September 2008).
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1664:"Khalili Collections images of culture"
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726:The semi-formal, colourfully-decorated
619:) with hanging scroll motifs, 1880–1890
1967:
1949:
1903:Exhibitions drawn from the collections
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1437:. London: Bloomsbury. pp. 76–77.
1432:
1371:"The Surprising History of the Kimono"
1214:
1049:
979:
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1459:"Japanese Art and Design: A Glossary"
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583:) showing flowers on rafts, 1870-1900
16:Private collection of Japanese kimono
1939:
1578:
1028:"The Moscow Fall Art Season Sizzles"
782:, said to symbolise a long marriage.
146:collection of Meiji-era Japanese art
144:in London. Khalili, who also owns a
866:in 2020, an event cut short by the
13:
1882:Falnama § The Khalili Falnama
1718:
677:kimono often featured a number of
14:
2011:
1744:
1560:from the original on 21 July 2020
1948:
1938:
1857:
1703:from the original on 6 July 2020
1674:from the original on 6 July 2020
1645:from the original on 6 July 2020
1469:from the original on 4 July 2020
1381:from the original on 4 July 2020
1134:from the original on 4 July 2020
1104:from the original on 4 July 2020
1070:from the original on 4 July 2020
1038:from the original on 4 July 2020
905:from the original on 4 July 2020
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417:) with a design inspired by the
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314:expensive dye, derived from the
1819:Hajj and the Arts of Pilgrimage
1685:
1656:
1626:
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1451:
1337:. London: Thames & Hudson.
1122:GĂłmez, Edward M. (2016-02-13).
929:. Nasser D. Khalili. 2023-08-05
829:
721:explicitly militaristic imagery
62:Anna Jackson (honorary curator)
1081:
1026:Muchnik, Andrei (2017-09-14).
941:
845:
1:
1369:Green, Cynthia (2017-12-08).
994:10.1080/00404969.2017.1379761
873:
665:, after which ready-to-wear
601:) depicting hawks, 1880-1900
102:Khalili Collection of Kimono
22:Khalili Collection of Kimono
7:
1633:Perkins, Sam (2016-11-16).
852:Treasures of Imperial Japan
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1887:Khalili Imperial Garniture
1867:Objects in the collections
1697:Victoria and Albert Museum
1549:Parmal, Pamela A. (2004).
1463:Victoria and Albert Museum
1411:Victoria and Albert Museum
1160:Kimono: Fashioning Culture
1064:Victoria and Albert Museum
1060:"Kimono: Kyoto to Catwalk"
864:Victoria and Albert Museum
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142:Victoria and Albert Museum
33:Kimono for a young woman (
2000:History of Asian clothing
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1435:The Social Life of Kimono
688:The urban culture of the
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1092:Kimono: Kyoto to Catwalk
860:Kimono: Kyoto to Catwalk
485:Meiji period (1868–1912)
1806:The Khalili Collections
1433:Cliffe, Sheila (2017).
927:"The Eight Collections"
870:in the United Kingdom.
711:flag. With the rise of
440:Underkimono for a man (
216:Three Friends of Winter
1516:Jackson, Anna (2015).
1333:Jackson, Anna (2015).
1225:Jackson, Anna (2015).
1188:Jackson, Anna (2015).
899:khalilicollections.org
272:Edo period (1603–1868)
243:
186:Azuchi-Momoyama period
1910:Empire of the Sultans
1877:§ Khalili folios
235:
1849:Enamels of the World
1797:Nasser David Khalili
1693:"Coronavirus update"
1490:Dalby, Liza (2000).
1157:Dalby, Liza (1993).
868:outbreak of COVID-19
642:Japanese nationalism
577:Kimono for a woman (
411:Kimono for a woman (
1975:Khalili Collections
1668:Khalili Collections
794:Kimono for a girl (
713:Japanese militarism
495:opening its borders
242:), Japan, 1840-1870
70:Size (no. of items)
41:), Japan, 1912–1926
1926:Khalili Foundation
1579:Dees, Jan (2009).
854:exhibition at the
244:
140:in Moscow and the
1980:Japanese clothing
1962:
1961:
1875:Jami' al-tawarikh
1844:Spanish Metalwork
1824:Aramaic Documents
1736:978-1-52991-818-2
1590:978-88-572-0011-8
1444:978-1-4725-8552-3
895:"Japanese Kimono"
178:. Over time, the
114:eight collections
110:Nasser D. Khalili
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54:Nasser D. Khalili
2007:
1990:Robes and cloaks
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1839:Swedish Textiles
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1814:Islamic Art
1618:21 February
1375:JSTOR Daily
846:Exhibitions
706:Third Reich
649:Art Nouveau
428:, 1780–1820
1969:Categories
1707:2020-04-08
1678:2020-02-14
1649:2020-02-21
1501:0099286386
1473:2020-02-25
1416:2020-02-20
1385:2020-02-25
1138:2020-02-14
1108:2020-03-04
1074:2020-02-14
1042:2020-02-14
963:2020-02-14
909:2020-02-14
874:References
636:and early
324:indigo dye
302:tsuma moyĹŤ
294:embroidery
278:Edo period
132:, and the
122:Edo period
1954:Wikiquote
1536:990574229
1353:990574229
1245:990574229
1208:990574229
1010:194783572
1002:0040-4969
345:goshodoki
316:safflower
202:koshihimo
56:(founder)
1701:Archived
1699:. 2020.
1672:Archived
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1467:Archived
1407:"Kimono"
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239:uchikake
220:weddings
47:Curators
37:furisode
1985:Dresses
1944:Commons
1564:21 July
933:13 June
858:and in
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368:plays.
205:and an
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78:Website
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290:dyeing
258:kosode
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158:Kimono
152:Kimono
128:, the
124:, the
106:kimono
1554:(pdf)
1098:Vogue
1006:S2CID
647:Both
533:haiku
443:juban
388:Dutch
320:ramie
1731:ISBN
1620:2020
1585:ISBN
1566:2020
1532:OCLC
1522:ISBN
1496:ISBN
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1349:OCLC
1339:ISBN
1241:OCLC
1231:ISBN
1204:OCLC
1194:ISBN
1165:ISBN
998:ISSN
935:2024
679:ikat
651:and
380:yogi
374:yogi
100:The
87:.art
990:doi
424:ĹŚmi
366:Noh
356:or
309:iki
209:obi
83:www
73:450
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