Kimono

Yamato period to Nara period (300–794) , 700 CE. Each woman wears a loose-fitting wrap-front robe over a brightly-coloured skirt. The first instances of kimono-like garments in Japan were traditional Chinese clothing introduced to Japan via Chinese envoys in the Kofun period (300–538 CE; the first part of the Yamato period), through immigration between the two countries and envoys to the Tang dynasty court leading to Chinese styles of dress, appearance, and culture becoming extremely popular in Japanese court society. with evidence of the oldest samples of tie-dyed fabric stored at the Shōsōin Temple being of Chinese origin, due to the limitations of Japan's ability to produce the fabrics at the time. As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar to that of Han dynasty China. In 718 CE, the Yōrō legal code was instituted; one of its stipulations that all robes had to be overlapped at the front with a left-over-right closure, following typical Chinese fashions. Sleeves, while narrow, were long enough to cover the fingers, since status was associated with covering more of the body. The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or . The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes. Women's clothing in the imperial palace became increasingly stylised in the formal , with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the skirt worn by women, continued to in a reduced capacity, worn only to formal occasions; Hakama (trousers) became longer than the legs and also trailed behind the wearer. During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the () garment—previously considered underwear—becoming outerwear by the time of the Muromachi period (1336–1573 CE). Originally worn with , the began to be held closed with a small belt known as an instead. (The Tale of Genji, 12th century) File:Genji emaki YADORIGI 2 (cropped to center).JPG|The courtiers in the foreground are wearing their off-the-shoulder, showing the beneath. File:Matsuura-Byobu-by-Iwasa-Matabei.png|The worn as outerwear. Note wider cut of the body, unisex narrow and shorter sleeves. Matsuura , , Azuchi-Momoyama period. Among the aristocratic class, which had been influenced by continental clothing, the abolition of the Kentōshi missions to Tang China in the early Heian period, along with the subsequent development of national style culture, led to a gradual departure from Chinese models. New garments such as the jūnihitoe and sokutai were created, forming what is known as Heian period clothing. Some of these garments, particularly those of the aristocracy, are still worn today in Imperial ceremonies. The clothing of commoners in the early and middle Heian periods is not well understood, but depictions appear in the Ban Dainagon Ekotoba, believed to have been produced in the late Heian period. Many men are shown wearing suikan, with hakama reaching below the knees. Women are shown wearing wide-sleeved garments or kosode in a flowing style, and some are depicted with a waist cloth wrapped around the body. Edo period (1603–1867) , Plum Blossoms at Night, woodblock print, 19th century) During the Edo period (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early Genroku period (1688–1704 CE), wherein "Genroku culture" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful merchant classes (), whose clothing was representative of their increasing economic power and rivalled the aristocracy and samurai classes, shown by their brightly coloured kimono that utilised expensive production techniques, such as hand-painted dyework. , a damask fabric, also became the preferred material for kimono at this time, replacing the previously popular plain-weave silk, which had been used to create . In response to the increasing material wealth of the merchant classes, the Tokugawa shogunate issued sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed patterns. As a result, a school of aesthetic thought known as Iki developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence. From this point onwards, the basic shape of both men's and women's kimonos remained largely unchanged. The inrō, originally a men's accessory worn with kimono, became increasingly valued for its aesthetic qualities in the late Edo period and began to be collected as art objects. Women's clothing, influenced by the fashion for long sleeves (tamoto), developed into the furisode, which became a bridal garment. In 1864, on the occasion of the Kinmon incident, the Edo shogunate raised troops to subjugate the Chōshū Domain, and it was decided that their military uniform would be made in the Western style. A merchant from Kodenmacho, Morita Jihee, took on the production of 2,000 uniforms. Although it required trial and error, he succeeded in making them. This is said to be the first recorded instance of mass production of Western clothing in Japan. Modern period Meiji period (1868–1912) {{Image frame|content= File:Ootuki family 1874.jpg|alt=Three men in kimono and |Part of the Ootuki family in kimono, 1874 File:Gensei Kajin Shu by Yoshu Chikanobu 1890.png|alt=Women in a variety of Japanese dress; one woman in Western dress; a schoolgirl in |Assorted types of kimono, Western dress, a court lady in , and a schoolgirl in a high-collared shirt, kimono and . All wear both purple and red. 1890. File:1912 May Ishikawa Setsuko.jpg|alt=Large family portrait|Family of Horiai Setsuko, May 1912, some in European dress, some in kimono, some wearing . Women's spread from the court as part of Japanese reform dress. In 1869, the social class system was abolished, and with them, class-specific sumptuary laws. Kimonos with formerly-restricted elements, such as red and purple colours, became popular, particularly with the advent of synthetic dyes such as mauvine. Following the opening of Japan's borders in the early Meiji period to Western trade, new materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimonos being relatively common in pre-1960s Japan; the use of safflower dye () for silk linings fabrics (known as ; literally, "red silk") was also common in pre-1960s Japan, making kimonos from this era easily identifiable. During the Meiji period, the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of modernity. In 1871, Western clothing was adopted by both policemen and mailmen. After an edict by Emperor Meiji in the same year, Initiatives such as the promoted Western dress as everyday clothing. Taishō period (1912–1926) Western clothing quickly became standard issue as army uniform for men and school uniform for boys, and between 1920 and 1930, the sailor outfit replaced the kimono and undivided as school uniform for girls. However, kimono still remained popular as an item of everyday fashion; following the Great Kantō Earthquake of 1923, cheap, informal and ready-to-wear kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people's possessions. By 1930, ready-to-wear kimono had become highly popular for their bright, seasonally changing designs, many of which took inspiration from the Art Deco movement. kimonos were usually dyed using the ikat () technique of dyeing, where either warp or both warp and weft threads (known as ) Cloth rationing persisted until 1951, so most kimonos were made at home from repurposed fabrics. In the second half of the 20th century, the Japanese economy boomed, and silk became cheaper, making it possible for the average family to afford silk kimono. The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class. Formalisation sought perfection, with no creases or unevenness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono. The kimono-retail industry promoted a sharp distinction between Japanese and Western clothes; for instance, wearing Western shoes with Japanese clothing (while common in the Taishō period) was codified as improper; these rules on proper dressing are often described in Japanese using the English phrase "Time, Place, and Occasion" (TPO). As neither Japanese men or women commonly wore kimono, having grown up under wartime auspices, commercial schools were set up to teach women how to don kimono. Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation.). Kimonos were promoted as essential for ceremonial occasions; for instance, the expensive worn by young women for was deemed a necessity. Bridal trousseaus containing tens of kimono of every possible subtype were promoted as de rigueur, and parents felt obliged to provide kimono trousseaus that cost up to 10 million yen (~£70,000), which were displayed and inspected publicly as part of the wedding, including being transported in transparent trucks. By the 1970s, formal kimonos formed the vast majority of kimono sales. Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but a perception of kimono knowledge, allowing them to dictate prices and promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. The kimono industry peaked in 1975, with total sales of 2.8 trillion yen (~£18 billion). The sale of informal brand new kimono was largely neglected. Heisei period (1989–2019) The economic collapse of the 1990s bankrupted much of the kimono industry and ended a number of expensive practices. The rules for how to wear kimonos lost their previous hold over the industry, and formerly-expensive traditions such as bridal kimono trousseaus generally disappeared, and when still given, were much less extensive. It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals. Many women had dozens or even hundreds of kimonos, mostly unworn, in their homes; a secondhand kimono, even if unworn, would sell for about 500 yen (less than £3.50; about US$5), a few per cent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this. In the early years of the 21st century, the cheaper and simpler became popular with young people. Around 2010, men began wearing kimonos again in situations other than their own wedding, and kimonos were again promoted and worn as everyday dress by a small minority. Reiwa period (2019–present) Today, the majority of people in Japan wear Western clothing as everyday attire, and are most likely to wear kimonos either to formal occasions such as wedding ceremonies and funerals, or to summer events, where the standard kimono is the easy-to-wear, single-layer cotton . In 2019, the mayor of Kyoto announced that his staff were working to register "Kimono Culture" on UNESCO's intangible cultural heritage list. In 2020, the Victoria and Albert museum staged an exhibition called Kimono: Kyoto to Catwalk, a "collection of around 300 garments, accessories, paintings, prints, photographs and film clips" relating to the history of the Kimono from the 17th century to the present. The final instalment of the exhibition's four-year international tour was at the V&A Dundee in 2024. ==Textiles==

Both kimono and are made from a wide variety of fibre types, including hemp, linen, silk, Japanese crêpe (known as ), and figured damask weaves (). Fabrics are typically – for both and kimono – woven as (bolts of narrow width), save for certain types of (such as the ), woven to double-width. Formal kimonos are almost always made from silk, with thicker, heavier, stiff or matte fabrics generally being considered informal. Modern kimonos are widely available in fabrics considered easier to care for, such as polyester. Kimono linings are typically silk or imitation silk, and often match the top fabric in fibre type, though the lining of some casual silk kimono may be cotton, wool or linen. Kimono motifs Kimono fabrics are often decorated, sometimes by hand, before construction. Customarily, kimono with woven patterns are considered more informal, though for , the reverse is true, with featuring dyed patterns being less formal than with woven patterns. Though kimono fabrics with woven patterns are typically not especially heavy and can be lightweight, fabrics with woven patterns are often very heavy, with many formal being made from thickly-woven brocade. Traditionally, woven kimonos are paired with that are decorated with dyed patterns, and vice versa. However, for all but the most formal kimono, this is more of a general suggestion than a strict rule. Formal kimonos are typically decorated with dyed patterns, commonly found along the hemline. These patterns may feature embroidery in parts, couched gold and silver thread, and/or gold and silver foil. The layout of motifs can denote a kimono's age, with patterns that mirror along the vertical back seam () being typical for kimono made before the 1930s. Many kimono motifs are seasonal, and denote the season in which the kimono can be worn; however, some motifs have no season and can be worn all-year round. Others, such as the combination of pine, plum and bamboo – a grouping referred to as the Three Friends of Winter – are auspicious, and thus worn to formal occasions for the entire year. Motifs seen on are commonly seasonal motifs worn out of season, either to denote the spring just passed or the desire for cooler autumn or winter temperatures. Colour also contributes to the seasonality of the kimono, with some seasons – such as autumn – generally favouring warmer, darker colours over lighter, cooler ones. A number of different guides on seasonal kimono motifs exist, with some guides – such as those for tea ceremony in particular – being especially stringent on their reflection of the seasons. Motifs typically represent the flora, fauna, landscape or culture of Japan; one such example is cherry blossoms, a famously seasonal motif worn in spring until just before the actual cherry blossoms begin to bloom, it being considered unlucky to try and 'compete' with the cherries. Motifs are typically worn a few weeks before the official 'start' of any given season, as it is considered fashionable to anticipate the coming season. Though men's kimonos historically displayed just as much decoration and variety as women's, in the modern era, the principal distinction of men's kimonos in terms of seasonality and occasion is the fabric. The typical men's kimono is a subdued, dark colour; black, dark blues, greens and browns are common. Fabrics are usually matte, in contrast to the occasional satin weaves of some women's kimonos. Some men's kimonos have a subtle pattern, and textured fabrics are more common in informal men's kimono. Informal men's styles may also feature slightly brighter colours, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colours, such as fuchsia, in their kimonos, which they are required to wear when appearing in public. Terms (), ; the areas likely to have been damaged are made in another colour. Paper and silk. The fabrics that kimonos are made from are classified in two categories within Japan. is the term used to indicate silk kimono fabrics, composed of the characters , referring to the State of Wu in ancient China where silk weaving technology developed, and . The term is used to refer to kimonos in general within Japan, particularly within the context of the kimono industry, as traditional kimono shops are called either or – with the additional character of meaning 'shop'. Cotton and hemp fabrics are referred to generally as , meaning "thick materials", with both cotton and hemp yarns being considerably thicker than silk yarns used for weaving. Cotton kimonos are specifically referred to in the context of materials as , "cotton clothes", whereas hemp kimonos are known as , "hemp clothes", in Japanese, with the character for hemp – – also being used widely for hemp, linen and ramie kimono fabrics. Merchants' terms Until the end of the Edo period, the tailoring of both and fabrics was separated, with silk kimonos handled at shops known as , and kimonos of other fibres sold at shops known as . Stores that handled all types of fabric were known as , though after the Meiji period, stores only retailing kimonos became less profitable in the face of cheaper everyday Western clothing, and eventually went out of business, leaving only stores to sell kimonos – leading to kimono shops becoming known only as today. Reuse Kimonos can readily be resized, or unpicked back into (bolt) lengths. Outside of being re-woven into new fabrics, worn-out kimono have historically been recycled in a variety of ways, depending on the type of kimono and its original use. When the cloth is worn out, it may be used as fabric for smaller items or to create (patchwork) kimonos (which were also sometimes made for the sake of fashion). The fact that the pattern pieces of a kimono consist of rectangles, and not complex shapes, make reuse in garments or other items easier. are used to hold cloth together and decorate it. The cloth used for patchwork clothing must all be of similar weight, drape, and handle. Formal kimonos, made of expensive and thin silk fabrics, would have been re-sewn into children's kimonos when they became unusable for adults, as they were typically unsuitable for practical clothing; kimonos were shortened, with the taken off and the collar re-sewn to create , or were simply cut at the waist to create a side-tying jacket. After marriage or a certain age, young women would shorten the sleeves of their kimonos; the excess fabric would be used as a (wrapping cloth), could be used to lengthen the kimono at the waist, or could be used to create a patchwork undergarment known as a . Kimono that were in better condition could be re-used as an under-kimono, or to create a false underlayer known as a . Children also traditionally wore , kimono made of a fancier material in the and upper back. ==Construction==

Kimonos are traditionally made from a single bolt of fabric known as a , which is roughly long and wide for women, For children, in the early 1900s, shorter lengths were used, and sometimes the body of the kimono was made only a single cloth width wide (). Tucks were also used to take in the garment; an outwards-facing pleat at each shoulder () and a kolpos-like overfold at the hip (), so that the child appeared to be wearing a sleeveless vest of the same fabric over their garment. These sewn tucks were let out as the child grew, This was also used to prolong the life of the garment by reversing the sleeves (hiding the worn cuff hem in the shoulder seam) or the back panels (swapping the high-stress center seam and the low-stress sides), Some fully lined kimonos do not have a separate lower and upper lining, and are instead lined with solid panels on the , the and the . These terms name parts of a kimono: Migoro refers to the main body of the garment, covering the front and back torso, excluding sleeves and collar. When overlapping the front panels, the one on top is called Uwamae (upper front) and the one underneath is Shitamae (lower front). The combined width of front panel, back panel, and Okumi is called Mihaba (body width). Hirosode (ひろそで): Also called Ōsode (large sleeve). Wide sleeve opening. Kakusode (かくそで): Square sleeves without rounded corners. Kataginu (かたぎぬ): A garment with only body panels, no sleeves. Evolution of kimono construction Though the basic shape of the kimono has not changed in centuries, proportions have, historically, varied in different eras of Japanese history. Beginning in the later Heian period, the – an unlined robe worn as underwear – became the predominant outerwear garment for both men and women, known as the . Court-appropriate dress continued to resemble the previous eras. By the beginning of the Kamakura period, the was an ankle-length garment for both men and women, and had small, rounded sleeves that were sewn to the body of the garment. The was a relatively thin belt tied somewhat low on the waist, usually in a plain bow, and was known as a . During this time period, the fashion of wearing a draped around the shoulders, over the head, or as the outermost garment stripped off the shoulders and held in place by the , led to the rise of the – a heavily decorated over-kimono, stemming from the verb , worn unbelted over the top of the – becoming popular as formal dress for the upper classes. Men's sleeves continued to be sewn shut to the body of the kimono down most of their length, with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly detached from the body of the kimono. Men's sleeves were also less deep than women's kimono sleeves so that they did not get tied under the narrow around the hips, whereas on a woman's kimono, the long, unattached bottom of the sleeve could hang over the wider without getting in the way. Women's kimonos are still worn trailing in some situations, such as onstage, in historical dramas, and by geisha and . In these instances, the kimono worn is constructed differently to a regular women's kimono: the collar is set back further into the neck, the sleeves are sewn to the body unevenly (further down the front than the back), and the body is elongated. This style of kimono is referred to as a or . Though the length of the kimono, collar style and sleeve construction differs for this type of kimono, in all other types of women's kimono, the construction is generally the same; the collar is set back only slightly into the nape of the neck, the sleeves are attached evenly only at the shoulder (not all the way down the sleeve length) and the kimono's length from shoulder to hem is ideally the entire height of the woman wearing it, to allow for the creation of the . Sleeve length The sleeve length (dropping down from the arm towards the floor when held outstretched) varies in kimono. ==Cost==

Both men's and women's brand-new kimono can range in expense (in 2023) from around ¥1000 (~US$7) to ¥150,000 (~US$1050) The high expense of some hand-crafted brand-new kimonos reflects the traditional industry, where the most skilled artisans practice specific, expensive and time-consuming techniques, known to and mastered only by a few. These techniques, such as hand-plied fabrics and hand-tied dotwork dyeing, may take over a year to finish. Kimono artisans may be made Living National Treasures in recognition of their work, with the pieces they produce being considered culturally important. Even kimonos that have not been hand-crafted will constitute a relatively high expense when bought new, as even for one outfit, a number of accessories of the right formality and appearance must be bought. Not all brand-new kimono originate from artisans, and mass-production of kimono – mainly of casual or semi-formal kimono – does exist, with mass-produced pieces being mostly cheaper than those purchased through a (kimono shop). Though artisan-made kimonos are some of the most accomplished works of textile art on the market, many pieces are not bought solely for appreciation of the craft. Unwritten social obligations to wear kimono to certain events – weddings, funerals – often leads consumers to purchase artisan pieces for reasons other than personal choice, fashion sense or love of kimono: The high cost of most brand-new kimonos reflects in part the pricing techniques within the industry. Most brand-new kimonos are purchased through , where kimonos are sold as fabric rolls only, the price of which is often left to the shop's discretion. The shop will charge a fee separate to the cost of the fabric for it to be sewn to the customer's measurements, and fees for washing the fabric or weatherproofing it may be added as another separate cost. If the customer is unfamiliar with wearing kimono, they may hire a service to help dress them; the end cost of a new kimono, therefore, remains uncertain until the kimono itself has been finished and worn. are also regarded as notorious for high pressure sales practices seen as unscrupulous such as kakoikomi (囲い込み “enclosure”): In contrast, kimonos bought by hobbyists are likely to be less expensive, purchased from second-hand stores with no such sales practices or obligation to buy. Hobbyists may also buy cheaper synthetic kimono (marketed as 'washable') brand-new. Some enthusiasts also make their own kimono; this may be due to difficulty finding kimono of the right size, or simply for personal choice and fashion. Second-hand items are seen as highly affordable; costs can be as little as ¥100 (about US$0.90) at thrift stores within Japan, and certain historic kimono production areas around the country – such as the Nishijin district of Kyoto – are well known for their second-hand kimono markets. Kimono themselves do not go out of fashion, making even vintage or antique pieces viable for wear, depending on condition. However, even second-hand women's are likely to remain somewhat pricey; a used, well-kept and high-quality second-hand can cost upwards of US$300, as they are often intricately woven, or decorated with embroidery, goldwork and may be hand-painted. Men's , in contrast, retail much cheaper, as they are narrower, shorter, and have either very little or no decoration, though high-end men's can still retail at a high cost equal to that of a high-end women's . ==Types of kimono==

Several different types of kimono exist. These varieties are primarily based on formality and gender, with more women's varieties of kimono existing than men's. The modern kimono canon was roughly formalised after WWII, following fabric shortages, a generation unfamiliar with wearing kimono in everyday life, and the postwar revival of kimono sales by , traditional kimono shops. In previous centuries, types of kimono were not as distinct, with factors such as age and social class playing a much larger role in determining kimono types than they do presently. Beginning in the Meiji period, and following the Meiji Restoration and the abolition of class distinctions, kimono varieties began to change as Japanese society did, with new varieties being invented for new social situations. Kimono are classified not only by form (such as Nagagi or Haori) but also by formality (Furisode, Tomesode, Hōmongi, Tsukesage, Komon, etc.), weaving structure (Sha, Ro, etc.), use of thread (Tsumugi, Chijimi, etc.), fiber material (silk, hemp, cotton, synthetic fibers, etc.), and dyeing method (pre-dyed, post-dyed), among other factors. Formality Kimonos range in variation from extremely formal to very casual. For women, the formality is determined mostly by pattern placement, decoration style, fabric choice and colour. For men, whose kimonos are generally monochromatic, formality is determined typically by fabric choice and colour. For both men and women, the accessories and worn with the kimono also determine formality. The formality levels of different types of kimono are a relatively modern invention, having been developed between late Meiji- to post-war Japan, following the abolition of Edo period sumptuary clothing laws in 1868. These laws changed constantly, as did the strictness with which they were enforced, and were designed to keep the nouveau riche merchant classes from dressing above their station, and appearing better-dressed than monetarily-poor but status-rich samurai class. The Tomesode is black or colored with patterns only from the waist down to the hem, and is also called “Suso-moyō” (hem pattern). (the highest formal wear). Black-based ones are called Kuro-furisode, others are Iro-furisode. (the highest formal wear). Kimono with patterns only from the waist down are called “Edo-tsuma-moyō,” and nowadays Kurotomesode are often called “Edo-tsuma.” Kimono vary widely in fabric type, and are not all made of silk. Certain types of fabric, such as wool, cotton, linen and hemp, are always considered informal, and so are not seen on more formal varieties of kimono. Certain varieties of silk, such as , are considered informal, until October Continuing into August, hemp, and continue to be worn; in September, they are still worn, but fabrics such as , worn in June, become suitable again, and opaque fabrics become preferred over sheer, though sheer may still be worn if the weather is hot. Choice of accessories Formality can also be determined by the type and colour of accessories. For women, this may be the weave of and the style of . For men, adding a (a traditional jacket) makes an outfit more formal, and adding both and (traditional trousers) is more formal still. The material, colour, and pattern of these overgarments also varies in formality. Longer are also more formal. Sleeve length and construction Both men's and women's kimonos feature sleeves considered relatively short, with men's sleeves shorter than women's. Though lengths can vary by a few centimetres, these lengths are informally standardised. Men's kimono sleeves are only ever one length, and women's sleeves are limited to a short length suitable for almost all types of kimono, or a longer length used for only one type of formal young women's kimono. In the modern day, the two lengths of women's sleeve worn on kimonos are length, which almost reaches the floor, and a shorter length, used for every other variety of women's kimono. Before WWII, the length of women's kimono sleeves varied, with sleeves gradually shortening as a woman got older. During WWII, due to shortage of fabric, the 'short' length of women's kimono sleeves became standardised, and post-WWII, the realm of long kimono sleeves was narrowly curtailed to the realm of only – formal young women's and girl's kimono, where previously longer sleeves were seen on other varieties of dress, both formal and informal. Pre-WWII women's kimonos are recognisable for their longer sleeves, which, though not length, are longer than most women's kimono sleeves today. Young women are not limited to wearing only , and outside of formal occasions that warrant it, can wear all other types of women's kimono which feature shorter sleeves. General types (襦袢) The , also called the (長襦袢), is an under-kimono worn by both men and women. resemble a kimono in construction, with a few key differences: the sleeves are typically open along the entire cuff side, with only a few stitches sewing both sides together placed where a normal kimono sleeve cuff would end; the sleeve has no curve sewn into the outer edge, instead being square; the is typically a little shorter than the length of a kimono when worn, and features no extra length to be bloused into an for women's kimono; the front either does not have any overlapping panels () or features only thin ones, with the collar set at a lower angle than that of a regular kimono. are considered an essential piece of kimono underwear, and are worn with all types of kimono except for . are typically made of lightweight materials, often silk. Women's and can either be patterned or entirely plain, and modern women's are frequently white in colour. Men's are often dyed in dark colours, and can be made of the same material as the outer kimono, as some kimono fabric bolts () are woven with enough length to accommodate this. Men's are frequently more decorative than women's, often featuring a dyed pictorial scene in the upper back, such as a scene from The Tale of Genji. In the late 19th and early 20th century, women's transitioned from being mostly red with bold white motifs to being white or light pastel colours. The dye technique previously used to achieve this, , fell out of fashion and knowledge and was rediscovered in 2010. (肌襦袢) are a type of kimono undergarment traditionally worn underneath the . are even further removed from resembling a kimono in construction than the ; the comes in two pieces (a wrap-front top and a skirt), features no collar, and either has tube sleeves or is sleeveless. Unlike the , the is not considered an essential piece of kimono underwear, and a t-shirt and shorts are frequently substituted in its place. (浴衣) are casual cotton summer kimonos worn by both men and women. were originally very simple indigo and white cotton kimono, little more than a bathrobe worn either within the house, or for a short walk locally; were worn by guests at inns, with the design of the displaying the inn a person was staying at. From roughly the mid-1980s onwards, they began to be produced in a wider variety of colours and designs, responding to demand for a more casual kimono that could be worn to a summer festival, and have since become more formal than their previous status as bathrobes, with high-end, less colourful sometimes standing in place of . In the present day, many are brightly coloured, featuring large motifs from a variety of different seasons. For women, they are worn with either a (half-width ) or a (a soft, sash-like ), and are often accessorised with colourful hair accessories. For men, are worn with either an informal or a . Children generally wear a with . are always unlined, and it is possible for women to wear a casual with a high-end, more subdued , often with a underneath. A high-end men's could be dressed up in the same way. A is traditionally worn as a single layer or over a (an underkimono worn underneath the , featuring a simplified construction). may be worn over the top of a t-shirt and shorts. This distinguishes from a more-formal kimono, where a (also described as a , an underkimono resembling) is worn underneath, showing a second layer of collar at the neckline. However, some modern are worn with collared cotton featuring a collar of linen, cotton or , for occasions such as informal eating-out. Tsumugi kimonos are often dyed with Kasuri patterns. (小紋) are informal women's kimono. They were the type most often worn as everyday womenswear in pre-war Japan. Though informal, with smaller, denser patterns are considered a shade more formal than with larger, bolder patterns. mostly have no (crests), and the sleeves are fairly short. They are made with a repeating designs, though the repeat length may be quite long. Designs can be made with any method; woven patterns, prints, stencilled patterns in alternating orientations, freehand painting () or tie-dye patterns (). Traditionally the direction of the fabric was alternated in adjacent panels (necessary due to the lack of shoulder seam), so patterns were generally reversible. If the pattern is the same way up on each panel, the is more formal, approaching -level formality. Woven geometric patterns (such as stripes) have no season, but others show images representing the season in general. Woven non-geometric patterns () are common. Small, dense patterns are often used; this is practical, as fine-scale patterns hides stains. are made with informal materials such as (slubbed silk), cotton, linen, ramie, and hemp. In the modern day, synthetic blends and synthetics are often used; rayon () and polyester are common. Now that kimonos are not typically worn as informal clothing, are not worn as often as formal kimono, though they have a wider range of suitable use. are the most formal type of ; they may have one to three crests, with a small, fine pattern that appears to be a solid colour from a distance, and so resembles the more formal . (江戸小紋) are a type of worn by women characterised by an extremely small repeating pattern, usually done in white on a coloured background. The dyeing technique is sometimes said to originate in the late Heian period (circa mid-12th century), with a motif called , which shows tiny stylised cherry blossoms on a background of white dots. In the Edo period (1603–1867), the samurai classes used them for formal wear, with specific patterns becoming associated with specific families. Towards the end of the Edo period, in the early 1800s, commoners began to wear them. are of a similar formality to , and with one can be worn as low-formality visiting wear; because of this, they are always made of silk, unlike regular . (色無地) are monochromatic, undecorated women's kimonos mainly worn to tea ceremonies, as the monochrome appearance is considered to be unobtrusive to the ceremony itself. Despite being monochromatic, may feature a woven design; suitable for autumn are often made of damask silk. Some with incredibly fine patterns are considered suitable for tea ceremony, as from a distance they are visually similar to . may occasionally have one , though likely no more than this, and are always made of silk. accessories such as are never worn with if the purpose of wear is a tea ceremony; instead, flat and untextured silks are chosen for accessories. (付け下げ) are low-ranking women's formalwear, and are a step below , though the two sometimes appear similar or indistinguishable. The motifs on a are placed similarly to those of a – across the back-right shoulder and back-right sleeve, the front-left shoulder and the front-left sleeve, and across the hem, higher at the left than the right – but, unlike , do not typically cross over the seams of each kimono panel, though some confusingly do. In older examples, the motifs may instead be placed symmetrically along the hem, with the skirt patterns mirrored down the centre-back seam. can have between one and three , and can be worn to parties, but not ceremonies or highly formal events. (訪問着) are women's formal kimonos with the same pattern placement as a , but with patterns generally matching across the seams. They are always made of silk, and are considered more formal than the . are first roughly sewn up, and the design is sketched onto the fabric, before the garment is taken apart to be dyed again. The 's close relative, the , has its patterns dyed on the bolt before sewing up. This method of production can usually distinguish the two, as the motifs on a are likely to cross fluidly over seams in a way a generally will not. (黒留袖) are formal women's kimonos, featuring a black background and a design along the hem. They are the most formal women's kimono, and are worn to formal events such as weddings and wedding parties. The design is only present along the hem; the further up the body this design reaches, the younger the wearer is considered to be, though for a very young woman an may be chosen instead, being considered somewhat more mature. The design is either symmetrically placed on the and portions of the kimono, or asymmetrically placed along the entirety of the hem, with the design being larger and higher-placed at the left side than the right. Vintage kimono are more likely to have the former pattern placement than the latter, though this is not a hard rule. are always made of silk, and may have a – a false lining layer – attached, occasionally with a slightly padded hem. A usually has between 3 and 5 crests; a of any number of crests outranks an with less than five. , though formalwear, are not allowed at the royal court, as black is the colour of mourning, despite the colour designs decorating the kimono itself; outside of the royal court, this distinction for does not exist. are never made of flashy silks such as , but are instead likely to be a matte fabric with little texture. typically feature , small white decorative prickstitches along the collar. (黒紋付) ("black -decorated") are the most formal men's kimono, which, apart from the cut of the sleeve, look exactly the same from the waist up as a , and thus cannot be distinguished in pattern when worn under the required for men's formal dress. The collar on a is sewn further and deeper back into the nape of the neck, so that it can be pulled down much lower without causing the front of the kimono to ride up. The sleeves are set unevenly onto the body, shorter at the back than at the front, so that the underarm does not show when the collar is pulled down. are tied differently when they are put on – whereas regular kimonos are tied with a visible , and the side seams are kept straight, are pulled up somewhat diagonally, to emphasise the hips and ensure the kimono trails nicely on the floor. A small is tied, larger at the back than the front, but it wrapped against the body with a () wrap, which is then covered by the , rendering the invisible. Aside from their specialised construction, can resemble many other types of women's kimono in their decoration, fabric type, colour and sleeve length. The worn by geisha and their apprentices are formal kimono worn to engagements, and so are always made of fine silk, resembling kimono of formality and above in their pattern placement and background colour. The worn by kabuki actors varies by role, and so can appear as the humble clothing of an Edo-period merchant's daughter, as well as the fine silk clothing of a samurai woman. These costumes may be made of polyester, as well as silk, informal silk fabrics, cotton, linen or hemp. Pattern placement, colour and design varies by role, with many roles having costume designs preserved from previous centuries. The worn by people performing traditional Japanese dance typically feature a bold design in block colours, as their clothing must stand out from the stage. Performers performing in a group wear kimono identical to one another, with the bold designs creating visual unity between performers. ==Related garments and accessories==

Though the kimono is the national dress of Japan, it has never been the sole item of clothing worn throughout Japan; even before the introduction of Western dress, many different styles of dress were worn, such as the of the Ainu people and the of the Ryukyuan people. Though similar to the kimono, these garments are distinguishable by their separate cultural heritage, and are not considered to be simply 'variations' of the kimono as the clothing worn by the working class is considered to be. Some related garments still worn today were the contemporary clothing of previous time periods, and have survived in an official and/or ceremonial capacity, worn only on certain occasions by certain people. Accessories that can be worn with the kimono vary by occasion and use. Some are ceremonial, or worn only for special occasions, whereas others are part of dressing in the kimono and are used in a more practical sense. Both geisha and wear variations on common accessories that are not found in everyday dress. As an extension of this, many practitioners of Japanese traditional dance wear similar kimonos and accessories to geisha and . For certain traditional holidays and occasions some specific types of kimono accessories are worn. For instance, , also known as , are worn by girls for , alongside brightly coloured . are also worn by young women on (Coming of Age Day). ==Layering==

Pre-WW2, kimonos were commonly worn layered, with three being the standard number of layers worn on top of the undergarments. The layered kimono underneath were known as , and were often a patchwork of older or unwearable kimono taken apart for their fabric. Specifically designed matching sets of formal layered kimonos were known as , and generally featured the same design presented on different background colours, such as white (innermost), red (middle layer) and black (outermost). The innermost layers, known as , typically featured the plainest decorative techniques, such as dyework only, and the successive outer layers would feature techniques such as embroidery and couched gold thread, with the outermost layer – known as the – displaying the most extensive decoration. These matching sets would be designed and created together, commonly as part of a bride's outfit for a wedding. Extant intact sets of kimonos are difficult to find, particularly in good condition, with the innermost kimono typically damaged and in poor condition. In modern Japan, at least one layer is typically worn next to the skin when wearing kimono. Traditionally, this would be the or , a tube-sleeved, wrapped-front garment considered to be underwear, though in the modern day, regular underwear is sometimes worn instead, and a traditional is not considered strictly necessary. A is typically made of something more washable than silk, such as cotton, hemp, linen or some synthetic fibres. For all forms of kimono except the (excluding high-quality dressed up as ), a , often known and referred to as a , is worn over the top of any underwear. The resembles a kimono made of a lighter, thinner fabric, not uncommonly constructed without an panel at the front, and often with a collar cover known as a sewn over its collar. The , visible at the neckline when worn underneath a kimono, is designed to be replaced and washed when needed. In modern-day Japan, layered kimonos are generally only seen on the stage, whether for classical dances or in kabuki. A false second layer called a may be attached instead of an entirely separate kimono to achieve this look; the resembles the lower half of a kimono's lining which, and is sewn to the kimono horizontally along the back. A may have a false collar attached to it, or a matching false collar sewn to the kimono separately, creating the illusion of layering at the neckline; separate false sleeve cuffs may also be sewn into the kimono to create this effect. Kimonos featuring can be seen in some kabuki performances such as , where the kimono is worn with the flipped back slightly underneath the to expose the design on the . The can be seen on some bridal kimonos. ==Care==

In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing. Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. The process of traditionally washing kimono is very expensive and difficult and is one of the causes of the declining popularity of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practised, especially for high-end garments. New, custom-made kimono are generally delivered to a customer with long, loose basting stitches placed around the outside edges. These stitches are called (not to be confused with , the small white prickstitching seen along the collar of ). They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment. Like many other traditional Japanese garments, there are specific ways to fold kimono. These methods help to preserve the garment and to keep it from creasing when stored. Kimonos are often stored wrapped in acid-free paper envelopes known as . Kimono need to be aired out at least seasonally and before and after each time they are worn. Many people prefer to have their kimono dry cleaned. Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes. ==, kimono production regions==

Kimonos are produced in different regions all over Japan. Locations known for making kimonos are often called . Many of these regional variations still exist today and are recognised as , famous products of their place of origin. ==Outside Japan==

Kimonos are worn by Japanese Americans, and by other members of the Japanese diaspora overseas, such as Japanese in the Philippines. Kimonos are worn to Shinto ceremonies by Japanese Brazilians in Curitiba, Paraná. Kimonos are collected in the same way as Japanese hobbyists by some non-Japanese, and may be worn to events such as Kimono de Jack gatherings. ==See also==