Kimono

Kimono is Japan’s traditional garment. In Japanese, the word “kimono” means “clothing” or “something to wear.” Over the historical process, it evolved from a general term for clothing into a specific term used in modern Japan to denote traditional Japanese attire.

The kimono’s origins lie in the kosode, an undergarment worn during the Heian period (794–1185), which followed the Nara period (710–794). “Kosode” means “small sleeves” and differs structurally from the earlier wide-sleeved osode. During the Kamakura period (1185–1333), the kosode became widely adopted among samurai and the general population. During the Edo period (1603–1868), influenced by economic prosperity, women’s kimonos became more ornate, with large patterns, long sleeves, and generous cuts coming to the fore. In the Meiji period (1868–1912), with the promotion of Western-style clothing, the term “kimono” replaced terms such as osode and kosode.

Structure and Fabric Characteristics of the Kimono

The kimono is a T-shaped, straight-cut garment designed not to fit the body but according to an abstract “kimono body.” The shoulder line ends at the level of the lower arm rather than at the natural shoulder slope. Kimonos are not shaped on a mannequin before sewing, and the fabric is typically used without diagonal cutting.

Kimonos are generally made from rolls of fabric called tan, approximately 34–40 cm wide and 11–12 meters long. These dimensions are sufficient to make a kimono for an adult. Because cutting is kept to a minimum, fabric waste is very low. The garment’s pieces are sewn by hand, allowing them to be easily taken apart for cleaning or reuse.

Although structurally simple in appearance, the kimono is completed with rich accessories. The most prominent of these is the obi, a wide sash tied around the waist and decorated with elaborate patterns. The way the obi is tied, its length, and the style of its knot vary the function and visual impact of the kimono. Nevertheless, in kimono design, the neckline and hem length remain constant.

Production Techniques and Methods

Various traditional and modern dyeing techniques are used in kimono production.

Tegaki Yūzen: Developed at the end of the 17th century, this technique involves drawing patterns on fabric using rice paste as a resist, then applying colors with brushes within these boundaries. The design is fixed through steaming.

Kata Yūzen: Developed in the 19th century, this method uses stencils to transfer patterns onto fabric. A separate stencil is required for each color.

Digital Yūzen: A technique that has become widespread in recent years, it allows designs to be prepared digitally and printed directly onto fabric using printers. This method reduces processing time and minimizes fabric and ink waste.

Shibori and Weaving: Other techniques used in kimono production include batik dyeing (shibori) and various weaving methods. In production centers in Kyoto, traditional, automated, and digital looms operate side by side.

^The Contemporary Role and Meaning of the Kimono

After World War II, the kimono became a status symbol worn on special occasions. Kimonos preferred for weddings and coming-of-age ceremonies are known as “ceremonial kimonos.” From the 1990s onward, economic crisis and changing marriage customs led to a decline in this function, while the kimono was reinterpreted in the fashion world as a tool for personal expression.

Associated with the philosophy of slow fashion, the kimono aligns with this approach through its detailed production process, long lifespan, and high-quality handcraftsmanship. However, some traditional methods—such as indigo dyeing—and working conditions in weaving workshops are also part of ongoing sustainability debates.

Kimono and Sociocultural Identity

In modern Japan, the kimono is seen as a symbol of national culture and particularly of feminine ideals. Women wearing kimonos are often defined as bearers of the traditional ideology of the “good wife, wise mother” (ryōsai kenbo). Wearing a kimono evokes notions of patience, self-discipline, and a slow way of life. In this sense, the garment is not merely aesthetic but also a social instrument of education.

Cultural Experience and Consumption Patterns

Today, it is common for tourists to rent kimonos to explore cities and experience traditional Japanese culture. This practice strengthens the consumer’s connection to the product and fosters a personal and cultural relationship with the garment. Experience-based consumption shapes habits of learning about, touching, and valuing the kimono.

There are differing views on whether certain techniques used in kimono production should be considered traditional. Given Japan’s historical ability to assimilate external influences and adapt them into its own style, the definition of tradition is not fixed. Moreover, Westerners wearing kimonos occupy a boundary between cultural appropriation and appreciation, sometimes drawing criticism and at other times receiving positive interpretations.