KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
INTRODUCTION
Textiles have long been a source of information on a
of both the men’s and women’s kimono has remained es-
society’s culture. Throughout both western and eastern
sentially unchanged.
history alike, textiles have possessed the power to sig-
Kimonos can range in color, from elaborate compositions
nify one’s status. The kimono, a traditional, embroidered
to more subtle works. Different styles are crafted for vari-
Japanese garment, has evolved throughout history to be-
ous occasions and seasons. A formal kimono is one of the
come an integral part of the country’s
larger investments a Japanese individual will make during
culture.
their lifetime. There are precise rules for wearing, storing and cleaning these garments all in an effort to preserve
Embroidery traveled along the silk road from China
both the material and culture.
around the second century BC and made its way through Korea to Japan. The isolation of the island allowed for in-
The kimono is not complete without the obi as it secures
novative design and style unique to Japan.
the kimono. Interestingly, obis are quite extravagant and can be more elaborate and expensive than the actual ki-
The evolution of hand embroidery and the kimono devel-
mono itself. Other accessories include zori or geta (tradi-
oped over generations. Embroidery was first used in Ja-
tional footwear) and tabi (split-toe socks).
pan to decorate religious items, however, the Heian Period (794–1192 AD) saw the decoration of textiles to serve a
The kimonos and obis in this exhibition date from around
more secular purpose: adorning the vestments of royalty
the 20th century. The presentation brings together a vari-
and the wealthy.
ety of formal and wedding kimonos with numerous obis. The grouping demonstrates the proliferation of embroi-
During the Edo Period, from 1615 - 1868, and the subse-
dery throughout the Japanese peninsula and beyond
quent Meiji period that lasted until 1912, personal expres-
and affords viewers the opportunity to view a wide stylis-
sion flourished. Style and status were conveyed through
tic variety of kimonos. They normally took a minimum of
the wearing of the kimono.
two people to weave and embroider over a period of six
The word “kimono” literally translates to “garment,”
months to even a year. Each garment tells a story. From
with ki () meaning “to wear,” and mono () “thing” or “object.”
the choice of fabric to its coloring and design, these piec-
The garment’s sleeves began to grow in length during
es were more than just that clothing. The kimonos served
this time, especially among unmarried women, and the
as an integral part of the wearer’s identity, each unique
Obi, or belt, became wider. Since then, the basic shape
and handed down to the next generation.
wedding
KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
KIMONO SYMBOL MEANINGS FLORAL MOTIFS CHRYSANTHEMUM (KIKU)
PLUM BLOSSOM (UME)
and Spider chrysanthemum with wild tendril petals) is an
is the first flower to bloom in the spring and is known as
auspicious symbol of regal beauty, rejuvenation and lo-
the ‘Flower of Peace’. A protective charm against evil, it
gevity. Used as the Imperial Seal of Japan, it also repre-
also represents longevity, renewal and perseverance.
sents autumn and is associated with the Chrysanthemum
Identified by rounded petals.
Festival (Kiku-no-Sekku) held on the 9th day of the 9th month.
WISTERIA (FUJI) signifies love and is also used in many Japanese family
PINE TREE (MATSU)
crests (Kamon).
symbolises longevity, steadfastness and wisdom in age. Associated with winter and New Year. Sometimes
CHERRY BLOSSOM (SAKURA)
represented by the pine bark diamond pattern.
with it’s distinctive notched petals, blooms briefly and is fragile. It symbolises new beginnings, renewal (early
IRIS (KAKITSUBATA)
Spring), beauty and the transience of life.
by a running stream evokes the tenth century ‘Tale of Ise’. A far travelling poet arrives at Yatsuhashi, sees irises in full
BELLFLOWER (KIKYO)
bloom and is struck by such longing for his wife left in far
is a white, five petal flower and the symbol of
away Kyoto that he writes a verse for her beginning each
unchanging love, honesty and obedience.
line with a syllable from the flower’s name ‘ka-ki-tsu-ba-ta’. Signifies protection from evil spirits.
PAULOWNIA TREE (KIRI) is a fast growing tree with foxglove-like purple flowers
PEONY (BOTAN)
and the only tree the Phoenix will alight upon. Planted
is known as the ‘King of the Flowers’ and symbolises
when a baby girl is born, the wood is then used to fashion
good fortune (wealth), high honour (nobility) and ageless
articles for her dowry. Traditional national symbol, often
beauty.
seen in family crests.
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
KIMONO SYMBOL MEANINGS PAT T E R N S A N D OT H E R SY M B O L S SEIGAIHA
CRANES (TSURU)
is a pattern of overlapping circles, symbolic of waves and
are believed to live for a thousand years and inhabit the
the ebb and flow of life.
land of the immortals. Symbolise longevity and good fotune. A pair represent a happy marriage.
SHIPPO is an infinitely repeating circular design representing the
DRUM (TAIKO)
seven jewels or treasures from the Buddhist Sutras.
A drum represents joy. Ivy growing over a drum (used to warn of war) signifies.
HEXAGONS
SCROLLS
represent the pattern on a tortoise shell and signify lon-
represent learning, knowledge and a cultured life. One of
gevity and good fortune. Also traditional inspiration for
the Myriad Treasures.
Samurai armour designs. MOUNTAINS (YAMA) DIAMONDS OR PINE BARK DIAMOND PATTERN
depict sacred places between heaven and earth. Birds
–see Pine Tree (Matsu).
flying over mountains signify overcoming life’s challenges.
PEACOCK (KUJAKU) This bird is associated with love, good will, nurturing, and
RIVER (KAWA)
a kind heart.
or winding stream represents continuity and the future.
J A P A N E S E,
E M B R O I D E D,
A N T I Q U E
W E D D I N G
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
K I M O N O
J A P A N E S E,
E M B R O I D E D,
A N T I Q U E
W E D D I N G
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
K I M O N O
J A P A N E S E,
E M B R O I D E D,
A N T I Q U E
W E D D I N G
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
K I M O N O
J A P A N E S E,
E M B R O I D E D,
A N T I Q U E
W E D D I N G
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
K I M O N O
J A P A N E S E,
E M B R O I D E D,
A N T I Q U E
W E D D I N G
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
K I M O N O
JAPANESE, SHUSU EMBROIDED, JACQUARD, ANTIQUE WEDDING KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, SUMI-E HANDPAINTED, ANTIQUE WEDDING KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
J A P A N E S E,
E M B R O I D E D,
J A C Q U A R D
W E D D I N G
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
K I M O N O
J A P A N E S E,
E M B R O I D E D,
J A C Q U A R D
W E D D I N G
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
K I M O N O
J A P A N E S E,
J A C Q U A R D
W E D D I N G
K I M O N O
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, EMBRIODERED, SHUSU EMBROIDED, JACQUARD, ANTIQUE WEDDING KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
casual
KIMONO
JAPANESE, YUZEN RESIST DYED, ANTIQUE CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE JACQUARD, ANTIQUE, CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE STENCIL DYED KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE EMBRIODERED, JACQUARD, CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JA PA N ES E , A N T I Q U E I K AT DY E D K I M O N O
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE STENCIL DYED KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE JACQUARD, ANTIQUE, CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE JACQUARD, ANTIQUE, CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE STENCIL DYED CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE STENCIL DYED, JACQUARD CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE STENCIL DYED, JACQUARD, CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE STENCIL DYED, CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE STENCIL DYED, JACQUARD, CASUAL KIMONO
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
SUMI-E PAINTING
JACQUARD
EMBRIODERY
SHUSU
K ATA ZO M E
YUZEN RESIST DYEING
TECHNIQUES
SUMI-E PAINTING
KATAZOME
Free-hand painting with indelible inks and brushes is also
These fabrics are produced with stencils. Rice paste is
a time- honored Japanese method of fabric decoration.
pressed through the elaborately cut, heavy, oiled stencils
It appears on kimonos, but even more frequently on the
onto the fabric; then after drying, the fabrics are immersed
pictorial linings of men’s short black haori jackets.
in the dye pots. This process has often been used with indigo blue on cotton for summer yukata kimono or for
SHUSU
futon covers. Sometimes wax has been used instead, as
Gold and silver threads are made of foil applied to thin
in batiks made elsewhere.
membrane or paper strips which are wrapped around silk threads. These metallic threads cannot be stitched
EMBRIODERY
through the silk fabrics, so they are traditionally “couched”:
Japanese artisans have used embroidery to create
laid on the fabric surface and stitched down with fine silk
opulent effects on kimono especially lavish wedding
threads. Motifs may be outlined with gold couching or
kimono. With silk floss and variations on the “long and
entire motifs may be formed with metallic yarns placed
short stitch” or satin stitch, hira-nui, they have built up
side by side.
entire motifs, as in the feathers below. Some forms have even become three-dimensional.
JACQUARD The Taishō period (1912-1926) was one of confidence and
YUZEN RESIST DYEING
optimism in Japan. Industrial development was stimulated
With a dyeing technique invented in 17th century Kyoto,
by the First World War, economic prosperity being
a mixture of rice paste and soybeans has been used
matched by political democratisation. Power-operated
to draw delicate free-hand linear motifs on white silk.
spinning machines and jacquard looms introduced from
An artist squeezes the paste through a funnel-shaped
Europe had speeded up production and lowered costs,
container much like a small pastry bag. After this paste
while chemical dyes allowed for the creation of dazzling
resist dries, he paints the areas on both sides of the lines
colours. In the early 20th century new types of silk and
with brushes, using the desired dye colors. Delicate
innovative patterning techniques were also developed,
shaded effects can be created, and the rice paste outlines
making
fashionable
prevent the dye from seeping into surrounding areas.
garments available to more people than ever before.
Even broad expanses of the background color are dyed
These vibrant kimono styles remained popular until the
in this manner by hand painting.
1950s.
relatively
inexpensive,
highly
KASURI
SURIHAKU
SHIBORY
HITOMEZASHI SASHIKO STITCHING
S U R I H A K U ( PAT T E R N )
FIGURED WEAVES
TECHNIQUES
KASURI (IKAT)
is pressed onto the partially dried rice paste. The foil falls
Ikat fabrics are made by selectively binding and dyeing
away in surrounding areas. In the past, surihaku deco-
parts of the warp or weft threads, or even both, before the
ration was widely used on dramatic Noh theatrical cos-
fabric is woven. It is an arduous and exacting process. For
tumes, and its use continued on lavish formal kimono and
either silk or cotton fabrics, the threads are stretched on
ceremonial uchikake wedding kimono.
a frame (below), selected design areas are bound, then the hanks of bound threads are immersed in the dye pots.
SHIBORI These fabrics are tie-dyed. Most often, areas are pat-
HITOMEZASHI SASHIKO STITCHING
terned by tightly wrapping tiny sections of the light-
Sashiko embroidery was used to strengthen the home-
weight white silk with thread. When the fabric is dyed, the
spun clothes of olden times. Worn out clothes were
wrapped areas remain white, forming a pleasant, slightly
pieced together to make new garments by using simple
irregular repeat pattern of tiny circles. An entire surface
running stitches. These clothes increased their strength
covered in this way is called kanoko shibori. The fabric
with this durable embroidery. By the Meiji era (1868-1912)
may be allowed to retain its characteristic puckered sur-
sashiko had been established enough that it had evolved
face. Shibori techniques can also be produced by clamp-
into winter work in northern farming communities, when it
ing, stitching or folding the fabrics in various ways to pro-
was too cold to work outside.
duce unusual patterning.
The designs are made up of dense stitches arranged to build a pattern, while a the same time adding
FIGURED WEAVES
extra strength to the fabric(s) they are stitched on. Where
Historically draw looms, and more recently jacquard
simple sashiko designs make large overall designs on the
looms, have been used to produce a variety of weaves
fabric, Hitomezashi designs built small denser designs
with stunning tone-on-tone patterning. Damasks, bro-
that look rather like weaving patterns.
cades and twills are among the structures employed. White wedding kimono often exploit the possibilities of
SURIHAKU
these techniques, and obi designs have employed an
Sometimes, along with colored dyes, gold or silver me-
even wider range of complex weaves. Brocade designs
tallic foil is applied to the fabric surface, creating lavish
have been woven with contrasting colors or materials
effects. Rice paste is first applied to the fabric in design
such as metallic or lacquered threads.
areas either drawn freely, or stenciled. Then metallic leaf
KIM OO BN I O
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
JAPANESE, ANTIQUE JACQUARD, OBI
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
Exhibit Owner:
Catalogue designer:
Woo Family Charitable Foundation, Inc.
Gundega Strautmane
P.O. Box 801
Rezekne, Latvia
Flemington, NJ 08822
Web.: gundegastrautmane.com
Co-Curator:
Kimono Model:
Glenn Frank Woo
Keiko Ura
Flemington, NJ
Hokkaido, Japan
gfwooNY@gmail.com
Honolulu, Hawaii
Elina Veilande-Apine Riga, Latvia
Kimono repair and restoration:
web.: elina.veilands.com
Antra Salina Riga, Latvia
Kimono consultants:
antra.salina@gmail.com
Rukio Ito
Elina Veilande-Apine
Tokyo, Japan
Riga, Latvia
Keiko Ura
web.: elina.veilands.com
Hokkaido, Japan
For more information contact: Catalogue Editor and Forward:
Linda Lew
Alexandra Seneca
P.O. Box 801
New York City, NY
Flemington, NJ 08822
Catalogue photographers: Karlis Apinis, Riga site photographer Riga, Latvia Loke Chong Gum, Hawaii site photographer Honolulu, Hawaii www.instagram.com/teurirose/ Hawaii, photography set up director Amber Manini
P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .
KIMONO