Kimono
Kimono
perut/pinggang, dan diikat di bagian punggung. Alas kaki sewaktu mengenakan kimono adalah
zri atau geta.
Kimono sekarang ini lebih sering dikenakan wanita pada kesempatan istimewa. Wanita yang
belum menikah mengenakan sejenis kimono yang disebut furisode.[1] Ciri khas furisode adalah
lengan yang lebarnya hampir menyentuh lantai. Perempuan yang genap berusia 20 tahun
mengenakan furisode untuk menghadiri seijin shiki. Pria mengenakan kimono pada pesta
pernikahan, upacara minum teh, dan acara formal lainnya. Ketika tampil di luar arena sumo,
pesumo profesional diharuskan mengenakan kimono.[2] Anak-anak mengenakan kimono ketika
menghadiri perayaan Shichi-Go-San. Selain itu, kimono dikenakan pekerja bidang industri jasa
dan pariwisata, pelayan wanita rumah makan tradisional (rytei) dan pegawai penginapan
tradisional (ryokan).
Pakaian pengantin wanita tradisional Jepang (hanayome ish) terdiri dari furisode dan uchikake
(mantel yang dikenakan di atas furisode). Furisode untuk pengantin wanita berbeda dari furisode
untuk wanita muda yang belum menikah. Bahan untuk furisode pengantin diberi motif yang
dipercaya mengundang keberuntungan, seperti gambar burung jenjang. Warna furisode pengantin
juga lebih cerah dibandingkan furisode biasa. Shiromuku adalah sebutan untuk baju pengantin
wanita tradisional berupa furisode berwarna putih bersih dengan motif tenunan yang juga
berwarna putih.
Sebagai pembeda dari pakaian Barat (yfuku) yang dikenal sejak zaman Meiji, orang Jepang
menyebut pakaian tradisional Jepang sebagai wafuku ( ?, pakaian Jepang). Sebelum
dikenalnya pakaian Barat, semua pakaian yang dipakai orang Jepang disebut kimono. Sebutan
lain untuk kimono adalah gofuku ( ?). Istilah gofuku mulanya dipakai untuk menyebut
pakaian orang negara Dong Wu (bahasa Jepang : negara Go) yang tiba di Jepang dari daratan
Cina.
Kimono wanita
Pemilihan jenis kimono yang tepat memerlukan pengetahuan mengenai simbolisme dan isyarat
terselubung yang dikandung masing-masing jenis kimono. Tingkat formalitas kimono wanita
ditentukan oleh pola tenunan dan warna, mulai dari kimono paling formal hingga kimono santai.
Berdasarkan jenis kimono yang dipakai, kimono bisa menunjukkan umur pemakai, status
perkawinan, dan tingkat formalitas dari acara yang dihadiri.
Kurotomesode
Tomesode adalah kimono paling formal untuk wanita yang sudah menikah. Bila berwarna
hitam, kimono jenis ini disebut kurotomesode (arti harfiah: tomesode hitam).
Kurotomesode memiliki lambang keluarga (kamon) di tiga tempat: 1 di punggung, 2 di
dada bagian atas (kanan/kiri), dan 2 bagian belakang lengan (kanan/kiri). Ciri khas
kurotomesode adalah motif indah pada suso (bagian bawah sekitar kaki) depan dan
belakang. Kurotomesode dipakai untuk menghadiri resepsi pernikahan dan acara-acara
yang sangat resmi.
Tomesode yang dibuat dari kain berwarna disebut irotomesode (arti harfiah: tomesode
berwarna). Bergantung kepada tingkat formalitas acara, pemakai bisa memilih jumlah
lambang keluarga pada kain kimono, mulai dari satu, tiga, hingga lima buah untuk acara
yang sangat formal. Kimono jenis ini dipakai oleh wanita dewasa yang sudah/belum
menikah. Kimono jenis irotomesode dipakai untuk menghadiri acara yang tidak
memperbolehkan tamu untuk datang memakai kurotomesode, misalnya resepsi di istana
kaisar. Sama halnya seperti kurotomesode, ciri khas irotomesode adalah motif indah pada
suso.
Furisode
Furisode adalah kimono paling formal untuk wanita muda yang belum menikah. Bahan
berwarna-warni cerah dengan motif mencolok di seluruh bagian kain. Ciri khas furisode
adalah bagian lengan yang sangat lebar dan menjuntai ke bawah. Furisode dikenakan
sewaktu menghadiri upacara seijin shiki, menghadiri resepsi pernikahan teman, upacara
wisuda, atau hatsumode. Pakaian pengantin wanita yang disebut hanayome ish termasuk
salah satu jenis furisode.
Homongi
Hmon-gi ( ?, arti harfiah: baju untuk berkunjung) adalah kimono formal untuk
wanita, sudah menikah atau belum menikah. Pemakainya bebas memilih untuk memakai
bahan yang bergambar lambang keluarga atau tidak. Ciri khas homongi adalah motif di
seluruh bagian kain, depan dan belakang. Homongi dipakai sewaktu menjadi tamu
resepsi pernikahan, upacara minum teh, atau merayakan tahun baru.[3]
Iromuji
Iromuji adalah kimono semiformal, namun bisa dijadikan kimono formal bila iromuji
tersebut memiliki lambang keluarga (kamon). Sesuai dengan tingkat formalitas kimono,
lambang keluarga bisa terdapat 1, 3, atau 5 tempat (bagian punggung, bagian lengan, dan
bagian dada). Iromoji dibuat dari bahan tidak bermotif dan bahan-bahan berwarna
lembut, merah jambu, biru muda, atau kuning muda atau warna-warna lembut. Iromuji
dengan lambang keluarga di 5 tempat dapat dikenakan untuk menghadiri pesta
pernikahan. Bila menghadiri upacara minum teh, cukup dipakai iromuji dengan satu
lambang keluarga.
Tsukesage
Tsukesage adalah kimono semiformal untuk wanita yang sudah atau belum menikah.
Menurut tingkatan formalitas, kedudukan tsukesage hanya setingkat dibawah homongi.
Kimono jenis ini tidak memiliki lambang keluarga. Tsukesage dikenakan untuk
menghadiri upacara minum teh yang tidak begitu resmi, pesta pernikahan, pesta resmi,
atau merayakan tahun baru.[3]
Komon
Komon adalah kimono santai untuk wanita yang sudah atau belum menikah. Ciri khas
kimono jenis ini adalah motif sederhana dan berukuran kecil-kecil yang berulang.[3]
Komon dikenakan untuk menghadiri pesta reuni, makan malam, bertemu dengan temanteman, atau menonton pertunjukan di gedung.
Tsumugi
Tsumugi adalah kimono santai untuk dikenakan sehari-hari di rumah oleh wanita yang
sudah atau belum menikah. Walaupun demikian, kimono jenis ini boleh dikenakan untuk
keluar rumah seperti ketika berbelanja dan berjalan-jalan. Bahan yang dipakai adalah
kain hasil tenunan sederhana dari benang katun atau benang sutra kelas rendah yang tebal
dan kasar.[3] Kimono jenis ini tahan lama, dan dulunya dikenakan untuk bekerja di ladang.
Yukata
Yukata adalah kimono santai yang dibuat dari kain katun tipis tanpa pelapis untuk
kesempatan santai di musim panas.
Kimono pria
Kimono pria dibuat dari bahan berwarna gelap seperti hijau tua, coklat tua, biru tua, dan hitam.
Kimono paling formal berupa setelan montsuki hitam dengan hakama dan haori
Bagian punggung montsuki dihiasi lambang keluarga pemakai. Setelan montsuki yang
dikenakan bersama hakama dan haori merupakan busana pengantin pria tradisional.
Setelan ini hanya dikenakan sewaktu menghadiri upacara sangat resmi, misalnya resepsi
pemberian penghargaan dari kaisar/pemerintah atau seijin shiki.
Kimono santai kinagashi
Pria mengenakan kinagashi sebagai pakaian sehari-hari atau ketika keluar rumah pada
kesempatan tidak resmi. Aktor kabuki mengenakannya ketika berlatih. Kimono jenis ini
tidak dihiasi dengan lambang keluarga.
Sejarah
Zaman Jomon dan zaman Yayoi
Zaman Kofun
Pakaian zaman Kofun mendapat pengaruh dari daratan Cina, dan terdiri dari dua potong pakaian:
pakaian atas dan pakaian bawah. Haniwa mengenakan baju atas seperti mantel yang dipakai
menutupi kantoi. Pakaian bagian bawah berupa rok yang dililitkan di pinggang. Dari penemuan
haniwa terlihat pakaian berupa celana berpipa lebar seperti hakama.
Pada zaman Kofun mulai dikenal pakaian yang dijahit. Bagian depan kantoi dibuat terbuka dan
lengan baju bagian bawah mulai dijahit agar mudah dipakai. Selanjutnya, baju atas terdiri dari
dua jenis kerah:
Zaman Nara
Aristokrat zaman Asuka bernama Pangeran Shotoku menetapkan dua belas strata jabatan dalam
istana kaisar (kan-i jnikai). Pejabat istana dibedakan menurut warna hiasan penutup kepala
(kanmuri). Dalam kitab hukum Taiho Ritsuryo dimuat peraturan tentang busana resmi, busana
pegawai istana, dan pakaian seragam dalam istana. Pakaian formal yang dikenakan pejabat sipil
(bunkan) dijahit di bagian bawah ketiak. Pejabat militer mengenakan pakaian formal yang tidak
dijahit di bagian bawah ketiak agar pemakainya bebas bergerak. Busana dan aksesori zaman
Nara banyak dipengaruhi budaya Cina yang masuk ke Jepang. Pengaruh budaya Dinasti Tang
ikut mempopulerkan baju berlengan sempit yang disebut kosode untuk dikenakan sebagai
pakaian dalam.
Pada zaman Nara terjadi perubahan dalam cara mengenakan kimono. Kalau sebelumnya kerah
bagian kiri harus berada di bawah kerah bagian kanan, sejak zaman Nara, kerah bagian kanan
harus berada di bawah kerah bagian kiri. Cara mengenakan kimono dari zaman Nara terus
dipertahankan hingga kini. Hanya orang meninggal dipakaikan kimono dengan kerah kiri berada
di bawah kerah kanan.
Zaman Heian
Menurut aristokrat Sugawara Michizane, penghentian pengiriman utusan Jepang untuk Dinasti
Tang (kentoshi) memicu pertumbuhan budaya lokal. Tata cara berbusana dan standarisasi
protokol untuk upacara-upacara formal mulai ditetapkan secara resmi. Ketetapan tersebut
berakibat semakin rumitnya tata busana zaman Heian. Wanita zaman Heian mengenakan pakaian
berlapis-lapis yang disebut jnihitoe. Tidak hanya wanita zaman Heian, pakaian formal untuk
militer juga menjadi tidak praktis.
Ada tiga jenis pakaian untuk pejabat pria pada zaman Heian:
Noshi (pakaian untuk kesempatan pribadi yang terlihat mirip dengan i-kan).
Rakyat biasa mengenakan pakaian yang disebut suikan atau kariginu ( ?, arti harafiah: baju
berburu). Di kemudian hari, kalangan aristokrat menjadikan kariginu sebagai pakaian sehari-hari
sebelum diikuti kalangan samurai.
Pada zaman Heian terjadi pengambilalihan kekuasaan oleh kalangan samurai, dan bangsawan
istana dijauhkan dari dunia politik. Pakaian yang dulunya merupakan simbol status bangsawan
istana dijadikan simbol status kalangan samurai.
collar) persis model kerah seragam tentara. Pada akhir zaman Taisho, pemerintah menjalankan
kebijakan mobilisasi. Seragam anak sekolah perempuan diganti dari andonbakama (kimono dan
hakama) menjadi pakaian Barat yang disebut serafuku (sailor fuku), yakni setelan blus mirip
pakaian pelaut dan rok.
Zaman Showa
Semasa perang, pemerintah membagikan pakaian seragam untuk penduduk laki-laki. Pakaian
seragam untuk laki-laki disebut kokumin fuku (seragam rakyat). Wanita dipaksa memakai monpei
yang berbentuk seperti celana panjang untuk kerja dengan karet di bagian pergelangan kaki.
Setelah Jepang kalah dalam Perang Dunia II, wanita Jepang mulai kembali mengenakan kimono
sebelum akhirnya ditinggalkan karena tuntutan modernisasi. Dibandingan kerumitan memakai
kimono, pakaian Barat dianggap lebih praktis sebagai pakaian sehari-hari.
Hingga pertengahan tahun 1960-an, kimono masih banyak dipakai wanita Jepang sebagai
pakaian sehari-hari. Pada saat itu, kepopuleran kimono terangkat kembali setelah
diperkenalkannya kimono berwarna-warni dari bahan wol. Wanita zaman itu menyukai kimono
dari wol sebagai pakaian untuk kesempatan santai.
Setelah kimono tidak lagi populer, pedagang kimono mencoba berbagai macam strategi untuk
meningkatkan angka penjualan kimono. Salah satu di antaranya dengan mengeluarkan "peraturan
mengenakan kimono" yang disebut yakusoku. Menurut peraturan tersebut, kimono jenis tertentu
dikatakan hanya cocok dengan aksesori tertentu. Maksudnya untuk mendikte pembeli agar
membeli sebanyak mungkin barang. Strategi tersebut ternyata tidak disukai konsumen, dan minat
masyarakat terhadap kimono makin menurun. Walaupun pedagang kimono melakukan promosi
besar-besaran, opini "memakai kimono itu ruwet" sudah terbentuk di tengah masyarakat Jepang.
Hingga tahun 1960-an, kimono masih dipakai pria sebagai pakaian santai di rumah. Gambar pria
yang mengenakan kimono di rumah masih bisa dilihat dalam berbagai manga terbitan tahun
1970-an. Namun sekarang ini, kimono tidak dikenakan pria sebagai pakaian di rumah, kecuali
samue yang dikenakan para perajin.
Bisnis kimono
Bahan kain kimono adalah hasil dari kesenian tenun tradisional Jepang yang bernilai seni.
Kimono untuk kesempatan formal hanya dibuat dari kain sutra kelas terbaik dan hanya dijahit
dengan tangan (tidak memakai mesin jahit). Oleh karena itu, harga kimono sering menjadi sangat
mahal. Kimono umumnya tidak pernah dijual dalam keadaan jadi, melainkan harus dipesan dan
dijahit sesuai dengan ukuran badan pemakai.
Sewaktu membeli kain, tinggi badan pemakai tidak diperhitungkan. Bahan kimono dibeli dalam
satu gulungan kain yang ditenun dengan sempurna tanpa cacat. Membeli kimono dimulai dengan
pemilihan bahan kain kimono yang disebut tanmono ( ?, arti harfiah: gulungan kain dengan
panjang 1 tan, atau sekitar 10,6 m). Bila kebetulan pemakai kimono bertubuh pendek dan
ramping, setelah kimono selesai dijahit akan banyak bahan kimono yang tersisa. Sisa bahan
kimono bisa dimanfaatkan untuk membuat aksesori pelengkap kimono, seperti tas, dompet, atau
sandal.
Kain kimono dapat dibeli dengan harga lebih murah pada kesempatan obral bahan kelas dua
yang disebut B-tan ichi (B ?, arti harfiah: pasar kain kelas B) untuk membedakannya dari
bahan kimono kelas A yang ditenun sempurna tanpa cacat. Walaupun bahan kain yang dibeli
memiliki sedikit cacat, penjahit kimono yang berpengalaman dapat menyembunyikan bagian
tenunan yang rusak. Setelah jadi, kimono dari pasar kain kelas B mungkin akan terlihat sama
dengan kimono dari bahan sempurna.
Kimono yang dijahit dari bahan berkualitas tinggi merupakan benda warisan keluarga. Kimono
bekas pakai masih mempunyai nilai jual tinggi, terutama karena ukuran kimono dapat
disesuaikan dengan ukuran badan pemilik yang baru. Di Jepang bisa dijumpai toko-toko yang
menjual kimono bekas pakai. Semasa Perang Dunia II, kimono pernah digunakan sebagai alat
pembayaran sewaktu penduduk kota kekurangan pangan. Uangnya dipakai untuk membeli beras,
telur, dan bumbu dapur seperti miso, dan gula.
Hakama
Hakama adalah celana panjang pria yang dibuat dari bahan berwarna gelap. Celana jenis
ini berasal dari daratan Cina dan mulai dikenal sejak zaman Asuka. Selain dikenakan
pendeta Shinto, hakama dikenakan pria dan wanita di bidang olahraga bela diri
tradisional seperti kendo atau kyudo.
Geta
Geta adalah sandal berhak dari kayu. Maiko memakai geta berhak tinggi dan tebal yang
disebut pokkuri
Kanzashi
Kanzashi adalah hiasan rambut seperti tusuk konde yang disisipkan ke rambut sewaktu
memakai kimono.
Obi
Obi adalah sabuk dari kain yang dililitkan ke tubuh pemakai sewaktu mengencangkan
kimono
Tabi
Tabi adalah kaus kaki sepanjang betis yang dipakai sewaktu memakai sandal.
Waraji
Wafuku means traditional Japanese clothing. It is parallel term to yofuku (western clothing).
Kimono is perhaps most unique wafuku. In the old times, both men and women used kimonos as
everyday costume, but nowadays only women wear it in formal occasions. Men are seen wearing
kimonos very rarely in Japan, only in their wedding or other traditional ceremony. Women can
wear kimono in various occasions, starting from seijinshiki, to omiai, or traditional tea ceremony.
Japanese kimono is most famous wafuku abroad. In new year's concert in Vienna, many Japanese
women are seen wearing kimono.
Usually Japanese women own only one kimono, furisode, and that's what they got
from their parents or relatives as a present for seijinshiki.
What truly creates kimono atmosphere? Is it the pattern of woman's obi or whiteness of her tabi?
Or is it the way how her sleeves swing in the wind when young woman is going to temple to
celebrate her seijinshiki? The spirit of the woman herself is eventually the thing that gives
kimono it's beauty and character. Today's Japanese women wear jeans and sit legs crossed in
train. Although there are kimono academies and new styles, it is hard to find a woman who
would be thrilled about wearing kimono As Kondo Tomie said in (The feminine heart of
dressing, 1985):
"If you wear kimono yourself, it's obvious
that the sleeves get in the way as soon as you
do anything and that your steps are hindered
by the narrow skirt. I suppose, too, that the
soul of a woman who wears kimono is
spiritually in a man's shadow as she walks
behind him, suppressing any trace of her
own ego. Since such women are rare these
days, it's probably useless to hope to find
anyone who truly loves to wear kimono."
What ultimately makes kimono, is the way
to wear it, not the shininess of kimono fabric
itself. I once saw a woman wearing kimono
in a hurry, quickly wrapping her obi in
simple man's style, and still her character
was mostly Japanese, attractive and most
kimono-like. As often heard from the
experts, when worn correctly, kimono should
bring no discomfort to woman. Some
disagree though. For example, the fact is that
woman cannot eat much when wearing obi. You simply cannot tie it so loose that it would allow
woman to enjoy a satisfying meal. This has without a question affected growth of young women
in old time who wore kimono through their youth in Japan. Following feminist statement, from a
male writer says:
"The kimono has a criminal record. For hundreds of years, up until the twentieth century, the
kimono has unilaterally insulted the female sex and caused women to suffer. It has prevented free
expression and impeded natural growth. When women finally removed their kimono, they burst
in the shackles of feudalism. But now the silky insinuating voice of kimono is heard again,
seeking to confine women to the dim and cramped backstage of life. Who would say it's appeal is
simply due to a feminine desire for elegance? We must expose kimono for the pernicious device it
is. " - Clothing historian Murakami Nobuhiko, Agura o Kaku Musumetachi.
1.4 Obi
An important part is missing from images
above which is obi, the belt or sash. It is
usually tied just below the woman's bosom.
There are various obi that convey a different
message, as discussed further.
The purpose of obi is not only keep the
package together, but also to shape the
woman's body so that the hip and breasts are
not visible. If obi itself isn't enough to do
this, sometimes a towel is added under obi. A
cardboard or similar material is often added to smooth down the wrinkles of the obi to make it
look more smooth and give it support.
The height of the obi varies regarding woman's age marital status. Obi is sometimes suggested to
be a Japanese version of western corset, but this is incorrect since obi is not that tight and also, as
we realized, purpose of obi is opposite from corset - to conceal feminine parts.
There are various different obi, with various motifs and patterns.
Maru obi is old bulky version which is almost never used today, except for bridal kimono. It is
really thick and long and creates a lot of bulk around woman's waist. Maru obi is said to have
one benefit, if you should stain it with soy sauce, you could turn it over and expose the other
side.
Fukuro obi (pocket obi) is today's most formal obi and it is also the most practical one. It's lenth
is same as maru obi but is slightly less than half the width of maru obi, thus much easier to tie.
There is broad variety of fukuro obi in patterns and colours. In the picture above introduces some
examples of fukuro obi. The styles (from the left) are kai, uzushio and ebi.
Nagoya obi is thin obi, created in fact in Nagoya city sometimes in 1920's. It is less formal than
fukuro obi and can be used in less important occasions.
Chuya obi was one of the informal styles of obi, it was soft and covered with black satin.
Unfortunately chuya obi and other informal obi styles have disappeared from today's Japan.
It is said that there are over 300 different ways to tie woman's obi. However there are two styles
which are most popular. The taiko style, which is named after taiko-bashi, (traditional drum
shaped bridge) resembles a horizontal cylider of a drum. Taiko style is most traditional and most
used by married women. Fukura suzume (sparrow style) resembles a sparrow, and is mostly
worn by unmarried women. However, obi is a world of subtle meanings and it is not entirely
uncommon that unmarried women wear taiko or married women wear fukura suzume.
Obi scarf (obi-age) is a kimono accessory that is weared with obi. It's popular with taiko, but can
be also worn with other style obis, such as fukurasuzume. It reflects woman's age. Obi scarfs are
usually silk. Obi-cord (obi-jime) is the cord tied on top of obi, that look like narrow rope. Here
are some photos of obi-jime, and materials to make obi-jime.
Obidome is only jewelry weared with kimono, they are broochlike pieces that thread into the obicord. Other jewelry, gloves or neclaces are not used in with today's kimono.
Men's obi can be roughly split into two category, kaku or heko. Kaku obi is made of stiff cotton
material and is about 9 centimeter wide. Heko obi is soft material, usually tye-dyed fabric.
Example of obi fabric:
straw made zori that samurais used sometimes. The special feature of warazori was that it didn't
splash. There was even special straw made zori for horses and cows.
When worn with wafuku, usually zori is used with white tabi.
Geta with high soles are less formal, and do not necessarely require tabi. They are usually are
made of wood. Geta is most often worn with yukata. There are special snow geta with higher
soles to prevent snow touching the socks. Also, geta doesn't seem to splash when walking in wet
environment. Geta is less comfortable than zori sinze they are made from hard wood, which,
obviously does not flex.
Geta making is an old Japanese practise. There are many old and famous geta shops in Japan,
and prices vary. There are some very expensive geta, made of high quality wood that is dried
following a special methods. Usually there is old man making geta in the shop, and he doesn't
speak much. This kind of craftmanship is suffering difficulty because young people are not
interested taking over the job. But getas are popular even among young people, so obviously
there must be someone to pass the old knowledge to.
Wafuku footwear is also shaped by gender. Men's zori and geta have squarish corners while
women's are rounded. Extra benefit of thonged Japanese footwear is that they are easy to slip off
when entering a house or restaurant, plus they allow feet to breathe during humid summer in
Japan.
2. History of Kimono
2.1 Women's Accomplishment
What is the original dress of the Japanese? It seems there is no such. Japanese prototypes of
kimono, kosode, dates back to seventh century. What did people wear before this? It appears that
there was influence from Chinese Han dynasty (approx. 200 B.C. -A.D 200) . Afterall the model
of civilization in Japan was provided by Chinese, during the glorious days of the Sui and Tang
dynasties. There is no way of telling for sure, but researchers today believe that leaders in Japan
got influence from aristocrats in China during the fourth century. That period's clothing, art, and
hairstyles all seem to match with courtly styles of Sui and Tang dynasties.
It is interesting to realize that it was the women who did the work of adaptating the Chinese
influence and developing kimono toward's it's present form, men wanted to stick with the
original Chinese form. Also, the hakama was developed from it's Chinese ancestor.
Already in early Heian period, clothing reflected marital status of a woman. Also, much like in
today's Japan, people made clear cut difference with private clothes and what can be used in
public. Like in China, imperial colours could not be weared without special permission or high
enough rank.
2.2 Kosode
Short sleeved kosode dates back to midHeian period. Kosode means literally "small
sleeve". This type of ancient kimono was
weared as everyday attire by both men and
women in the old times. In Kamakura and
Muromachi period, samurai class started to
rule, which developed clothing more simple.
Kosode became overgarment, and new type
of kimono was developed. Muromachi
period kosodes were truly simple, most of
them included only single motif.
Momoyama period developed kosode
further, introducing tie-dyed kosode, and
techniques such as embroidery and surihaku
(metallic leaf). Textiles were also painted
with free hand. Momoyama era kosode has
elaborate motifs and composition which
creates artistic expression. However, there
were strict rules for placement of the motifs,
Momoyama period kosodes included only decorations in hem and shoulder, like the katasuso,
while rest of the kosode was left free of decoration. Momoyama period kosodes had typically
floral, animal, plant or scenery motifs.
Early Edo period introduced category of kosode known as Keicho kosode. It's fashioned mainly
from black, white, or red figured satin. Keicho kosode was decorated with metallic leaf
(surihaku). Kosodes in early Edo period also introduced the different material, satin, instead of
nerinuki (plain-weave silk fabric). Also it is interesting to realize how Keicho kosode had first
time in history, stunning three-dimensional decoration.
Kosode also had a function of underwear. Men and women in court used it as a first layer of
cloth. It is interesting to notice that kosode is unisex. There are no significant differences
between kosodes weared by men or women. It deserves to be noted how durable and practical
kosode was, actual kosodes have survived from the Heian period (795-1192).
Kosode became also cloth of the samurai. When dressing formally, they worse two piece cloth
called kamishimo on top of their kosode. Upper part is a stiffened fabric called kataginu. Figure
below shows this. Kataginu's wide shoulder's purpose appears to be to project image of authority.
2.3 Iki
Usually, young unmarried women wear furisode (swinging sleeve), a kimono with long sleeves
and complex patterns reaching up the obi. Married women wear tomesode (truncated sleeve),
kimono with short sleeves and less patterns. In present though, women sometimes wear furisode
in their 20's regardless they are married or not. This seems sensitive and complicated thing, in
which also personal differences count. Some say that they can't imagine wearing furisode after
seijinshiki, and some few years younger than thirty still wear it like never before. It seems
though that thirty years age is the milestone for woman between furisode and tomesode.
Common rule used to be that younger the wearer, the higher the pattern reach from the hem.
Following image demonstrates the sleeve length in traditional system:
Similarly, the way how front overlap and collar is set symbols the marital status. Kimono collar
is usually made so that it exposes nape of woman's neck, which is erotic symbol in Japan. It may
sound paradoxal that married woman expose sometimes more neck than young unmarried
woman, who is supposed to be decent. Collar should never be set so that it lines flat against the
nape of the neck. This is perhaps most fundamental mistake and would destroy the entire shape
of kimono.
The bosom side is less crucial but it can also be said to symbol the marital status. Unmarried
women usually wear their kimonos so that V-shape is wide, not reaching so far down. Older
married women (with some status!) would have deeper V. It is important to realize that we are
talking about differences of a few centimeters here.
Also the obi styles have variation relating to the marital status of the wearer - unmarried girl
wears her obi scarf exposed more, when married woman wears darker obi-scarfs tucked deeper.
Older women wear darker obi scarfs. The obi itself has more variety for unmarried women, such
as complex turtle shapes to origami or butterfly. Married woman would wear less fancy obi,
perhaps taiko-style.
It is said that young women in their furisodes, their obis tied like a gift package, sleeves
swinging in the wind, tempts the male in omiai to unwrap the package and accept the gift. :)
The black tomesode is called kurotomesode. Married women wear it for most formal occasions,
such as their children's weddings, funeral and so. With kurotomesode, white obi-age and obi-jime
is used.
Homongi which literally means visiting wear, can be worn by married and unmarried women.
Homongi is less formal than tomesode. It is worn in informal parties, tea gatherings, flower
exhibitions, New Year's parties or weddings of friends. Parents sometimes give homongi to their
daughter when she is getting married, this will be her second kimono. Homongi have patterns in
hem that continue from front to back, accross the side seams. The patterns could for example
illustrate crysanthemums, peonies or cherry blossoms. In mid 19th century, young women wore
chuburisode homongi, which sleeves were medium length.
Tsukesage and iromuji are semiformal kimonos that can be worn in various smaller parties and
informal events - or even shopping. Depending on their colour and pattern, they can be however
a possible alternative to homongi in regards of formality.
Wearer's Age
Quality and Formality of Occasion
Season
Wearer's taste
One's Class
training is particularly kimono, how to care of it, how to replace broken or stained parts, and
most importantly how to wear it. Geishas can be said to be professional of kimono, afterall they
are only women in Japan who wear kimono everyday. Big part of geisha's attraction is the way
how they use their kimonos with ease. Their expression is cheerfull and light and they are not
least bothered by kimono - it is natural part of them. Their walking is adjusted to it so that the
hem of their kimonos does not flap, when they sit down they naturally remember to care of their
obi sitting only on the edge of the chair. And they look perfectly comfortable.
Geisha have special formal, trailing kimono, de which means "going out". It exposes the nape of
her neck deeply. Only geisha can wear kimono like this. Also geishas wear heavy and distinctive
white makeup and a wig that is often decorated. In the old times, geishas didn't wear wig but had
their actual hair oiled and prepared to shape like that. It was very hard to make, thus when they
slept, they had to use special hard support to hold their head to prevent their hair to mess up.
However, geisha wears her de only for formal occasions. In their daily work, they use normal,
non trailing kimono. It is striking that this kimono isn't usually so very different what ordinary
Japanese woman might wear. What makes the difference is the way how geisha wears it. She has
a good bearing and her walking is elaborate, well trained. Most importantly - she is cozy in her
kimono and she is one with it. It seems like the kimono is her second skin, as if she had it when
she was born.
The way how geisha wears her taiko is different to ordinary woman. It is tied down in their
waists, perhaps because the neck is so exposed, it creates better balance. Geishas wear their
kimonos usually so that their under kimonos are slightly exposed in the front.
Geisha apprentice, maiko (in picture right), wears distinctive red underkimono. Maikos can still
be seen in Gion, old geisha town of Kyoto.
It takes at least three hours to dress up woman in bridal kimono. There are experts that dress up
women in their kimonos, do their makeup and fit their wigs.
The bride's wig, katsura, is usually style called bunkin-takashimada, and decorated with golden
accessories and decorations that resemble a spike, symboling fertility. This wig is usually fitted
in the place of the wedding, since it cannot fit in the car if weared.
Right is one example of wedding kimono worn by the bride.
(Read an essay related to Japanese Wedding Kimono)
Japanese farmer's kimono. Naturally, kimono waspresent in their lives too, and there were many
different versions made to fill the needs of the workers. In fact, kimono suited such hard work
conditions rather well. It could be took apart and worn out pieces could be replaced or swapped.
When there was no replacement piece around, the worn out piece was swapped from shoulder to
hem, or from front to back. It is still possible to cycle the kimono pieces - since as discussed
above, kimono does not have shape.
Working women wore kimono shaped robes and set of trousers to allow free movement and
provide warmth for legs.
Extra layer of jackets were added when needed, which were called hanten, the folk version of
aristorcat's haori. Maekake was a special apron which provided protection for clothing when
working outside.
Interesting addition to this folkwear were jika-tabi, which came to Japan around the turn of the
century. Jika-tabi were something between traditional Japanese tabi, field sneaker and rubber
boot! Just like tabi, it had separate space for big toe. It was made from rubber, thus fully
waterproof. It was kind of a rubber tabi. Before rubber was imported to Japan, straw sandals
were used. Jika-tabi brought a lot of comfort for Japanese field workers. Tasuki, special looped
cord was used while working to keep sleeves out of the way. Hand protectors, tekko and
tebukuro were also used. Today's festival attire, tenugui, was used to keep sweat falling to eyes
during hot season.
........................................
9. Anata-tachi, diucapkan: ................................ Bahasa indonesianya:
........................................
10. Iie, diucapkan: ................................. Bahasa indonesianya:
........................................
11. Anohito-tachi, diucapkan: ................................ Bahasa indonesianya:
........................................
12. Anata, diucapkan: ................................ Bahasa indonesianya:
........................................
13. Hai, diucapkan: ................................. Bahasa indonesianya:
........................................
14. Kare, diucapkan: ................................. Bahasa indonesianya:
........................................
15. Iie, diucapkan: ................................. Bahasa indonesianya:
........................................
16. Kanojo, diucapkan: ................................. Bahasa indonesianya:
........................................
17. Hai, diucapkan: ................................. Bahasa indonesianya:
........................................
18. Anata-tachi, diucapkan: ................................ Bahasa indonesianya:
........................................
19. Iie, diucapkan: ................................. Bahasa indonesianya:
........................................
gugur menurut lunar kalender). Ini menandakan/dimaksudkan musim dingin yang panjang
telah berakhir. Pada malam hari di waktu Setsubun, m ereka menabur-naburkan kacang dengan
maksud bahwa dengan kacang-kacang itu mereka dapat mengusir setan jahat dan mengundang
dewa keberuntungan ke dalam rumah-rumah mereka.
Pada tanggal 3 Maret ada Hina-matsuri, Yaitu hari festival Anak-anak Perempuan. Anak-anak
perumpuan menghiasi rumahnya dengan boneka-boneka festival anak perempuan (Hino-ningyo:
boneka Hina).
Pada tanggal 5 Mei adalah Festival Anak Laki-laki di mana anak laki-laki menaikan Koinobori
(Bendera yang berbentuk ikan yang mempunyai ekor panjang).
Pada bulan Juli ada Tanabata, Yaitu Festival Bintang. Hanya pada malam hari saja satu kali
dalam satu tahun Bintang Ushikai menyeberangi Ama no Gawa dan kemudian bertemu dengan
Bintang Orihime. Ini merupakan cerita romantik dari legenda romantik Cina.
Yukata
Gerakan dasar yang harus dikuasai dalam nihon buyo selalu berkaitan dengan kimono. Ketika
berlatih tari, penari mengenakan yukata sebagai pengganti kimono agar kimono berharga mahal
tidak rusak karena keringat. Aktor kabuki mengenakan yukata ketika berdandan atau
memerankan tokoh yang memakai yukata. Pegulat sumo memakai yukata sebelum dan sesudah
bertanding.
Musim panas berarti musim pesta kembang api dan matsuri di Jepang. Jika terlihat orang
memakai yukata, berarti tidak jauh dari tempat itu ada matsuri atau pesta kembang api.
Cara memakai
Hotel atau ryokan di Jepang menyediakan yukata untuk dipakai tamu sebagai pakaian tidur.
Sebagai pakaian tidur, yukata bisa dikenakan begitu saja tanpa mengenakan pakaian dalam.
Ketika dipakai pria untuk keluar rumah, yukata biasanya dikenakan tanpa kaus dalam, dan cukup
memakai celana dalam atau celana pendek. Berbeda dengan kimono yang dikenakan dengan dua
lapis pakaian dalam (hadajuban dan juban), sewaktu mengenakan yukata, wanita hanya perlu
hadajuban (pakaian dalam lapis pertama). Alas kaki sewaktu memakai yukata adalah geta.
Yukata dikencangkan ke tubuh pemakai dengan obi yang lebarnya setengah dari lebar obi untuk
kimono jenis lain. Di antara berbagai jenis simpul obi untuk yukata, bentuk simpul yang paling
populer adalah simpul bunko yang berbentuk kupu-kupu. Bila tidak bisa membuat simpul, toko
kimono menjual simpul obi yang sudah jadi dan tinggal disisipkan pada obi.
Wanita mengenakan yukata yang pas dengan ukuran tubuh pemakai agar terlihat bagus sewaktu
dipakai. Seperti halnya kimono, panjang yukata selalu melebihi tinggi badan pemakai.
Perlengkapan memakai yukata wanita:
tali pinggang (koshihimo) untuk mengencangkan kain berlebih di bagian pinggang yang
berasal dari kelebihan panjang kain pada bagian bawah
kain sabuk pengikat (datejime) untuk mengencangkan kain yang longgar di bagian perut
Sejarah
Istilah yukata berasal dari kata yukatabira ( ?). Mulanya katabira dipakai untuk
menyebut sehelai kimono dari kain rami. Walaupun tidak lagi dibuat dari kain rami, pakaian
seperti itu tetap disebut katabira.[1] Kimono kain rami dipakai sebagai pakaian sewaktu mandi
berendam, namun akhirnya berubah fungsi sebagai pakaian sesudah mandi. Ketika rumah-rumah
di Jepang belum memiliki kamar mandi, yukata dipakai orang untuk pergi ke pemandian umum.
Dalam kamus Wamy Ruijush dari pertengahan zaman Heian, yukatabira ( ?) dijelaskan
sebagai pakaian yang dikenakan sewaktu mandi berendam. Ketika itu, orang mandi sambil
memakai yukatabira di pemandian umum, dan dipakai untuk mengelap keringat, sekaligus
menutupi ketelanjangan dari orang lain. Bahan yukatabira adalah kain rami yang cepat kering
kalau diperas.
Sejak sekitar zaman Azuchi-Momoyama, yukatabira dipakai orang sebagai pakaian sesudah
mandi, untuk menyerap basah seusai mandi. Kalangan rakyat zaman Edo sangat menyenangi
yukatabira hingga disingkat sebagai yukata. Ketika itu, yukata bukanlah pakaian sopan yang
dipakai untuk bertemu dengan orang lain, melainkan hanya pakaian tidur.
Berbeda dari kimono jenis lainnya, menjahit yukata sangat mudah. Yukata memiliki pola yang
sangat sederhana, dan dijahit tanpa kain pelapis di bagian pinggul atau pundak. Hingga seusai
Perang Dunia II, cara menjahit yukata diajarkan kepada murid perempuan sekolah menengah
umum di Jepang.