Log 2 - Fragments and textiles of the Japanese Kimono

In my previous blog post, I introduced the Japanese kimono, as well as its history and varying styles. I have mentioned that over time, the kimono has become increasingly stylized, while keeping its basic shape of flat, geometric outline. This evolution of the modern day kimono has been greatly influenced by the reconfiguration of textiles. As it is made from a single bolt of fabric cut into seven sections (two body panels, two sleeve sections, two front overlaps, and a collar), the kimono is often subject to fragmentation and reuse, through the process of disassembling and re-stitching.

The reasons for piecing together a new kimono from the remnants of an older one vary greatly; from economical reasons, to sentimental ones, as well as religious:

- Silk garments have always been regarded as a luxurious commodity, but in ancient times, they were used as forms of currency, payment and reward. They were therefore recycled rather than discarded. Although the economical reasons of reusing a garment are apparent, there are some rare instances where a kimono made from different textiles could represent wealth rather than prudence. Ex; a robe once owned by warlord Uesugi Kenshin symbolizes pretentious excess, as it is an assortment of very expensive, highly coveted Chinese brocades.

- The emotional aspect can also be a driving factor in the choice to reuse pieces of textile from an old kimono into a new one. Ex; the military elite of Japan would wear fragments of robes worn by wives as the tight-fitting sleeves of their battle garment, signifying that there may have been an emotional layer of protection and comfort.

- Garments which are made from smaller, reused pieces are generally considered less valuable, and therefore appropriate for religious use in the 16^th century, due to the vow of poverty imposed on Buddhist clerics. This vow requires them to create their own garments by collecting and sewing scraps of discarded or donated fabrics into patched “kesa”. There are, however, several examples of “kesa” which were in fact made from precious and expensive silks, as many of the vestments were actually donated or used as a form of payment to the clerics for services.

During the Heian period (794-1185), the kosode (the kimono’s precedent, with shorter sleeves) was primarily used as a form of undergarment for aristocratic members, used as a layer between the body and the outer garment to absorb perspiration. As the military elite were gained power over the years following the Heian period, the kosode shifted from an inner garment to an outer one, (inside to the outside) making it a more functional and less burdensome form of dress.

Whatever the reason, and more common than not, fragments of outer silk kimono are transfigured into those of the inner garments. When textiles are reused in the inner garment, the combination of shapes and colors distinguishes its design scheme. This greatly differs that of the outer garment, which is more commonly composed of the same silk fabric. From a corporeal view, the kimono’s function has now shifted in relation to the body, as it moves from the outside back to the inside.