All About Kimonos!
Photo by Photoplastik on PhotoBucket
| I LOVE KIMONO! Ever since I learned what CosPlay and Anime were I have been Fascinated by the clothing of Japan. Kimono are so beautiful. Geisha are even more so. Living Art. They can Dance, they can Sing, tell Stories, Great Conversation, Serve Tea, Play the Shamisen, and are just Beautiful to look at. So in this section I will be trying to create that beauty for myself! I'll probably never wear them. But I can at least look at them. |
The Kimono is a Japanese traditional garment worn by woman, men, children. Originally the word "kimono" literally
meant thing to wear. "Ki" meaning wearing and "Mono" meaning thing. Although now has come to denote a particular
type of traditional full-length garment. The English plural of Kimonos has become the standard over the Japanese
plural of just Kimono. An interesting fact is that the term Kimono only came around in the mid 19th century.
Before that the garment worn was called "Kosode" which means small sleeve and the Kimono was worn by
commoners and the undergarments of the aristocracy.
Kimono are a T shaped, straight-lined robe worn so that the hem falls to the ankle, with attached collars and
long, wide sleeves. Kimono are wrapped around the body, always left with the left side over the right (to wrap
right over left is a burial style) and secured by a sash called an Obi that ties in the back. Interesting though is
that most Kimono are all the same shape, the same size. They are adjusted to the wearer beneath the Obi by
cleverly placed folds, clips, and cording. Kimonos are generally worn with tradition footwear called Zori or Geta (I
like Geta) and slit toed socks called Tabi. Another interesting fact is that the back of a womans neck is
considered sensual. By pulling the collar of a Kimono back a womans neck is revealed with hair usually worn up in
intricate style to best draw attention. Also the wrap style of a Kimono allows for easier movement, particularly in
a culture where many activities are performed seated on the floor.
In Kimono the pattern on the surface, rather than the cut of the garment, is what shows indications of social
statues, personal identity and cultural sensitivity. All this is expressed through color combination and decoration.
The choice of Obi and accessories, such as combs and pins worn in the hair, are also important. Only the elite
regularly wore luxurious Kimono.
The atmosphere of a Kimono worn properly is very appealing. The pattern of a womans obi, the whiteness of her
tabi, the way her sleeves swing in the wind when a young woman on her "seijinshiki" (coming of age, 20) going to
temple. The spirit of the woman herself is eventually the thing that gives a Kimono its beauty, its character. Not
the shininess of the fabric.
"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 a Kimono is
spiritually in a man's shadow as she walks behind him, suppressing any trace of her own ego. Since such woman are
rare these days, it's probably useless to hope to find anyone who truly loves to wear a kimono." said Kondo Tomie
in 1985
Today, Jeans and T-shirts are the much preferred clothing over the beauty of a Kimono. The Kimono are seen
worn by woman, and only on special occasions. Traditionally, unmarried woman wore a Kimono style called Furisode
on her Seijinshiki. Which has almost floor length sleeves, again on special occasions. A few older woman and eve
fewer men still ear kimono on a daily basis. Men wear the Kimono most often during Weddings, Tea ceremonies,
and other very special or formal occasions. Sumo wrestlers are often also seen in Kimono because they are
required to wear traditional japanese dress whenever in public. The "Yukata" became everyday wear. A Yukata
being a Kimono robe worn after bathing.
meant thing to wear. "Ki" meaning wearing and "Mono" meaning thing. Although now has come to denote a particular
type of traditional full-length garment. The English plural of Kimonos has become the standard over the Japanese
plural of just Kimono. An interesting fact is that the term Kimono only came around in the mid 19th century.
Before that the garment worn was called "Kosode" which means small sleeve and the Kimono was worn by
commoners and the undergarments of the aristocracy.
Kimono are a T shaped, straight-lined robe worn so that the hem falls to the ankle, with attached collars and
long, wide sleeves. Kimono are wrapped around the body, always left with the left side over the right (to wrap
right over left is a burial style) and secured by a sash called an Obi that ties in the back. Interesting though is
that most Kimono are all the same shape, the same size. They are adjusted to the wearer beneath the Obi by
cleverly placed folds, clips, and cording. Kimonos are generally worn with tradition footwear called Zori or Geta (I
like Geta) and slit toed socks called Tabi. Another interesting fact is that the back of a womans neck is
considered sensual. By pulling the collar of a Kimono back a womans neck is revealed with hair usually worn up in
intricate style to best draw attention. Also the wrap style of a Kimono allows for easier movement, particularly in
a culture where many activities are performed seated on the floor.
In Kimono the pattern on the surface, rather than the cut of the garment, is what shows indications of social
statues, personal identity and cultural sensitivity. All this is expressed through color combination and decoration.
The choice of Obi and accessories, such as combs and pins worn in the hair, are also important. Only the elite
regularly wore luxurious Kimono.
The atmosphere of a Kimono worn properly is very appealing. The pattern of a womans obi, the whiteness of her
tabi, the way her sleeves swing in the wind when a young woman on her "seijinshiki" (coming of age, 20) going to
temple. The spirit of the woman herself is eventually the thing that gives a Kimono its beauty, its character. Not
the shininess of the fabric.
"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 a Kimono is
spiritually in a man's shadow as she walks behind him, suppressing any trace of her own ego. Since such woman are
rare these days, it's probably useless to hope to find anyone who truly loves to wear a kimono." said Kondo Tomie
in 1985
Today, Jeans and T-shirts are the much preferred clothing over the beauty of a Kimono. The Kimono are seen
worn by woman, and only on special occasions. Traditionally, unmarried woman wore a Kimono style called Furisode
on her Seijinshiki. Which has almost floor length sleeves, again on special occasions. A few older woman and eve
fewer men still ear kimono on a daily basis. Men wear the Kimono most often during Weddings, Tea ceremonies,
and other very special or formal occasions. Sumo wrestlers are often also seen in Kimono because they are
required to wear traditional japanese dress whenever in public. The "Yukata" became everyday wear. A Yukata
being a Kimono robe worn after bathing.
<-- sleeve length -->
Over Collar
Inner Collar
A Little Back History
The earliest Kimonos were heavily influenced by traditional Han Chinese clothing, known today as "Hanfu" (Kanfuku
in Japanese), through Japanese embassies to China. It was during the 8th century that Chinese fashions became
the style in japan. The overlapping collar became particularly a womans fashion. During Japans Heian period
(794-1192 CE) teh Kimono became increasingly stylized. During the Muromachi age (1392-1573 CE) the
Kurosade, a single kimono formaly considered underwear, began to be worn without "Hakama", meaning trouser or a
divided skirt, over it, and thus began to be held closed by an Obi. During the Edo period (1603-1867 CE) the
sleeves began to grow in length, especially among unmarried woman, and the Obi became wider, with various styles
of tying coming into fashion. Since then, the basic shape of a Kimono (both mens and womans) has remained
essentially unchanged.
After an edict by Emperor Meiji, police, railroad men, and teachers moved to western clothing. Western clothing
became the Army and School Uniform for men and boys. Between 1920 and 1930 the sailor outfit replaced the
undivided hakama in school uniforms for girls.
in Japanese), through Japanese embassies to China. It was during the 8th century that Chinese fashions became
the style in japan. The overlapping collar became particularly a womans fashion. During Japans Heian period
(794-1192 CE) teh Kimono became increasingly stylized. During the Muromachi age (1392-1573 CE) the
Kurosade, a single kimono formaly considered underwear, began to be worn without "Hakama", meaning trouser or a
divided skirt, over it, and thus began to be held closed by an Obi. During the Edo period (1603-1867 CE) the
sleeves began to grow in length, especially among unmarried woman, and the Obi became wider, with various styles
of tying coming into fashion. Since then, the basic shape of a Kimono (both mens and womans) has remained
essentially unchanged.
After an edict by Emperor Meiji, police, railroad men, and teachers moved to western clothing. Western clothing
became the Army and School Uniform for men and boys. Between 1920 and 1930 the sailor outfit replaced the
undivided hakama in school uniforms for girls.
7 Girls in Furisode
The Parts of a Kimono
More About Kimono
Kimono are traditionally made form a single bolt of fabric called a tan. Tan come in standard dimensions - 14
inches wide and 12 1/2 yards long. An entire bolt is used to make one Kimono. The finished Kimono consists of
four main pieces, 2 panels covering the body, 2 panels forming the sleeves, with narrow front panels and a collar.
Historically, Kimono were often taken apart for washing as separate panels and re-sewn by hand. Because the
entire bolt remains in the finished garment without cutting, the Kimono can be re-tailored easily to fit a different
person.
The maximum width of the sleeve is dictated by the width of the fabric. The distance form the center of the
spine to the end of the sleeve could not exceed twice the width of the fabric. Traditional Kimono fabric was
typically no more than 36cm wide(14in). Thus the distance from the spine to wrist could not exceed a maximum of
roughly 68cm(27in). Modern Kimono fabric is woven as wide as 42cm(17in)to accommodate modern Japanese body
sizes. Very tall or heavy people, such as Sumo wrestlers, must have kimonos custom-made by either joining
multiple bolts, weaving custom-width fabric, or using non standard sizes of fabric.
Kimono are traditionally sewn by hand, but even machine made Kimono requires substantial hand stitching. Kimono
fabrics are also frequently hand made and hand decorated. Various techniques such as "Yuzen" dye resist are used
for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a Kimono are
traditionally done with the Yuzen technique and a stencil. Over time there have been many variations in color,
fabric and style, as well as accessories as the Obi.
A Kimono and obi are traditionally made of silk, silk brocade, silk crepes, satin weaves, linen, wool. Modern Kimono
are also widely available in less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester, and
other synthetic fibers. Silk is still considered the ideal fabric. Customarily, woven patterns and dyed repeated
patterns are considered informal. Formal Kimono have free style designs dyed over the whole surface or along the
hem. During the Heian period, kimono were worn with up to a dozen or more colorful contrasting layers, with each
combination of colors being a named pattern. Today, the kimono is normally worn with a single layer on top of one
or more undergarments. The pattern of the kimono can also determine in which season it should be worn. For
example, a pattern with butterflies or cherrie blossoms would be worn in the spring. Watery designs in the
summer. A russet leaf of the Japanese maple is a common autumn design. Bamboo, pine trees, and plum blossoms
are good for winter.
Old Kimono are recycled in various ways: altered to make haori, kimono for children, used to patch similar Kimono,
used for making handbags and similar kimono accessories, used to make bags or cased for various implements.
Damaged Kimono can be disassembled and re-sewn to hide the soiled areas, and those with damage below the
waistline can be worn under hakama.
Historically, skilled craftsman laboriously picked apart the silk thread from old kimono and rewove it into a new
textile in the width of a "heko obi" for mens kimono. This recycling technique is called "Saki-Ori"
inches wide and 12 1/2 yards long. An entire bolt is used to make one Kimono. The finished Kimono consists of
four main pieces, 2 panels covering the body, 2 panels forming the sleeves, with narrow front panels and a collar.
Historically, Kimono were often taken apart for washing as separate panels and re-sewn by hand. Because the
entire bolt remains in the finished garment without cutting, the Kimono can be re-tailored easily to fit a different
person.
The maximum width of the sleeve is dictated by the width of the fabric. The distance form the center of the
spine to the end of the sleeve could not exceed twice the width of the fabric. Traditional Kimono fabric was
typically no more than 36cm wide(14in). Thus the distance from the spine to wrist could not exceed a maximum of
roughly 68cm(27in). Modern Kimono fabric is woven as wide as 42cm(17in)to accommodate modern Japanese body
sizes. Very tall or heavy people, such as Sumo wrestlers, must have kimonos custom-made by either joining
multiple bolts, weaving custom-width fabric, or using non standard sizes of fabric.
Kimono are traditionally sewn by hand, but even machine made Kimono requires substantial hand stitching. Kimono
fabrics are also frequently hand made and hand decorated. Various techniques such as "Yuzen" dye resist are used
for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a Kimono are
traditionally done with the Yuzen technique and a stencil. Over time there have been many variations in color,
fabric and style, as well as accessories as the Obi.
A Kimono and obi are traditionally made of silk, silk brocade, silk crepes, satin weaves, linen, wool. Modern Kimono
are also widely available in less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester, and
other synthetic fibers. Silk is still considered the ideal fabric. Customarily, woven patterns and dyed repeated
patterns are considered informal. Formal Kimono have free style designs dyed over the whole surface or along the
hem. During the Heian period, kimono were worn with up to a dozen or more colorful contrasting layers, with each
combination of colors being a named pattern. Today, the kimono is normally worn with a single layer on top of one
or more undergarments. The pattern of the kimono can also determine in which season it should be worn. For
example, a pattern with butterflies or cherrie blossoms would be worn in the spring. Watery designs in the
summer. A russet leaf of the Japanese maple is a common autumn design. Bamboo, pine trees, and plum blossoms
are good for winter.
Old Kimono are recycled in various ways: altered to make haori, kimono for children, used to patch similar Kimono,
used for making handbags and similar kimono accessories, used to make bags or cased for various implements.
Damaged Kimono can be disassembled and re-sewn to hide the soiled areas, and those with damage below the
waistline can be worn under hakama.
Historically, skilled craftsman laboriously picked apart the silk thread from old kimono and rewove it into a new
textile in the width of a "heko obi" for mens kimono. This recycling technique is called "Saki-Ori"
Upper Lining
Collar
Hem Guard
Sleeve Below the Armhole
Opening Under the Sleeve
Front Side Panel
Kimono Armhole
Sleeve Opening
Sode
Sleeve
Lower Lining
Tamoto
Sleeve Pouch
Back Main Panel
Front Main Panel
The garment worn under a Kimono is called a "Hadajunab". This is the first layer against your skin and serves as a
type of underwear. It protects kimono and the second layers of cloth from sweat and provides warmth in winter.
Over the hadajunab is the "Nagajuban". This layer conceals the body shape and gives the Kimono a soft smooth
look. A "Datejime" or "Datemaki" is a wide under sash used to tie the Nagajuban and outer kimono in place. In the
summer an "Eri-sugata" or "Kantan Eri" is worn instead of the nagajuban. It replaces the nagajuban collar in
supporting the kimonos collar. Over this is the "Hiyoku" or Under Kimono. This is a second Kimono beneath the first
that gives a traditional layered look or a floating lining. Sometimes a "Kasane eri" is used instead of a hiyoku to
give the look of layering. And then the Over Kimono. The Kimono itself.
For males the traditional Japanese undergarment is the "Fundoshi", a type of tied lion cloth made from a length of
cotton
type of underwear. It protects kimono and the second layers of cloth from sweat and provides warmth in winter.
Over the hadajunab is the "Nagajuban". This layer conceals the body shape and gives the Kimono a soft smooth
look. A "Datejime" or "Datemaki" is a wide under sash used to tie the Nagajuban and outer kimono in place. In the
summer an "Eri-sugata" or "Kantan Eri" is worn instead of the nagajuban. It replaces the nagajuban collar in
supporting the kimonos collar. Over this is the "Hiyoku" or Under Kimono. This is a second Kimono beneath the first
that gives a traditional layered look or a floating lining. Sometimes a "Kasane eri" is used instead of a hiyoku to
give the look of layering. And then the Over Kimono. The Kimono itself.
For males the traditional Japanese undergarment is the "Fundoshi", a type of tied lion cloth made from a length of
cotton
Obi - the belt of a kimono is usually tied just below the womans
bosom. There are various Obi that convey a different message.
The purpose of an obi is not only to keep the package together,
but also to shape the womans body so that the hip and breast are
not visible. If obi itself isn't enough to do this sometimes padding
is used. The height of the obi varies regarding womans age and
marital status.
Maru Obi - is an old bulky version which is almost never
used today, expect for bridal kimono. It is really thick
and long and creates a lot of bulk around the womans
waist.
bosom. There are various Obi that convey a different message.
The purpose of an obi is not only to keep the package together,
but also to shape the womans body so that the hip and breast are
not visible. If obi itself isn't enough to do this sometimes padding
is used. The height of the obi varies regarding womans age and
marital status.
Maru Obi - is an old bulky version which is almost never
used today, expect for bridal kimono. It is really thick
and long and creates a lot of bulk around the womans
waist.
Fukuro Obi - Also called the Pocket Obi is todays most formal obi and is the most practical. It's length is
the same as the Maru obi but it is slightly less than half the width and much easier to tie.
Nagoya Obi - This is a thin obi created in the 1920's in Nagoya City. It is less formal than a Fukuro and
can be used in less important occasions.
Chuya Obi - This is one of the informal styles of Obi. It is soft and covered with black satin.
Unfortunately this style of Obi, as well as other less formal styles, are steadily disappearing from Japan.
There are over 300 different ways to tie an Obi. There are 2 styles that are most popular: "Taiko Style", which
is named after taiko-bashi (a traditional drum shaped bridge) that resembles horizontal cylinder of a drum. Taiko
style is most traditional and often used by married woman. The "Fukuro Suzume" Style resembles a sparrow and is
most commonly worn by unmarried woman. However Obi is a world of subtle meanings.
Obi Scarf, called obi-age, is a kimono accessory that is worn with the obi. It is popular with Taiko Style but can
also be worn with other style obis. It reflects the womans age and are usually silk.
Obi-Cord, called obi-jime,this is a cord that is usually tied over top of the obi and looks like a narrow rope.
Obidome is a jewelry worn with kimono. Often brooch-like pieces that thread into the obi-cord
Mens Obi can roughly be split into 2 categories, Kaku or Heko. Kaku obi is made of stiff cotton material and is
about 9cm wide. Heko obi is soft material, usualy tye-dyed fabric.
the same as the Maru obi but it is slightly less than half the width and much easier to tie.
Nagoya Obi - This is a thin obi created in the 1920's in Nagoya City. It is less formal than a Fukuro and
can be used in less important occasions.
Chuya Obi - This is one of the informal styles of Obi. It is soft and covered with black satin.
Unfortunately this style of Obi, as well as other less formal styles, are steadily disappearing from Japan.
There are over 300 different ways to tie an Obi. There are 2 styles that are most popular: "Taiko Style", which
is named after taiko-bashi (a traditional drum shaped bridge) that resembles horizontal cylinder of a drum. Taiko
style is most traditional and often used by married woman. The "Fukuro Suzume" Style resembles a sparrow and is
most commonly worn by unmarried woman. However Obi is a world of subtle meanings.
Obi Scarf, called obi-age, is a kimono accessory that is worn with the obi. It is popular with Taiko Style but can
also be worn with other style obis. It reflects the womans age and are usually silk.
Obi-Cord, called obi-jime,this is a cord that is usually tied over top of the obi and looks like a narrow rope.
Obidome is a jewelry worn with kimono. Often brooch-like pieces that thread into the obi-cord
Mens Obi can roughly be split into 2 categories, Kaku or Heko. Kaku obi is made of stiff cotton material and is
about 9cm wide. Heko obi is soft material, usualy tye-dyed fabric.
Fukuro obi in Kai, Uzushio, and Ebi Styles
Flat soled Zori - are the most formal Japanese footwear used with Kimono. They are usually made from rice
straw or lacquered wood. There are various Zori, with higher and lower platforms. Cloth covered zori are most
formal. Zori do not make the clanking sound that Geta do. Zori are also more comfortable than Geta.
Geta - with high soles are less formal, and do not necessarily require tabi. They are most often worn with
yukata. The different seasons have different types of Geta. Geta in general are made form hard wood.
straw or lacquered wood. There are various Zori, with higher and lower platforms. Cloth covered zori are most
formal. Zori do not make the clanking sound that Geta do. Zori are also more comfortable than Geta.
Geta - with high soles are less formal, and do not necessarily require tabi. They are most often worn with
yukata. The different seasons have different types of Geta. Geta in general are made form hard wood.
Straw Zori
Zori
Geta
Kanzashi - are hair ornaments worn by woman. Many different styles exist, including silk flowers, wooden combs,
and jade hairpins. Some believe these decorative items may also be used for defense in case of an
emergency. These hair pieces are made from a wide range of materials such as lacquered wood, plated gold
and silver metal, tortoiseshell and silk
Bira-bira: also called a fluttering or dangling style, these are composed of metal strips attached by rings
to the body of the ornament so that they move independently, pleasantly tinkling, or long chains of
silk flowers called "shidare"
Kogai: rods of Becco (tortoiseshell) or other such materials as ceramics or metals. Kogai means sword in
japanese. This is appropriate because many kogai kanzashi are fomred from a pin and a sleeve.
Kushi: is a comb like kanzashi. These are usually rounded combs made of tortoiseshell or lacquered wood,
often inlaid with mother of pearl or gilding. The spine of the comb is often wide in order to allow
maximum space for the design, and in many cases, the design will extend to the teeth. Also, there
are Flower-Combs called "Hanagushi" which are made by gluing folded pieces of silk to a wooden comb.
Kanoko Dome: are heavily jeweled accessories crafted with gold, tortoiseshell, jade, coral, pearls, and
other semi precious stones. While the general shape is rounded, they are also found in other shapes,
with flowers and butterflies being the most popular.
Ogi: also called Princess Style, they are metal, fan shaped kanzashi with aluminum streamers held i place
by a long pin. These are usually worn by Maiko (Apprentice geisha) in the hair just above the temple.
Tsumami Kanzashi: literally 'folded fabric hair ornament'. Tsumami Kanzashi are made form tiny squares of
silk which are folded into petals using origami techniques. Flowers are made from these folded fabric
petals and may contain anywhere form 5 to 75 or more petals, depending on the particular flower
made. A 'Hana Kanzashi' is a cluster of these flowers, and may or may not include bira-bira and/or
long streamers of tsumami petals, fashioned to look like hanging wisteria petals. Generally, Hana
Kanzashi are worn in pairs, one on either side of teh head, often with a complimentary kushi and/or
with several individual flowers scattered about the hair.
and jade hairpins. Some believe these decorative items may also be used for defense in case of an
emergency. These hair pieces are made from a wide range of materials such as lacquered wood, plated gold
and silver metal, tortoiseshell and silk
Bira-bira: also called a fluttering or dangling style, these are composed of metal strips attached by rings
to the body of the ornament so that they move independently, pleasantly tinkling, or long chains of
silk flowers called "shidare"
Kogai: rods of Becco (tortoiseshell) or other such materials as ceramics or metals. Kogai means sword in
japanese. This is appropriate because many kogai kanzashi are fomred from a pin and a sleeve.
Kushi: is a comb like kanzashi. These are usually rounded combs made of tortoiseshell or lacquered wood,
often inlaid with mother of pearl or gilding. The spine of the comb is often wide in order to allow
maximum space for the design, and in many cases, the design will extend to the teeth. Also, there
are Flower-Combs called "Hanagushi" which are made by gluing folded pieces of silk to a wooden comb.
Kanoko Dome: are heavily jeweled accessories crafted with gold, tortoiseshell, jade, coral, pearls, and
other semi precious stones. While the general shape is rounded, they are also found in other shapes,
with flowers and butterflies being the most popular.
Ogi: also called Princess Style, they are metal, fan shaped kanzashi with aluminum streamers held i place
by a long pin. These are usually worn by Maiko (Apprentice geisha) in the hair just above the temple.
Tsumami Kanzashi: literally 'folded fabric hair ornament'. Tsumami Kanzashi are made form tiny squares of
silk which are folded into petals using origami techniques. Flowers are made from these folded fabric
petals and may contain anywhere form 5 to 75 or more petals, depending on the particular flower
made. A 'Hana Kanzashi' is a cluster of these flowers, and may or may not include bira-bira and/or
long streamers of tsumami petals, fashioned to look like hanging wisteria petals. Generally, Hana
Kanzashi are worn in pairs, one on either side of teh head, often with a complimentary kushi and/or
with several individual flowers scattered about the hair.
Care of a Kimono
In the past, a Kimono would often be entirely taken apart for washing, and then re-sewn for wearing. This
traditional method is called "Arai Hari". Because the stitches must be taken out for washing a kimono needs to be
hand sewn. Arai Hari 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 practiced 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 "Shitsuke ito". They are sometimes replaced for storeage. They help to
prevent bunching, folding, wrinkling, and keep the kimono layers in alignment.
Like many other traditional Japanese garments, there are specific ways to fold kimonos. These methods help to
preserve the garment and to keep it from creasing when stored. Kimono are often wrapped in paper called
"Tatoshi".
Kimono are to be aired at least seasonally 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 arai hari
but may be impossible for certain fabrics or dyes.
traditional method is called "Arai Hari". Because the stitches must be taken out for washing a kimono needs to be
hand sewn. Arai Hari 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 practiced 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 "Shitsuke ito". They are sometimes replaced for storeage. They help to
prevent bunching, folding, wrinkling, and keep the kimono layers in alignment.
Like many other traditional Japanese garments, there are specific ways to fold kimonos. These methods help to
preserve the garment and to keep it from creasing when stored. Kimono are often wrapped in paper called
"Tatoshi".
Kimono are to be aired at least seasonally 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 arai hari
but may be impossible for certain fabrics or dyes.
How to Fold a Kimono
A Further Look into the World of Yukata
A Yukata is a Japanese garment, a casual summer kimono usually made of unlined cotton. People wearing Yukata
are a common sight in Japan at fireworks display, bon-odori festivals, and other summer events. The yukata is
also frequently worn after bathing at Japanese inns. Though their use is not limited to after ball wear, "Yukata"
literally means bathing cloths.
Traditionally Yukata were mostly made of indigo-dyed cotton but today a wide variety of colors and designs are
available. As with kimono, the general rule with yukata is that younger people wear brighter colors and bolder
patterns than older people. A child might wear multicolored print and a younger woman, a floral print, while an
older woman would confine herself to traditional dark blue with geometric patterns.
Since the late 1990's the yukata has experienced a drastic revival.
are a common sight in Japan at fireworks display, bon-odori festivals, and other summer events. The yukata is
also frequently worn after bathing at Japanese inns. Though their use is not limited to after ball wear, "Yukata"
literally means bathing cloths.
Traditionally Yukata were mostly made of indigo-dyed cotton but today a wide variety of colors and designs are
available. As with kimono, the general rule with yukata is that younger people wear brighter colors and bolder
patterns than older people. A child might wear multicolored print and a younger woman, a floral print, while an
older woman would confine herself to traditional dark blue with geometric patterns.
Since the late 1990's the yukata has experienced a drastic revival.
The Mysterious World of Geisha
Geisha cannot be Geisha without their Kimono.
It was after the imperial court moved the capital to heian-kyo in 794 that the conditions that would form
Japanese Geisha culture began to emerge. Skilled female performers such as Shirabyoshi dancers, thrived.
The Word Geisha consists of two kanji Gei, meaning art, and Sha, meaning person or doer. The english translation
is literally artist. Apprentice Geisha are called Maiko(dance child), or Hangyoku(half-jewel) This name meaning
they are paid half the wage of a full geisha, and sometimes Maiko are called O-Shaku(one who pours) A Maiko will
serve tea and pour the alcohol.
Traditional Japan embraced sexual delights and men were not constrained to be faithful to their wives. The ideal
wife was a modest mother and manager of the home. For sexual enjoyment and romantic attachment, men did not
go to their wives, but to courtesans. Walled in pleasure quarters were built in the sixteenth century and Yujo(play
woman) were classified and licensed. Before there were Geisha there were Oiran(the highest class of Yujo),a sort
of combination actress and prostitute. Originally playing in stages set in the dry Kamo riverbed in kyoto. They
performed erotic dances and skits, and this new art was dubbed Kabuku, meaning to be wild and outrageous. The
dances were called Kabuki, and was the beginning of Kabuki theatre.
These pleasure quarters became glamorous entertainment centers that offered more then sex. The highly
accomplished courtesans entertained their clients by dancing, singing, and playing music. Some were renowned poets
and calligraphers. Gradually, they all became a specialized and new profession, of pure entertainment. It was
here in the turn of the eighteenth century that Geisha appeared. The very first Geisha were men. Entertaining
customers waiting to see the most popular and gifted Oiran.
The forerunners of the Female Geisha were teen aged girls called Odoriko(dancing girls). Expensively trained as
chaste dancers for hire. Many of these girls turned to prostitution in the 1680s when they were popularly paid
entertainers in the private homes of upper-class samurai. Those who were no longer teenagers adopted other
names. One being Geisha, after the male entertainers. The first woman known to call herself Geisha was a
Fukagawa prostitute in 1750. She was a skilled singer and shamisen player named Kikuya. It was she who made
female Geisha extremely popular. As they became more widespread throughout the 1760s and 1770s many began
working only as entertainers. It was also then that Machi Geisha began to fallow a separate path as artists and
female companions and licensed courtesans met the sexual needs of men.
By the 1800 Geisha was considered a female occupation (though male Geisha still did exist, even today). Oiran
began to fall out of fashion, being less popular then the chic and modern Geisha. Geisha developed many ranks and
classifications. While some woman would have sex with her male customers, others would entertain strictly with
her art forms.
World War II brought a huge decline in the Geisha arts because most woman went to factories or other places to
work for Japan. The Geisha name also lost status when prostitutes began referring to themselves as Geisha Girls
to attract american military men. The Geisha World, form teahouses, bars, and houses were forced to shut down
and all employees to work in factories in 1944. It was a year before they were able to reopen. The very few
woman who returned to Geisha areas rejected western influence. "The image of a Geisha was formed during
japans feudal past, and this is now the image they must keep in order to remain Geisha". However it was up to
these woman who returned to bring back traditional standards though with increased rights for Geisha. For
instance before the war a Maiko or new Geishas virginity would be auctioned off, a thing called Mizuage(Raising
the waters) that was outlawed in 1956. Nowadays a Mizuage is a ceremony to show a Maiko coming of age,
usually 20. After that a geisha must be able to stand on the strength of her own artistic accomplishments and
leaves her "Older sister".
Traditionally, Geisha began their training at a very young age, some as young as 4. Some girls sold to Okiya
(Geisha Houses) as children. These girls were referred to as Hangyoku. This was not a common practice in
reputable districts and disappeared in the 1950s with the outlawing of child labor. Now daughters of Geish are
often brought up as Geisha themselves, usually as the successor to the Okiya. Girls usually go to school until they
are teenagers and then make the personal decision to train to become a geisha. Young women who wish to become
geisha now most often begin their training after completing middle school, high school, or even college. Many women
begin their careers in adulthood.
A maiko is essentially an apprentice and is therefore bonded under contract to her Okiya. The Okiya provides her
with food, board, kimono, obi, and other tools of the trade. Her training is very expensive, and her debt must be
repaid in the okiya with the earnings she makes. This repayment may continue after the Maiko becomes a full
fledged Geisha. It is only when her debt is settled is she permitted to move out to live and work independently.
The first stage of training was called shikomi. When girls first arrived at the okiya, they would be put to work
as maids, who were required to do everything they are told. The work was difficult, with the intent to "make"
and "break" the new girls. The most junior shikomi of the house would have to wait late into the night for the
senior geisha to return from engagements, sometimes as late as two or three in the morning, and assist them in
undressing and preparing to sleep. During this stage of training, the shikomi would go to classes at the hanamachi's
geisha school. This stage of training exists, mostly to accustom the girls to the traditional dialect, traditions, and
dress of the geisha lifestyle.
Once the recruit became proficient with the geisha arts, and passed a final, difficult dance exam, she would be
promoted to the second stage of training: Minarai, meaning learning by watching. A Maikos mentor Geisha becomes
her Onee-san, her older sister. It is the onee-san's responsibility to bring her to the ozashiki (a banquet in any
traditional Japanese building with tatami), to sit and observe as the onee-san is at work. This is a way in which
she will gain insights of the job, and seek out potential clients. Although minarai attend ozashiki, they do not
participate at an advanced level. Their kimono, more elaborate than a maiko's, are intended to do the talking for
them. Minarai can be hired for parties but are usually uninvited (yet welcomed) guests at parties that their onee-
san attends. They only charge a third of the usual fee. Minarai generally work with a particular tea house
(minarai-jaya) learning from the okaa-san (mother, the proprietress of the house). From her, they would learn
techniques such as conversation and gaming, which would not be taught to them in school. This stage lasts only
about a month or so.
After a short period the final stage of training begins, and the students are called "maiko". Maiko apprenticeship
can last for years. Maiko learn from their senior geisha mentor and follow them to all their engagements. The
onee-san and imouto-san (older sister/younger sister) relationship is important. The onee-san teaches her maiko
everything about working in the hanamachi(flower towns, the geisha district). The onee-san will teach her proper
ways of serving tea, playing shamisen, dancing, casual conversation and more. This is important for a maiko to
learn in order to receive future invitations to more teahouses and gatherings The onee-san will even help pick the
maiko's new professional name with kanji or symbols related to her name. One would suggest that geisha are prone
to "flirt," but it is only their nature to seem demure and innocent. Regional variations exist, as the hangyoku of
Tokyo are known for being sassy and the Kyoto maiko are known for being demure.
There are three major elements of a maiko's training. The first is the formal arts training. This takes place in
special geisha schools which are found in every hanamachi. The second element is the entertainment training which
the maiko learns at various teahouses and parties by observing her onee-san. The third is the social skill of
navigating the complex social web of the hanamachi. This is done on the streets. Formal greetings, gifts, and
visits are key parts of any social structure in Japan and for a maiko, they are crucial for her to build the support
network she needs to survive as a geisha.
Maiko are considered one of the great sights of Japanese tourism, and look very different from fully qualified
Geisha. They are at the peak of traditional Japanese femininity. The scarlet-fringed collar of a maiko's kimono
hangs very loosely in the back to accentuate the nape of the neck, which is considered a primary erotic area in
Japanese sexuality. She wears the same white makeup for her face on her nape, leaving two or sometimes three
stripes of bare skin exposed. Her kimono is bright and colorful with an elaborately tied obi hanging down to her
ankles. She takes very small steps and wears traditional wooden shoes called okobo which stand nearly ten
centimeters high. There are 5 different hairstyles that a maiko wears, that mark the different stages of her
apprenticeship. The "Nihongami" hairstyle with kanzashi(elaborate hair ornaments), hair-ornamentation strips is
most closely associated with maiko, who spend hours each week at the hairdresser and sleep on holed-pillows to
preserve the elaborate styling. Maiko can develop a bald spot on their crown caused by rubbing from Kanzashi
strips and tugging in hairdressing. This was associated with the maiko's womanhood, as it came from a pulled knot
in the ofuku hairstyle that a maiko would wear after her mizuage or first sexual experience (before which, the
maiden wareshinobu style was worn).
Around the age of 20–22, the maiko is promoted to a full-fledged geisha in a ceremony called erikae (turning of
the collar). This could happen after two to five years of her life as a maiko or hangyoku, depending on at what
age she debuted. She now charges full price for her time. Geisha remain as such until they retire.
A woman entering the geisha community does not have to start as a Maiko. These days a woman can start her
career as a full Geisha. Either way usually a years training is involved before someone can debut as either a Maio
or a Geisha. Woman above 21 are considered to old to be Maiko. However those who begin as Maiko usually enjoy
more prestige in their professional lives. In Kyoto Hangyoku can begin as early as 15, while in Tokyo they cannot
until 18.
In 2007, the first Caucasian geisha debuted under the name of "Sayuki", in the Asakusa district of Tokyo
The appeal of a high-ranking geisha to her typical male guest has historically been very different from that of his
wife. The ideal geisha showed her skill, while the ideal wife was modest. The ideal geisha seemed carefree, the
ideal wife somber and responsible. Geisha do sometimes marry their clients but they must then retire; there can
never be a married geisha. Geisha are expected to be single women.
It was traditional in the past for established geisha to take a danna, or patron. A danna was typically a wealthy
man, sometimes married, who had the means to support the very large expenses related to a geisha's traditional
training and other costs. This sometimes occurs today as well, but very rarely. A geisha and her danna may or
may not be in love, but intimacy is never viewed as a reward for the danna's financial support. The traditional
conventions and values within such a relationship are very intricate and not well understood, even by many
Japanese.
While it is true that a geisha is free to pursue personal relationships with men she meets through her work, such
relationships are carefully chosen and unlikely to be casual. A hanamachi tends to be a very tight-knit community
and a geisha's good reputation is not taken lightly.
Geisha may gracefully flirt with their (often infatuated) guests, but they will always remain in control of the
hospitality. Over their years of apprenticeship they learn to adapt to different situations and personalities,
mastering the art of the hostess.
Women in the geisha society are some of the most successful businesswomen in Japan. In the geisha society,
women run everything. Without the impeccable business skills of the female teahouse owners, the world of geisha
would cease to exist. The teahouse owners are entrepreneurs, whose service to the geisha is highly necessary for
the society to run smoothly. Infrequently, men take contingent positions such as hair stylists, dressers (dressing a
maiko requires considerable strength) and accountants, but men have a limited role in geisha society.
Becoming a geisha was a way for women to support themselves without submitting to becoming a wife. The geisha
women live in a strictly matriarchal society. Women dominate. Women run the geisha houses, they are teachers,
they run the teahouses, they recruit aspiring geisha, and they keep track of geishas’ finances. The only major
role men play in geisha society is that of guest, though women sometimes take that role as well.
Modern geisha see themselves as liberated feminists. "We find our own way, without doing family responsibilities.
Isn't that what feminists are?”. These women leave their families at a young age to immerse themselves in their
art. They believe that men can make a life for themselves, always being in control, so why can't women? Also,
they "have grown adept at using their silken charms to wind their men around their little fingers... [to] manipulate
the dumb, unsuspecting male of the species... to make a man think that he is the one who has the brilliant ideas".
Not all geisha identify themselves with feminism, and there is a concern that the geisha tradition holds back
progress for Japanese women.
There are many misconceptions over what a geisha truly is because the tumultuous past of artisans, prostitutes,
and pleasure quarters in Japan. “The world of the geisha, the "flower and willow" world, are very separate
societies that are shrouded in mystery. The myths that have been created by outsiders about the environment
and the lifestyle of the geisha world have, for the most part, been able to grow unchecked. And because it is a
very private, elite world, most people would be uncomfortable speaking about it”.
Prostitution was legal in Japan until 1958, which is another reason that people may be misinformed about geishas
not offering sex to customers. The two became especially confused after many of the professional prostitutes who
catered to the occupying soldiers after World War II styled themselves as "geisha"; at a time when few true
geisha were able to work, the counterfeit geisha usurped the meaning of the word in the eyes of many foreigners.
(A Truly Terrible Thing In My Opinion)
the Dance of a Geisha:
The dance of the geisha has evolved from the dance performed on the kabuki stage. The "wild and outrageous"
dances transformed into a more subtle, stylized, and controlled form of dance. It is extremely disciplined, similar
to tai chi. Every dance uses gestures to tell a story and only a connoisseur can understand the subdued symbolism.
For example, a tiny hand gesture represents reading a love letter, holding the corner of a handkerchief in the
mouth represents coquetry and the long sleeves of the elaborate kimono are often used to symbolize dabbing tears.
The dances are accompanied by traditional Japanese music. The primary instrument is the shamisen. The shamisen
was introduced to the geisha culture in 1750 and has been mastered by female Japanese artists for years. This
shamisen, originating in Okinawa, is a banjo-like three-stringed instrument that is played with a plectrum. It has
a very distinct, melancholy sound that is often accompanied by flute. The instrument is described as "melancholy"
because traditional shamisen music uses only minor thirds and sixths. All geisha must learn shamisen-playing,
though it takes years to master. Along with the shamisen and the flute, geisha also learned to play a ko-tsuzumi,
a small, hourglass-shaped shoulder drum, and a large floor taiko (drum). Some geisha would not only dance and
play music, but would write beautiful, melancholy poems. Others painted pictures or composed music.
the Appearance of a Geisha:
A geisha's appearance changes throughout her career, from the girlish, heavily made-up maiko, to the more
sombre appearance of an older established geisha. Different hairstyles and hairpins signify different stages of a
young girl’s development and even a detail as minute as the length of one’s eyebrows is significant. Short eyebrows
are for the young and long eyebrows display maturity.
Makeup
Today, the traditional makeup of the apprentice geisha is one of their most recognizable characteristics, though
established geisha generally only wear full white face makeup characteristic of maiko during special performances.
The traditional makeup of an apprentice geisha features a thick white base with red lipstick and red and black
accents around the eyes and eyebrows. Originally, the white base mask was made with lead, but after the
discovery that it poisoned the skin and caused terrible skin and back problems for the older geisha towards the
end of the Meiji Era, it was replaced with rice powder.
The application of makeup is hard to perfect and is a time-consuming process. Makeup is applied before dressing to
avoid dirtying the kimono. First, a wax or oil substance, called bintsuke-abura, is applied to the skin. Next, white
powder is mixed with water into a paste and applied with a bamboo brush starting from the neck and working
upwards. The white makeup covers the face, neck, and chest, with two or three unwhitened areas (forming a W
or V shape, usually a traditional W shape) left on the nape, to accentuate this traditionally erotic area, and a line
of bare skin around the hairline, which creates the illusion of a mask.
After the foundation layer is applied, a sponge is patted all over the face, throat, chest, the nape and neck to
remove excess moisture and to blend the foundation. Next the eyes and eyebrows are drawn in. Traditionally,
charcoal was used, but today, modern cosmetics are used. The eyebrows and edges of the eyes are colored black
with a thin charcoal; a maiko also applies red around her eyes.
The lips are filled in using a small brush. The color comes in a small stick, which is melted in water. Crystallized
sugar is then added to give the lips lustre. Rarely will a geisha color in both lips fully in the Western style, as
white creates optical illusions and colouring the lips fully would make them appear overly large. The lower lip is
colored in partially and the upper lip left white for maiko in her first year, after which the upper lip is also
colored. Newly full-fledged geisha will color in only the top lip fully. Most geisha wear the top lip colored in fully
or stylized, and the bottom lip in a curved stripe that does not follow the shape of the lip. Geisha round the
bottom lips to create the illusion of a flower bud.
Maiko who are in their last stage of training sometimes color their teeth black for a brief period. This practice
used to be common among married women in Japan and, earlier, at the imperial court, but survives only in some
districts. It is done partly because uncoloured teeth seem very yellow in contrast to white face makeup; colouring
the teeth black means that they seem to "disappear" in the darkness of the open mouth. This illusion is of course
more pronounced at a distance.
For the first three years, a maiko wears this heavy makeup almost constantly. During her initiation, the maiko is
helped with her makeup either by her onee-san, or by the okaa-san, of her geisha house. After this, she applies
the makeup herself.
After a maiko has been working for three years, she changes her make-up to a more subdued style. The reason
for this is that she has now become mature, and the simpler style shows her own natural beauty. For formal
occasions, the mature geisha will still apply white make-up. For geisha over thirty, the heavy white make-up is
only worn during those special dances that require it.
Dress:
Geisha always wear kimono. Apprentice geisha wear highly colorful kimono with extravagant obi. Always, the obi is
brighter than the kimono she is wearing to give a certain exotic balance. Maiko wear the obi tied in a style called
"darari" (dangling obi). Older geisha wear more subdued patterns and styles (most notably the obi tied in a simpler
knot utilized by married women known as the taiko musubi(drum knot).
An apprentice geisha's kimono will have, in addition to the heavy dangling obi, pocketed sleeves called "furi" that
dangle all the way to the ground. During a dance or performance, an apprentice must wrap the pocketed sleeves
around her arms many times to avoid tripping.
The color, pattern, and style of kimono is dependent on the season and the event the geisha is attending. In
winter, geisha can be seen wearing a three-quarter length haori lined with hand-painted silk over their kimono.
Lined kimono are worn during colder seasons, and unlined kimono during the summer. A kimono can take from two to
three years to complete, due to painting and embroidering.
Geiko wear red or pink nagajuban, or under-kimono. A maiko wears red with white printed patterns. The junior
maiko's collar is predominantly red with white, silver, or gold embroidery. Two to three years into her
apprenticeship, the red collar will be entirely embroidered in white (when viewed from the front) to show her
seniority. At around age 20, her collar will turn from red to white.
Geisha wear a flat-soled sandal, zori, outdoors, and wear only tabi (white split-toed socks) indoors. In inclement
weather geisha wear raised wooden clogs, called geta. Maiko wear a special wooden clog known as okobo.
Hair:
The hairstyles of geisha have varied through history. In the past, it has been common for women to wear their
hair down in some periods, but up in others. During the 17th century, women began putting all their hair up again,
and it is during this time that the traditional shimada hairstyle, a type of traditional chignon worn by most
established geisha, developed.
There are four major types of the shimada: the taka shimada, a high chignon usually worn by young, single women;
the tsubushi shimada, a more flattened chignon generally worn by older women; the uiwata, a chignon that is
usually bound up with a piece of colored cotton crepe; and a style that resembles a divided peach, which is worn
only by maiko. This is sometimes called "Momoware", or "split peach". Additional hairstyles: Ofuku, Katsuyama,
Yakko-shimada, and Sakko. Maiko of Miyagawa-chō and Pontochō will wear an additional six hairstyles leading up
to the Sakko, including Umemodoki, Oshidori no Hina, Kikugasane, and Osafune.
These hairstyles are decorated with elaborate hair-combs and hairpins (kanzashi). In the seventeenth century
and after the Meiji Restoration period, hair-combs were large and conspicuous, generally more ornate for higher-
class women. Following the Meiji Restoration and into the modern era, smaller and less conspicuous hair-combs
became more popular.
Geisha sleep with their necks on small supports (takamakura), instead of pillows, so they could keep their
hairstyle perfect. To reinforce this habit, their mentors would pour rice around the base of the support. If the
geisha's head rolled off the support while she slept, rice would stick to the pomade in her hair. Even if there are
no accidents, a maiko will need her hair styled every week. Many modern geisha use wigs in their professional
lives, while maiko use their natural hair. Either must be regularly tended by highly skilled artisans. Traditional
hairstyling is a slowly dying art. Over time, the hairstyle can cause balding on the top of the head.
It was after the imperial court moved the capital to heian-kyo in 794 that the conditions that would form
Japanese Geisha culture began to emerge. Skilled female performers such as Shirabyoshi dancers, thrived.
The Word Geisha consists of two kanji Gei, meaning art, and Sha, meaning person or doer. The english translation
is literally artist. Apprentice Geisha are called Maiko(dance child), or Hangyoku(half-jewel) This name meaning
they are paid half the wage of a full geisha, and sometimes Maiko are called O-Shaku(one who pours) A Maiko will
serve tea and pour the alcohol.
Traditional Japan embraced sexual delights and men were not constrained to be faithful to their wives. The ideal
wife was a modest mother and manager of the home. For sexual enjoyment and romantic attachment, men did not
go to their wives, but to courtesans. Walled in pleasure quarters were built in the sixteenth century and Yujo(play
woman) were classified and licensed. Before there were Geisha there were Oiran(the highest class of Yujo),a sort
of combination actress and prostitute. Originally playing in stages set in the dry Kamo riverbed in kyoto. They
performed erotic dances and skits, and this new art was dubbed Kabuku, meaning to be wild and outrageous. The
dances were called Kabuki, and was the beginning of Kabuki theatre.
These pleasure quarters became glamorous entertainment centers that offered more then sex. The highly
accomplished courtesans entertained their clients by dancing, singing, and playing music. Some were renowned poets
and calligraphers. Gradually, they all became a specialized and new profession, of pure entertainment. It was
here in the turn of the eighteenth century that Geisha appeared. The very first Geisha were men. Entertaining
customers waiting to see the most popular and gifted Oiran.
The forerunners of the Female Geisha were teen aged girls called Odoriko(dancing girls). Expensively trained as
chaste dancers for hire. Many of these girls turned to prostitution in the 1680s when they were popularly paid
entertainers in the private homes of upper-class samurai. Those who were no longer teenagers adopted other
names. One being Geisha, after the male entertainers. The first woman known to call herself Geisha was a
Fukagawa prostitute in 1750. She was a skilled singer and shamisen player named Kikuya. It was she who made
female Geisha extremely popular. As they became more widespread throughout the 1760s and 1770s many began
working only as entertainers. It was also then that Machi Geisha began to fallow a separate path as artists and
female companions and licensed courtesans met the sexual needs of men.
By the 1800 Geisha was considered a female occupation (though male Geisha still did exist, even today). Oiran
began to fall out of fashion, being less popular then the chic and modern Geisha. Geisha developed many ranks and
classifications. While some woman would have sex with her male customers, others would entertain strictly with
her art forms.
World War II brought a huge decline in the Geisha arts because most woman went to factories or other places to
work for Japan. The Geisha name also lost status when prostitutes began referring to themselves as Geisha Girls
to attract american military men. The Geisha World, form teahouses, bars, and houses were forced to shut down
and all employees to work in factories in 1944. It was a year before they were able to reopen. The very few
woman who returned to Geisha areas rejected western influence. "The image of a Geisha was formed during
japans feudal past, and this is now the image they must keep in order to remain Geisha". However it was up to
these woman who returned to bring back traditional standards though with increased rights for Geisha. For
instance before the war a Maiko or new Geishas virginity would be auctioned off, a thing called Mizuage(Raising
the waters) that was outlawed in 1956. Nowadays a Mizuage is a ceremony to show a Maiko coming of age,
usually 20. After that a geisha must be able to stand on the strength of her own artistic accomplishments and
leaves her "Older sister".
Traditionally, Geisha began their training at a very young age, some as young as 4. Some girls sold to Okiya
(Geisha Houses) as children. These girls were referred to as Hangyoku. This was not a common practice in
reputable districts and disappeared in the 1950s with the outlawing of child labor. Now daughters of Geish are
often brought up as Geisha themselves, usually as the successor to the Okiya. Girls usually go to school until they
are teenagers and then make the personal decision to train to become a geisha. Young women who wish to become
geisha now most often begin their training after completing middle school, high school, or even college. Many women
begin their careers in adulthood.
A maiko is essentially an apprentice and is therefore bonded under contract to her Okiya. The Okiya provides her
with food, board, kimono, obi, and other tools of the trade. Her training is very expensive, and her debt must be
repaid in the okiya with the earnings she makes. This repayment may continue after the Maiko becomes a full
fledged Geisha. It is only when her debt is settled is she permitted to move out to live and work independently.
The first stage of training was called shikomi. When girls first arrived at the okiya, they would be put to work
as maids, who were required to do everything they are told. The work was difficult, with the intent to "make"
and "break" the new girls. The most junior shikomi of the house would have to wait late into the night for the
senior geisha to return from engagements, sometimes as late as two or three in the morning, and assist them in
undressing and preparing to sleep. During this stage of training, the shikomi would go to classes at the hanamachi's
geisha school. This stage of training exists, mostly to accustom the girls to the traditional dialect, traditions, and
dress of the geisha lifestyle.
Once the recruit became proficient with the geisha arts, and passed a final, difficult dance exam, she would be
promoted to the second stage of training: Minarai, meaning learning by watching. A Maikos mentor Geisha becomes
her Onee-san, her older sister. It is the onee-san's responsibility to bring her to the ozashiki (a banquet in any
traditional Japanese building with tatami), to sit and observe as the onee-san is at work. This is a way in which
she will gain insights of the job, and seek out potential clients. Although minarai attend ozashiki, they do not
participate at an advanced level. Their kimono, more elaborate than a maiko's, are intended to do the talking for
them. Minarai can be hired for parties but are usually uninvited (yet welcomed) guests at parties that their onee-
san attends. They only charge a third of the usual fee. Minarai generally work with a particular tea house
(minarai-jaya) learning from the okaa-san (mother, the proprietress of the house). From her, they would learn
techniques such as conversation and gaming, which would not be taught to them in school. This stage lasts only
about a month or so.
After a short period the final stage of training begins, and the students are called "maiko". Maiko apprenticeship
can last for years. Maiko learn from their senior geisha mentor and follow them to all their engagements. The
onee-san and imouto-san (older sister/younger sister) relationship is important. The onee-san teaches her maiko
everything about working in the hanamachi(flower towns, the geisha district). The onee-san will teach her proper
ways of serving tea, playing shamisen, dancing, casual conversation and more. This is important for a maiko to
learn in order to receive future invitations to more teahouses and gatherings The onee-san will even help pick the
maiko's new professional name with kanji or symbols related to her name. One would suggest that geisha are prone
to "flirt," but it is only their nature to seem demure and innocent. Regional variations exist, as the hangyoku of
Tokyo are known for being sassy and the Kyoto maiko are known for being demure.
There are three major elements of a maiko's training. The first is the formal arts training. This takes place in
special geisha schools which are found in every hanamachi. The second element is the entertainment training which
the maiko learns at various teahouses and parties by observing her onee-san. The third is the social skill of
navigating the complex social web of the hanamachi. This is done on the streets. Formal greetings, gifts, and
visits are key parts of any social structure in Japan and for a maiko, they are crucial for her to build the support
network she needs to survive as a geisha.
Maiko are considered one of the great sights of Japanese tourism, and look very different from fully qualified
Geisha. They are at the peak of traditional Japanese femininity. The scarlet-fringed collar of a maiko's kimono
hangs very loosely in the back to accentuate the nape of the neck, which is considered a primary erotic area in
Japanese sexuality. She wears the same white makeup for her face on her nape, leaving two or sometimes three
stripes of bare skin exposed. Her kimono is bright and colorful with an elaborately tied obi hanging down to her
ankles. She takes very small steps and wears traditional wooden shoes called okobo which stand nearly ten
centimeters high. There are 5 different hairstyles that a maiko wears, that mark the different stages of her
apprenticeship. The "Nihongami" hairstyle with kanzashi(elaborate hair ornaments), hair-ornamentation strips is
most closely associated with maiko, who spend hours each week at the hairdresser and sleep on holed-pillows to
preserve the elaborate styling. Maiko can develop a bald spot on their crown caused by rubbing from Kanzashi
strips and tugging in hairdressing. This was associated with the maiko's womanhood, as it came from a pulled knot
in the ofuku hairstyle that a maiko would wear after her mizuage or first sexual experience (before which, the
maiden wareshinobu style was worn).
Around the age of 20–22, the maiko is promoted to a full-fledged geisha in a ceremony called erikae (turning of
the collar). This could happen after two to five years of her life as a maiko or hangyoku, depending on at what
age she debuted. She now charges full price for her time. Geisha remain as such until they retire.
A woman entering the geisha community does not have to start as a Maiko. These days a woman can start her
career as a full Geisha. Either way usually a years training is involved before someone can debut as either a Maio
or a Geisha. Woman above 21 are considered to old to be Maiko. However those who begin as Maiko usually enjoy
more prestige in their professional lives. In Kyoto Hangyoku can begin as early as 15, while in Tokyo they cannot
until 18.
In 2007, the first Caucasian geisha debuted under the name of "Sayuki", in the Asakusa district of Tokyo
The appeal of a high-ranking geisha to her typical male guest has historically been very different from that of his
wife. The ideal geisha showed her skill, while the ideal wife was modest. The ideal geisha seemed carefree, the
ideal wife somber and responsible. Geisha do sometimes marry their clients but they must then retire; there can
never be a married geisha. Geisha are expected to be single women.
It was traditional in the past for established geisha to take a danna, or patron. A danna was typically a wealthy
man, sometimes married, who had the means to support the very large expenses related to a geisha's traditional
training and other costs. This sometimes occurs today as well, but very rarely. A geisha and her danna may or
may not be in love, but intimacy is never viewed as a reward for the danna's financial support. The traditional
conventions and values within such a relationship are very intricate and not well understood, even by many
Japanese.
While it is true that a geisha is free to pursue personal relationships with men she meets through her work, such
relationships are carefully chosen and unlikely to be casual. A hanamachi tends to be a very tight-knit community
and a geisha's good reputation is not taken lightly.
Geisha may gracefully flirt with their (often infatuated) guests, but they will always remain in control of the
hospitality. Over their years of apprenticeship they learn to adapt to different situations and personalities,
mastering the art of the hostess.
Women in the geisha society are some of the most successful businesswomen in Japan. In the geisha society,
women run everything. Without the impeccable business skills of the female teahouse owners, the world of geisha
would cease to exist. The teahouse owners are entrepreneurs, whose service to the geisha is highly necessary for
the society to run smoothly. Infrequently, men take contingent positions such as hair stylists, dressers (dressing a
maiko requires considerable strength) and accountants, but men have a limited role in geisha society.
Becoming a geisha was a way for women to support themselves without submitting to becoming a wife. The geisha
women live in a strictly matriarchal society. Women dominate. Women run the geisha houses, they are teachers,
they run the teahouses, they recruit aspiring geisha, and they keep track of geishas’ finances. The only major
role men play in geisha society is that of guest, though women sometimes take that role as well.
Modern geisha see themselves as liberated feminists. "We find our own way, without doing family responsibilities.
Isn't that what feminists are?”. These women leave their families at a young age to immerse themselves in their
art. They believe that men can make a life for themselves, always being in control, so why can't women? Also,
they "have grown adept at using their silken charms to wind their men around their little fingers... [to] manipulate
the dumb, unsuspecting male of the species... to make a man think that he is the one who has the brilliant ideas".
Not all geisha identify themselves with feminism, and there is a concern that the geisha tradition holds back
progress for Japanese women.
There are many misconceptions over what a geisha truly is because the tumultuous past of artisans, prostitutes,
and pleasure quarters in Japan. “The world of the geisha, the "flower and willow" world, are very separate
societies that are shrouded in mystery. The myths that have been created by outsiders about the environment
and the lifestyle of the geisha world have, for the most part, been able to grow unchecked. And because it is a
very private, elite world, most people would be uncomfortable speaking about it”.
Prostitution was legal in Japan until 1958, which is another reason that people may be misinformed about geishas
not offering sex to customers. The two became especially confused after many of the professional prostitutes who
catered to the occupying soldiers after World War II styled themselves as "geisha"; at a time when few true
geisha were able to work, the counterfeit geisha usurped the meaning of the word in the eyes of many foreigners.
(A Truly Terrible Thing In My Opinion)
the Dance of a Geisha:
The dance of the geisha has evolved from the dance performed on the kabuki stage. The "wild and outrageous"
dances transformed into a more subtle, stylized, and controlled form of dance. It is extremely disciplined, similar
to tai chi. Every dance uses gestures to tell a story and only a connoisseur can understand the subdued symbolism.
For example, a tiny hand gesture represents reading a love letter, holding the corner of a handkerchief in the
mouth represents coquetry and the long sleeves of the elaborate kimono are often used to symbolize dabbing tears.
The dances are accompanied by traditional Japanese music. The primary instrument is the shamisen. The shamisen
was introduced to the geisha culture in 1750 and has been mastered by female Japanese artists for years. This
shamisen, originating in Okinawa, is a banjo-like three-stringed instrument that is played with a plectrum. It has
a very distinct, melancholy sound that is often accompanied by flute. The instrument is described as "melancholy"
because traditional shamisen music uses only minor thirds and sixths. All geisha must learn shamisen-playing,
though it takes years to master. Along with the shamisen and the flute, geisha also learned to play a ko-tsuzumi,
a small, hourglass-shaped shoulder drum, and a large floor taiko (drum). Some geisha would not only dance and
play music, but would write beautiful, melancholy poems. Others painted pictures or composed music.
the Appearance of a Geisha:
A geisha's appearance changes throughout her career, from the girlish, heavily made-up maiko, to the more
sombre appearance of an older established geisha. Different hairstyles and hairpins signify different stages of a
young girl’s development and even a detail as minute as the length of one’s eyebrows is significant. Short eyebrows
are for the young and long eyebrows display maturity.
Makeup
Today, the traditional makeup of the apprentice geisha is one of their most recognizable characteristics, though
established geisha generally only wear full white face makeup characteristic of maiko during special performances.
The traditional makeup of an apprentice geisha features a thick white base with red lipstick and red and black
accents around the eyes and eyebrows. Originally, the white base mask was made with lead, but after the
discovery that it poisoned the skin and caused terrible skin and back problems for the older geisha towards the
end of the Meiji Era, it was replaced with rice powder.
The application of makeup is hard to perfect and is a time-consuming process. Makeup is applied before dressing to
avoid dirtying the kimono. First, a wax or oil substance, called bintsuke-abura, is applied to the skin. Next, white
powder is mixed with water into a paste and applied with a bamboo brush starting from the neck and working
upwards. The white makeup covers the face, neck, and chest, with two or three unwhitened areas (forming a W
or V shape, usually a traditional W shape) left on the nape, to accentuate this traditionally erotic area, and a line
of bare skin around the hairline, which creates the illusion of a mask.
After the foundation layer is applied, a sponge is patted all over the face, throat, chest, the nape and neck to
remove excess moisture and to blend the foundation. Next the eyes and eyebrows are drawn in. Traditionally,
charcoal was used, but today, modern cosmetics are used. The eyebrows and edges of the eyes are colored black
with a thin charcoal; a maiko also applies red around her eyes.
The lips are filled in using a small brush. The color comes in a small stick, which is melted in water. Crystallized
sugar is then added to give the lips lustre. Rarely will a geisha color in both lips fully in the Western style, as
white creates optical illusions and colouring the lips fully would make them appear overly large. The lower lip is
colored in partially and the upper lip left white for maiko in her first year, after which the upper lip is also
colored. Newly full-fledged geisha will color in only the top lip fully. Most geisha wear the top lip colored in fully
or stylized, and the bottom lip in a curved stripe that does not follow the shape of the lip. Geisha round the
bottom lips to create the illusion of a flower bud.
Maiko who are in their last stage of training sometimes color their teeth black for a brief period. This practice
used to be common among married women in Japan and, earlier, at the imperial court, but survives only in some
districts. It is done partly because uncoloured teeth seem very yellow in contrast to white face makeup; colouring
the teeth black means that they seem to "disappear" in the darkness of the open mouth. This illusion is of course
more pronounced at a distance.
For the first three years, a maiko wears this heavy makeup almost constantly. During her initiation, the maiko is
helped with her makeup either by her onee-san, or by the okaa-san, of her geisha house. After this, she applies
the makeup herself.
After a maiko has been working for three years, she changes her make-up to a more subdued style. The reason
for this is that she has now become mature, and the simpler style shows her own natural beauty. For formal
occasions, the mature geisha will still apply white make-up. For geisha over thirty, the heavy white make-up is
only worn during those special dances that require it.
Dress:
Geisha always wear kimono. Apprentice geisha wear highly colorful kimono with extravagant obi. Always, the obi is
brighter than the kimono she is wearing to give a certain exotic balance. Maiko wear the obi tied in a style called
"darari" (dangling obi). Older geisha wear more subdued patterns and styles (most notably the obi tied in a simpler
knot utilized by married women known as the taiko musubi(drum knot).
An apprentice geisha's kimono will have, in addition to the heavy dangling obi, pocketed sleeves called "furi" that
dangle all the way to the ground. During a dance or performance, an apprentice must wrap the pocketed sleeves
around her arms many times to avoid tripping.
The color, pattern, and style of kimono is dependent on the season and the event the geisha is attending. In
winter, geisha can be seen wearing a three-quarter length haori lined with hand-painted silk over their kimono.
Lined kimono are worn during colder seasons, and unlined kimono during the summer. A kimono can take from two to
three years to complete, due to painting and embroidering.
Geiko wear red or pink nagajuban, or under-kimono. A maiko wears red with white printed patterns. The junior
maiko's collar is predominantly red with white, silver, or gold embroidery. Two to three years into her
apprenticeship, the red collar will be entirely embroidered in white (when viewed from the front) to show her
seniority. At around age 20, her collar will turn from red to white.
Geisha wear a flat-soled sandal, zori, outdoors, and wear only tabi (white split-toed socks) indoors. In inclement
weather geisha wear raised wooden clogs, called geta. Maiko wear a special wooden clog known as okobo.
Hair:
The hairstyles of geisha have varied through history. In the past, it has been common for women to wear their
hair down in some periods, but up in others. During the 17th century, women began putting all their hair up again,
and it is during this time that the traditional shimada hairstyle, a type of traditional chignon worn by most
established geisha, developed.
There are four major types of the shimada: the taka shimada, a high chignon usually worn by young, single women;
the tsubushi shimada, a more flattened chignon generally worn by older women; the uiwata, a chignon that is
usually bound up with a piece of colored cotton crepe; and a style that resembles a divided peach, which is worn
only by maiko. This is sometimes called "Momoware", or "split peach". Additional hairstyles: Ofuku, Katsuyama,
Yakko-shimada, and Sakko. Maiko of Miyagawa-chō and Pontochō will wear an additional six hairstyles leading up
to the Sakko, including Umemodoki, Oshidori no Hina, Kikugasane, and Osafune.
These hairstyles are decorated with elaborate hair-combs and hairpins (kanzashi). In the seventeenth century
and after the Meiji Restoration period, hair-combs were large and conspicuous, generally more ornate for higher-
class women. Following the Meiji Restoration and into the modern era, smaller and less conspicuous hair-combs
became more popular.
Geisha sleep with their necks on small supports (takamakura), instead of pillows, so they could keep their
hairstyle perfect. To reinforce this habit, their mentors would pour rice around the base of the support. If the
geisha's head rolled off the support while she slept, rice would stick to the pomade in her hair. Even if there are
no accidents, a maiko will need her hair styled every week. Many modern geisha use wigs in their professional
lives, while maiko use their natural hair. Either must be regularly tended by highly skilled artisans. Traditional
hairstyling is a slowly dying art. Over time, the hairstyle can cause balding on the top of the head.
Click the Image Above to Visit: Immortal Geisha
There is still much to Learn.....
