矢羽 | Yabane | Arrow Fletchling | Patterns #7

The Yabane Pattern is an interlocking and alternating series of arrow tails resembling elongated trapezoids together. The pattern is said to resemble hawk or eagle feathers which are used in Japanese arrow tails. They are said to be an auspicious pattern.[1] Yabane is also associated with Hamaya (破魔矢 | Good luck charms) which are given out at Shrines in the New Year for repelling demons.[2] Arrows thus also carry connotations of good luck for Buddhist iconography.

Hamaya Arrows (2006, CC3.0) 生田神社

Sports such as Archery, Takagari ( 鷹狩 | Falconry) and Hawking for hunting in Japan have long been popular, with Takagari being practiced since 300AD.[3] Historically Yabane is thought to have originated in the Heian era, when it was used to complement Kuge (court noble) archery in the 1200s. At the time, this held great importance as it helped mete out land jurisdiction for example. This eventually formed Ryu (Japanese falconry styles), as part of an elaborate and costly pastime like fox hunting in Britain. It was said to be a popular hobby of Tokugawa Ieyasu who eventually banned Kuge Takagari.[2][3] Yabane kimono were given to Brides in the Edo period. It was said that like an arrow which unlike a boomerang, never returns, as so would be the bride as the auspicious nature of the pattern would provide a long and happy marriage for her.[1] By the Meiji period, Yabane had become popular as womenswear and became worn at school.[2] In the 1970s Haikara : Here comes Miss Modern Anime, the main character Benio also wears Yabane. It was said pairing Yabane with Hakama (Kimono Trousers) became popular at graduation ceremonies.[1]

Pattern #8 will be the Amime Pattern.

Bibliography

[1] https://www.nippon.com/en/japan-data/h00478/traditional-japanese-patterns.html 

[2] https://mei-24.livejournal.com/10380.html

[3] https://en.wikipedia.org/wiki/Takagari

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アフタヌーンティーのために身に着けられているガウン | The Tea Gown | 1870-1910 | Essay #6

This essay will cover the aspects of how 19th century Japanese import textiles to Western countries were used and repurposed, as well what their desirability tells us about how Japanese design was regarded and the image which these people held of Japan through the Western lense and consciousness. This follows the progression of how Kimono can be used in the West from the undress of the 1860s, adapting silk bolts in the 1870s to high fashion western daywear, to the 1880s aesthetic movement and 1890 wholesale adoption in the Victorian age to being used prominently by society hostesses as tea gowns by the Edwardian period, and the subsequent change in Japanese export culture which we see in extant textile collections of Japanese textile in Western dresses of the periods.

The ritual of 'taking tea' began as part of the aristocratic notion of 'calling' in the 1860's.[5] Tea-gowns were originally interior dresses worn by British women in the 1870s around the parlor room. The term originated in the United Kingdom under the height of the British Empire, which at this time amongst the upper class begun to romanticise British traditions and culture, such as the habits and rituals of tea drinking, which formerly had been only a luxury the rich could afford to do. Rituals, like money, helped establish the pecking order and class structures, which is why the rich loved all these random acts of flamboyant dinner parties and expensive habits where they flaunted their wealth. One of these rituals was the elaboration of the hostess who often drew the center of attention at these afternoon tea parties.[4] As at this time womens domain was the domestic sphere, their front parlors therefore became a stage for hostesses to have fun in.

The image of Japan as a cool hip and trendy country began only by the late Meiji period. Before this Japanese imports were regarded, particularly in the United States, as cheap, low-grade items rather like textiles today made in countries like Bangladesh. This can be seen when we compare how well Japanese local textiles were recieved in the West which set off a flurry of copycat motif sewing, but in how badly recieved Japanese export 'Yokohama robes' were taken up in the West. 

Yokohama Robes (1875) MET Musuem

 Beginning with the advent of Japonisme (coined in 1872) in France certainly, Japanese items began to become coveted, including textiles.[1] This was noted upon in Japan itself, which began curating exports for the western import markets. This in turn altered the perception of Japanese textiles which in the late 1870s were often high-grade exports to Western markets, by silk makers such as Shiino Shobei (1839-1900) from 1873. Japanese textiles suddenly became from this point on regarded as an extension of the exotic East, Japan particularly producing the artistic products of this Eastern bloc which often piggy-backed Japonaiserie with Chinoiserie. This expounded from artists such as Turdman (1834–1903) and the dresses worn by women like Frances Dawson/Leyland (1834–1910), lady of the Leyland family who were known for their adoration of Japanese art (see the Peacock Room) and as Art patrons. In Britain, the 'Japan cult' took off at this time, who equated Japanese art with classical Hellenic art. It was this favoured nation status (history pun) which made the loose form and Japanese art coalesce by 1875 in the popular Victorian conscious by the actions of the promotion of wealthy collectors such as the Leylands and the Ionides family in Britain who promoted artists such as Turdman (see Resource Page) and Thomas Jeckyll (1827-1881).

Portrait of Mrs. Frances Leyland (1871–1874) The Frick Collection

Ellen Terry in Kimono (1874) Smallhythe Place

Misses Turner Court Dress (1874-1876) Kyoto Costume Institute

Early Day Gown

As you may have guessed, this was a more fashionable silhouette and association than the frumpy Yokohama Robe, with Japanese kimono being peiced apart and into day dresses by the likes of Misses Turner Court Dress Makers (active c.1870) in London, England, UK.[10] Other proponents of the style of loose clothing included Ellen Terry, who had been introduced to the Kimono by her Japanophile husband, Edward William Godwin (1833-1886) c1866-69.[13] By 1878, 5 o'clock tea became a principal part in an Englishwomans social calendar, as a break between lunch at 12AM and the evening meal at 8PM.[6] This schedule gave women the ability to build their social networks, and to show off how well their fashionable decorum and tastes were displayed both in the home and dress, which was particularly important in the dawning of the Aesthetic Movement. By this time, dress had become increasingly codified, which saw hostesses wearing dresses in an increasing state of undress, and guests who had 'called' at the home for tea to keep on gloves and hats which gave rise to finger sandwiches.[4] Female guests often attended multiple 'calls' in one day for afternoon tea, which birthed the tea-gown.

By 1880, British fashion saw the rise of the aesthetic and dress reform movements which preferred loose-fitted moderate styles of dress in womens garments, most likely from the influence of the Pre-Raphelites Artists depictions of their wives and lovers. Characteristically, the tea gown by now therefore had no cinched waist, was loose fitting and worn over other garments and used for when other people were visiting their homes or households to take afternoon tea at around 3-5PM. By this time, middle class women had begun introducing afternoon tea to their social calendars, which unlike invited upper class guests, was a more open affair where complete strangers were welcomed into the home for an hour or so to enjoy tea with the hostess. 

Liberty Advertisement (1880) Liberty Billing Catalogue

Japanese Export Dressing Gowns (1880) Met Museum

With the rise of the aesthetic movement, Japonaiserie stirred the intellectual and the average consumer of the time equally. Japan was seen solely through an aesthetical lense. This made anything with an origin from Japan of interest to the average customer, rather than just to Japanophiles.[3] As such, rarer items such as the Kimono and silk bolts became desirable. They were sold from 1884 (from 1863 in a seperate Liberty warehouse) at Libertys Costume department store.[8] Among the Japonistas of the 19th century, many were domestic middle class sewers. This resulted in a proliferation of Japan themed books, objects and entertainment such as The Mikado which first premiered in London in 1885 led to the success of the adoption of a foreign garment by Western women in their daily routines as British and Western wear. Popular motifs included birds and flowers at this time. Certainly by 1887, it was key to incorporate artistic (Greek, Chinese and Japanese) influences into intimate tea parties by hostesses.[4] Designers such as the pioneering and founder of couture Charles Frederick Worth (1825-1895) brought asymmetry in dress pattern design, including Japanese motif such as the rising sun into high society acceptability in this decade.[14]

 

Three Little Maids from School (1885) Gilbert and Sullivan & Strobridge Litho. Co

Under the influence of men like Oscar Wilde, Frederick Sandys and the Leylands, Japanese art became an influential proponent and signifier of taste in high Victorian society, marrying the Japanese textile and art with the tea gown. By the 1890's, Kimono had become immensely popular and were extolled in womens magazines and society journals. They were particularly garnered for their versatility in being open and well ventilated garments as they were worn or draped by western women as tea-gowns.[9] Popular motifs included flowing water, birds (often plover and swallow), fans, flowers (blossoms, chrysanthemums, bamboo leaves, lilies), fruits (peaches) and fish.[2][4][14] Fanny Douglas in 1895 says that particularly large Japanese motifs on tea-gowns were becoming of high society ladies at the time.[7] Gowns were also made asymmetrically, a proponent learned by western designers during the Japan cult years, with other garments such as Obi used in the construction of Bustles for example. Gowns frequently allowed all of these to creep into modern daywear and Japanese textiles saw the light of day in western society.[4] 

Kawakami Sadayakko (Before 1946 PD)  

By the Edwardian period, Kimono as tea-gowns were all the rage. If you could not afford to buy a Kimono, then the common motifs were instead sewn onto western textiles instead.[2] By 1901, the tea-gown silhouette and style had begun to move into the public sphere.[4] Lingerie dresses and Kimono become recognised as a staple of the tea-party, and were worn regularly and seen as functioning in the realm of high fashion. These were often overlaid by Kimono, which may have been worn as dressing gowns, coats or wraps. They were commonly by now available from shops like Liberty in London or from Japanese companies such as Iida Takashimaya & Co (active 1831-1913).[10][11][12] Artists such as Kawakami Sadayakko (1871-1946) and the performance of the Darling of the Gods in 1903 in London also promoted Japanese Kimono. The House of Babini in France also became famous from selling cultural appropriation from 1905 on.[14] Due to Japans rising status as the only Asian great power equal to Great Britain, the Statesians, Russia and France between its victory over Russia in 1905 and as a victor in WWI, it became acceptable for Westerners to buy, sell and wear Japanese textiles which by now had a reputation for their durability, hardiness, beauty, culture and refinement which was a world away from the expectations of westerners of the flimsy quality of Japanese silk and the 'barbarity' of minimal tailoring westerners presumed of Kimono in the 1860s.[4][10]

In conclusion therefore we see how the Kimono and the Tea gown became close allies in the Victorian and Edwardian womans wardrobe. In the evolution of this merger, from 1860-1870 this saw the rise of silk textile export and incorporation into the western wardrobe through the art patronage of the Ionides and Leyland families who promoted Japanese art in British society. By 1880 with the rise of the aesthetic movement and wider acceptance of brighter colours and visibility, aesthetic dress began to celebrate Japanese culture as part of the tea-gown with the combination of the Leyland dress silhouette and appreciation of Japan from the Japan cult of the previous decade. By the 1890s, this clearly shows in the wear of Japanese motif and silk tea-gowns, and the accepted custome of wearing Kimono in the home. With this context, Japanese textiles and Kimono became valuable in the West because of their beauty, and later their affiliation by British and by extension western, audiences with art, culture and by the Edwardian era, the production of a great power as stylish day and afternoon dress and dress materials. Kimono as such wear both worn, deconstructed and inspired British fashion between 1860-1910, particularly in their adoption in crafting the tea-gown.

Essay #7 will cover the use of Kimono amongst the Pre-Raphaelites.

Bibliography

[1] http://www.visual-arts-cork.com/history-of-art/japonism.htm 

[2] https://mimimatthews.wordpress.com/2016/03/29/japonisme-the-japanese-influence-on-victorian-fashion/?preview_id=10191&preview_nonce=614a9f7d5b&post_format=standard&preview=true

[3] The West in Asia and Asia in the West, Elisabetta Marino, ‎Tanfer Emin Tunc, 2015, p.169

[4] Victorian Tea Gowns : A Case of High Fashion Experimentation, Vol. 44 No.1, Anne Bissonnette, 2018, pp.3-22, The Journal of the Costume Society of America

[5] Social Customs, Florence Howe Hall, 1887, p.121, Boston

[6] Five O’clock Tea, Housewife, 20 June 1878, p.489, The Queen or The Lady's Newspaper & Court Chronicle

[7] The Gentlewoman's Book of Dress, Fanny Douglas, 1895, p.37

[8] https://fashionhistory.fitnyc.edu/1898-tea-gown/

[9] https://lilyabsinthe.com/category/fashion-history/japonisme/

[10] http://costume.mini.icom.museum/wp-content/uploads/sites/10/2020/08/9.-Kimono-for-the-Western-Market_-Two-Women-Two-Kimono-by-Cynthia-Amn%C3%A9us.pdf

[11] https://www.metmuseum.org/art/collection/search#!?q=Iida%20%26%20Co.%2FTakashimaya&perPage=20&sortBy=Relevance&offset=0&pageSize=0

[12] https://en.wikipedia.org/wiki/Takashimaya

[13] The Story of My Life, Ellen Terry, 1908, p.85

[14] https://cyclicity.net/2020/12/17/japonisme-in-fashion/

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Appreciation Timeline

7th century

Asuka Bijin Cave Paintings (c600-699) Anonymous Koreaboo person

    Tenjukoku Shūchō Mandala celebrating Prince Shotoku (622[1944]) Chuguji Temple, Tokyodo

Empress Suiko (593-628[1726,2015]) Tosa Mitsuyoshi, Anonymous

Tang Influenced Courtwear (690-705) Anonymous

8th century

Empress Komyo (701-760[1897]) Kanzan Shimomura

                  

Empress Koken (718-770[1799-1899])  Sumiyoshi Hiroyasu 

Fujiwara no Toyonari (720–765[1908]) Kokusho Kankōkai

Lady with Servants (799) Zhou Fang

Court Ladies adorning their hair with Flowers (c799) Zhou Fang

9th century

Fujiwara no Tsunetsugu (838[1903]) Anonymous

10th century

Yang Guifei (c907) Liao Wall Tombs of Pao Mountain

12th century

Genji E-maki (c1130[1937]) Kyoto Painter Person

Kunai Kyo the Poet (c1183-1198[1660]) Kiyohara Kano Yukinobu

Genji drooling (d.1191[c1617]) Tosa Mitsuoki 

Nara reconstruction clothing (2005) Feitclub 

16th century

Yamato-E (c1517) Tosa Mitsunobu

Momoyama Nushime-Shibori Sample (c.1568) Anonymous

Iapon from the Boxer Codex (1590) Anonymous Continental Author

Yoko Kasuri (c.1596-1615 [2018] CC1.0) Honolulu Museum of Art

17th century

                                                       

Tales of Ise (1608) Soan Yoshida

Bamboo Group Era Tagasode (c.1615) Anonymous

O-Kuni performing Kabuki Byobu (c.1603-1613) Hasegawa, Kyoto National Museum

Outdoor Amusements (1615) Suntory

Hikone Byobu (c.1624) Unknown

The Four Earthly Pleasures in Kosode (c.1624-1650) Iwasa Matabei 

Bamboo / Wood Stand Tagasode Byobu (c.1625) Anonymous

Fan Dancer Byobu (1630-1660) Suntory Museum

Shikomi-E (c1630-1660) Anonymous

Three Dancing Samurai (c1649) Iwasa Katsushige

Iwasa Portrait (1650) Iwasa Matabei

Kambun dual tone Kosode (c.1660) Unknown

Onna Shorei Shuu Tagasode (1660) Anonymous, NYPL

Shikomi-e (c1660-1670) Unknown

Seated Bijinga (c1661) Iwasa School

Grand Shimabara Courtesan (c.1661-1673) Yoshi

Lovers Caught Surprised (c.1665-1669) Kambun Master School

Dress and Table Manners from Rules of Etiquette for Women (1666) Yamada Ichirobei

Wakashu Dancer (c.1670) Hishikawa Moronobu

Untitled (c.1670-1673) Iwasa Katsushige

Beauty Looking Back (c1672) Hishikawa Moronobu 

Two Beauties (c1672-94) Hishikawa Moronobu

India Coromandel or Sarasa Fabric Sample (c1675) Anonymous

Tan-E (c1676) Sugimura Jihei

Kosode Designs (1677) Hishikawa Moronobu

Lovers Visit (c.1680) Tamura Suio

Genroku Kosode Sample Design (c.1680) 

Beauty (est1680) Sugimura Jihei school

Hinagata Bon and Wakashu (1682) Hishikawa Moronobu

Wakashu Shunga-e (1685) Sugimura Jihei

100 Japanese Women (c1685-1694) Hishikawa Moronobu

Wakashu Shunga-e (1685) Sugimura Jihei

Wakashu Shunga-e (1685) Sugimura Jihei

 Dally Couple Wakashu Shunga-e (1685) Sugimura Jihei

Furisode of Amorous Women (1686) Ihara Saikaku, Yoshida Hanbei

Yonosuke with Telescope from The Life of an Amorous Woman (1686) Ihara Saikaku

Womens Yuugao Genji Kosode Designs (1687) Yoshida Hanbei

Korean Chrysanthemum Pattern (1687) Yoshida Hanbei

Carp Waterfall Pattern (Joyo kinmo zui; 1687) Yoshida Hanbei

A Kyoto theater, where a youthful actor is admired for his natural beauty (1687) Ihara Saikaku

Bottom Heavy Genroku Spatial Arrangement (c.1680) Anonymous

GKTC or Genroku Chonin Kosode Fashion (c.1688) Unknown

Beni Kosodes, Kana and Shibori GKTC (c.1688) Unknown

Kimono Designs (1688) Yezoshiya Hachiyemon

Shunga Trio (c.1690-1740) Miyagawa Chosun

Indigo Satin Shibori Chrysanthemum Kosode (c1690) Tokyo National Museum

Man in Silk Kimono (1696) Michiel van Musscher

Tan-E (1698) Torii Kiyonobu I

18th century

Japanese Stencil Sarasa (c.1700) Japanese person

Yuzen influenced Kosode (c1700) Ishikawa Prefectural Musuem of T. Arts & Crafts

Reclining Courtesan and attendant (c1704, PD) Hasegawa Eishun

Beauty in a Black Kimono (1710-1720, PD) Torii Kiyonobu I

Shunga-e; or A spot of wrestling is good for the soul says the 6th Dalai Lama (c.1711) Unknown

Client, Kagema and Asobi (c1716) Nishikawa Sukenobu

Courtesan with looped hair (c1716) Kaigetsudo Doshin

Yuujowho (1717) Nakamura Senya

Beni-E (1720) Torri Kiyonobu I

High Yuujo and attendant (1723) Nishikawa Sukenobu 

Urushi-E (c.1728, PD) Okumura Toshinobu 

Benizuri-E (c.1744, PD) Ishikawa Toyonobu

Walking Courtesan Kakemono (c1748, PD) Nishikawa Sukenobu, British Museum

Woman in Florals (c1765, PD) Suzuki Harunobu

Nishiki-E (1765-1770, PD) Suzuki Harunobu

Hashira-E (c1772, PD) Toensai Kanshi, British Museum

Woman in Black Kimono (1783) Katsukawa Shunsho

Courtesans of the Tamaya house panel section (c1785, PD) Utagawa Toyoharu, British Museum

Fresh Model Designs (c1789, PD) Takikawa School, British Museum

Yuujo applies facecake (1795) Kitagawa Utamaro

Karamonoya store (1798) Niwa Tohkei

Kara-ori Embroidery Robe (c1799) Smithsonian Design Museum

19th century

Young woman in Boat (1802, PD) Utagawa Toyokuni I

Beauties playing Hanetsuki (1805) Utagawa Toyokuni I

Starfrost Contemporary Manners (1820, PD) Utagawa Kunisada

Kamban Asanoha Ukiyo-e (1835) Utagawa Kunisada

The Old Man (c1843) Hokusai Katsushika 

Terakoya (1844) Issunshi Hanasato

                

Sashiko-style Kimono (c1850) Anonymous

Beni Kimono (1850) Meteor Museum

Wakare ga Iyaso (1859, PD) Utagawa Kunisada

Sankin Kotai Procession (1861[1904,2010]) 投稿者がファイル作成

Morgan Le Fay (1864) Anthony Frederick Augustus Sandys

The Beloved (1865) Dante Gabriel Rossetti

Girls Portrait (1868) George Price Boyce

Traditional Padded Oshi-E (c1868-1912) Sekka, Khalili Collection

Geiko (c1870) Anonymous

Ellen Terry in Kimono (1874) Ellen Terry

The Ootuuki Family (1874) 江戸ラー

Repurposed Kimono Day Dress (1874-76) Misses Turner Court Dress

Carp Kimono (1876) The Meteor Musuem found a pole!

Liberty Catalogue Advertisement (1880) Libertys Depato

Osono attacks Rokusuke (1881, PD)  Tsukioka Yoshitoshi 

The Green Kimono (c1882, PD) Frans Verhas

Three Little Maids from School (1885) Gilbert and Sullivan & Strobridge Litho. Co

Susanoo rescues Kushinada Hime from the dragon (1886) Toyohara Chikanobu

Hanetsuki (c1890[2016]) Kusakabe Kimbei, Monash

Contemporary Beauties (1890) Yoshu Chikanobu

Contes Japonaises (1893, PD) Félix Oudart

A Tea ceremony (1896) Mizuno Takeshita

Tricora Corset Advert (1899, PD) Boston Public Library

20th century

Metallic thread, Plain weave Yoko (weft) Kasuri (c.1900-1949[2018], CC1.0) Honolulu Musuem of Art

Womens' Tate Kimono (c.1900-1939[2018], CC1.0) Honolulu Musuem of Art

Darling of the Gods Theatre Programme (1903) Yoshio Markino

Anglo-Japanese Alliance Postcard (1905, CC4.0/PD) 三越百貨店

Plain weave Meisen (c.1907-1949[2018], CC1.0) Honolulu Museum of Art

Ota Hisa or Hanako (1908, PD) Sport & Salon

Spanish Woman in Kimono (c190[8], PD) Gustave Gillman

Woman in a Kimono (1910, PD) Walter Crane

Woman in kimono (1910, PD) Julian Fałat

Plain weave Tate (warp) Kasuri (c1912-1949[2018], CC1.0) Honolulu Museum of Art

The Setsuko Family (1912) Anonymous

Plain/Crepe weave Meisen (c.1912-1939[2018], CC1.0) Honolulu Museum of Art

Kanto Plain weave Meisen (c1912-1939[2018], CC1.0) Honolulu Musuem of Art

Fish Crepe weave Meisen (c.1912-1949[2018], CC1.0) Honolulu Musuem of Art

Geesje Kwak in Japanse kimono voor kamerscherm (c1913) Leiden Universitat

Kimono Girl (1914) Elstner Hilton

Princess Yasuko of Fushimi (1917, PD) Wikimedia

Takahashi Korekiyo with his Family in the Garden (1920) 婦人画報

Prince Kitashirakawa Naruhisa and his Family (1921, PD)

Kane Tanaka (c1923, CC1.0) Molly887956321

Moga (c1925) Tokyo Metropolitan Foundation for History and Preservation

Machine Made Meisen (c1926) Khalili Collection

Mirrored Hem (c1929) Meteor Musuem

Uchikake (c1930) Khalili Collection

Princess Kuniko of Kuni (c1936, PD) 

A young women in a Furisode with a Chu Obi (1936, PD) Kawakatsu

What did the lady forget? (1937, PD) Shochiku, Sumiko Kurishima, Mitsuko Yoshikawa, Chōko Iida

Kawakami Sadayakko (c1937-1945) Anonymous

Battleship Meisen Haori (c.1938) Unknown

Schoolmarm at graduation ceremony (1953, PD) Meomeo15

Kimono Coats (1956) Shimbun

Women in Kimono (1956) 投稿者によるスキャン

Kimono in 1957 (1957) 投稿者によるスキャン

Les Brainards Grove Restaurant in Seattle (1963) Anonymous Statesian

Kappou-Gi (1969, CC4.0) Meomeo15

E-gasuri (c.1999[2013], CC3.0) Chris Hazzard

21st century

Furisode (2003) Lukacs

Tokyo Japan (2006, CC2.0) Dennis Keller

Kimono Girls in Kyoto (2008, CC2.0) Rumpleteaser on Flickr

Kimono Hime Fanzine (2009) Flickr/Kimono-Hime

Maiko serving Tea (2011) Nils Barth

Dori Style Michiyuki and Geta Kitsuke (2016) Tokyofashion.com

Dori Style Kitsuke (2016) Tokyofashion.com

Kimono Hime Street Style (2019) Tokyofashion.com