Monday 15 September 2014

FROM GEISHA TO DIVA.......PART 2

 
 
                                                                                       

Note, in particular, the third statement above.  " it is taken apart to be
laundered".  Something most people have not given thought to but yes,
the kimono is totally dismantled, laundered and then stitched back together.

                                                       

                                                 The disassembled kimono
                               ( silk with gold thread, embroidered and painted)

For cleaning purposes, a kimono would be disassembled and it's standardized narrow panels sewn together into one long strip up to eleven metres long.  After cleaning, it would be stitched back together by hand.

                                                          

                                                        Kimono stitching

The amorous skills of a geisha were highly valued along with their sophisticated conversation and beauty. They learned their skills from " pillow books" called makura-e that constituted part of their formal education. The images in the books were called shunga or " spring pictures" and were often quite explicit.


                                                         

                                                              
 

                                                      Hairpins and Combs
                                             ( paper, lacquered and painted)

                                                       
 
Formal Kimono known as a Tomesode
 
 
 
Silk crepe fabric with hand painted cranes
 
The crane is associated with long life and used often as a motif in Japanese culture. The crane motif on the tomesode is carried on to the inside of the garment's opening.  This particular tomesode has five kamons on it which signifies extreme formality. The word mon means crest and kamon means family crests.  
 

                                   Three of the five kamons on the tomesode

The emblems are used to decorate and identify an individual or family.  It can be likened to a badge or coat of arms in European heraldic traditions.
The origins of the kamon go back to the eleventh century. High ranking officers of the day began using the designs on their formal wear to be worn at the Imperial court.
When a roll of fabric is dyed for a kimono that will have a kamon on it, discs of fabric are masked with rice paste, to be left undyed (white).  The mon design is then stencilled onto the white disc.  Kimonos always have a centre back seam, so the roll of kimono fabric has half circles left in the correct place at the edges so that, when it is sewn together it forms the mon at the centre back.

Not all of Ichimaru's wardrobe consisted of traditional dress. Pictured below is an over kimono coat made of machine lace.  It is not a traditional haori jacket for it has neither the haori-like collar nor a typical front opening.

                                                            

This garment belongs to contemporary kimono fashion that has been influenced by Western styles. It is made of machined lace with an overall pattern of stylized leaves on a background of black tulle.  The entire coat is lined with fine gold coloured gauze.  I was able to take a very close look at the construction techniques on this jacket and it was amazing. The photo below shows the detail and you can clearly see the black tulle background. It is an intricate and delightful piece of work.
                                                            
 


The final display in the exhibit was a wig made of human hair and elaborately arranged in a traditional style. It was a very important part of the geisha's outfit.
                                                              

Although the wig was displayed in a glass case, which made it awkward to photograph, you can clearly see the individual hairs and lacquer.  The wigs
were combed and reset once a month and great care was taken to ensure not a single hair was out of place.  Dressed with wax or camellia nut oil, the wig was built on a framework of Duralumin ( an aluminum alloy) and lined with netting. Underneath the wig, the geisha's own hair was plastered down with tight bandages.  An uncomfortable thought indeed!
                          
                                                              
                                                           
I discovered in my forays into kimono research that there had been a book written called " The Kimono of the Geisha-Diva Ichimaru".  It was collaboratively researched and co-authored  by Barry Till, Michiko Warkentyne and Judith Patt, all of whom are from the curatorial department of the Art Gallery of Greater Victoria, the source of the above exhibit. Not only is it a photographic and biographical compendium of the life of the fascinating Ichimaru, but it also contains detailed information on kimono construction, materials, dyeing and stitching techniques along with styles and cultural connotations.  I believe it is now out of print and it is also like hen's teeth to find.  However, after a great deal of legwork, I have managed to find a used copy and it is currently winging it's way to me.

Another book which might interest you ( and much easier to obtain) is The Asian Mystique ( Dragon Ladies, Geisha Girls and Our Fantasies of the Exotic Orient) by Sheridan Prasso.  It is a compelling read and an education in itself. In the book, Prasso challenges cultural and political stereotypes of Asia that have dominated Western thinking for centuries.....our impressions from Western literature, the stage and screen icons, the submissive, sexual geisha, the dragon lady dominatrix and the portrayal of Asian males as effeminate and asexual. She interviews Asian women from all walks of life and we see how they are usually very different from the fanstasies and stereotypes we've been indoctrinated with. This would also be an excellent book for anyone who is involved in or interested in gender studies.




 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 

2 comments:

  1. Goodness - can you imagine if our clothes were taken apart and restitched after each wash? Really interesting post - beautiful images :)

    ReplyDelete
  2. Very labour intensive for sure Frances. No wonder those Geisha's are highly perfumed! :-)

    ReplyDelete