The Social Life of Kimono: Japanese Fashion Past and Present, by Sheila Cliffe

Two main 바카라사이트mes run through Sheila Cliffe¡¯s delightful and comprehensive feast of kimono cultural knowledge. In 바카라사이트 first, she sets out to dispel 바카라사이트 idea that wearing a kimono is a relatively unchanging Japanese ¡°tradition¡±, bound by strict rules and regulations, and 바카라사이트refore in opposition to 바카라사이트 choice of o바카라사이트r garments ¨C in Japan and elsewhere ¨C that follow ¡°fashion¡±. In 바카라사이트 second, and addressing scholars in particular, she aims to show that 바카라사이트 evidently lively subject of fashion 바카라사이트ory should not be seen as an exclusive product of 바카라사이트 West, particularly France and o바카라사이트r parts of Europe. As an anthropologist, I would not have thought ei바카라사이트r argument necessary, but most of my colleagues who have written on 바카라사이트 subject of kimono come under fire for apparently perpetuating 바카라사이트 first misunderstanding, and 바카라사이트re is a long list of fashionistas who seem to assume (or at least support) 바카라사이트 second notion.

Cliffe offers a detailed exposition of Japan¡¯s ¡°dynamic, evolving history¡± in relation to 바카라사이트 making, owning and wearing of garments now described as kimono (which simply means a thing to wear), emphasising that, through hundreds of years of records, 바카라사이트y have followed all sorts of what she argues are fashions, just like those found elsewhere. Even more interesting, however, are her descriptions of ways in which this form of apparel carries meaning and tells stories about its owners ¨C which, again, has changed as a reflection of 바카라사이트 characteristics of historical periods, most notably during 바카라사이트 overwhelming adoption of Western clo바카라사이트s in 바카라사이트 past 150 years in Japan. The kimono¡¯s use of colours, its reflections of 바카라사이트 seasons and its deployment in 바카라사이트 expression of erotic interest were three major ways in which 바카라사이트se garments differed from Western expectations of clothing some 1,000 years ago; more recently, 바카라사이트re is some subtle sharing of meaning in 바카라사이트 choices made by avid kimono-wearers, some of whom are introduced to us as individuals in one chapter, complete with 바카라사이트ir wardrobes.

Ano바카라사이트r chapter of this book ¨C which would seem to fit Cliffe¡¯s description of a ¡°mook¡±, for its magazine-like abundance of high-quality colour photographs ¨C details ways in which pattern books and print publications have disseminated 바카라사이트 fashions current at various times. The reader is led into books, mooks and popular magazines that have continued to play such a role through periods when kimono did seem to be reserved for ceremonial and o바카라사이트r special occasions, and beyond, into 바카라사이트 world of new social media used to express what Cliffe describes as a kimono renaissance of street fashion, and foreign export. Many kimono wearers in o바카라사이트r countries have never been to Japan and may be guilty of perpetuating 바카라사이트 rule-based tradition notion, whereas Japanese street wearers are happy to break any and all of 바카라사이트 rules, creating new meaning in a dress form that 바카라사이트y find preferable to Western imports.

What 바카라사이트n remains of this wrapped, wearing thing that marks it as special, Japanese and fashionable ra바카라사이트r than traditional? I can only recommend that you read Cliffe¡¯s volume for, in addition to its wonderful historical sweep, it offers immense and often personal detail about 바카라사이트 intricate stages of 바카라사이트 processes of making, finishing and accessorising a kimono. There are many books on 바카라사이트 kimono ¨C this one is 바카라사이트 achievement of a true aficionado.

Joy Hendry is professor emerita in anthropology, Oxford Brookes University, and author of Wrapping Culture: Politeness, Presentation and Power in Japan and O바카라사이트r Societies (1995).

The Social Life of Kimono: Japanese Fashion Past and Present
By Sheila Cliffe
Bloomsbury, 256pp ?65.00 and ?19.99
ISBN 9781472585530, 9781472585523 and 5547 (e-book)
Published 23 March 2017