Motifs: Tsuru (Cranes)

Symbolic of a long life, it is no wonder that cranes are a popular motif in a variety of mediums. That they are graceful and easily portrayed in a number of ways certainly doesn't hurt their popularity, either!

Whenever I'm going out and want something particularly auspicious or commemorative, I will try to incorporate this obi into my ensemble.

Obi with crane and wheel motif.

Because of the amount of gold thread in this particular obi, I often worry that it is a little too formal for wherever I may be going, but it is by no means the most formal item in my collection.

If I am going out for less formal occasions, or I don't wish to feel quite as confined as I sometimes do in kimono, I will often dress in hakama and hakamashita (this is the term I use for kimono tops, mostly ones that I've made, that are cut short so that I don't have to fold them to accommodate the rise in my hakama). Back in January, I had an opportunity to attend the Edwardian Ball in San Francisco (in honor of Edward Gorey), and for the second night of that event, I chose to dress as inspired by the Meiji Era.

Hakama and hakamashita, with haori and derby hat. I wore a collared shirt under instead of a juban, as was becoming fashion during the Meiji Restoration (late 1800s).

Detail image of the hakamashita pictured above. I'd also like to point out the matsu, or pine motifs, and apologize for everything being sideways.

The cranes here are pictured a little more realistically (as long as we ignore the purple pine trees) and not so uniform as the cranes of the obi, but the coloring and pattern lend this garment to slightly more whimsical and informal settings, and the Edwardian Ball was most certainly 'whimsical.'

Some of my garments featuring cranes aren't even likely to be seen by the casual observer. It isn't uncommon for undergarments like juban to be decorated, and earlier this month, I gave you a peek at one of my kimono underskirts (susoyoke) that is covered in origami style cranes. A garment like that isn't really one that I figure into the effect of an ensemble as a whole, mostly because it shouldn't ever be seen except in very brief glances. I think that there is a lot to be said for having little secrets like that in a wardrobe, and if my kind readers have any that they are willing to share, I would love to read about them in the comments!

I'll be back on Monday when we'll be having a look at a very popular botanical motif: Ume (Plum Blossoms)

Motif: Juxtapositions

Rather than taking today to talk about any of the motifs I could have used for 'J,' I thought it might be fun to instead look at some motifs that are created with different design elements. On their own, these items might have one meaning, but in juxtaposition to other designs, the intent is subtly shifted.

When I came up with this solution to my 'J' problem, I had one specific motif in mind. This combination of bamboo, pine, and plum is so common that it has its own name: Shochikubai. Also referred to as 'The Three Friends of Winter' this motif is considered to be highly auspicious and is most associated with the New Year season (Lunar, but also Gregorian), and is also the name of a very popular brand of sake.

Shochikubai with cute mousy-type critters guard our kitchen

The noren above is the only example of this motif that I could find in the house, which was very surprising to me, given how very popular it is. Bemused, I went back through my collection and stumbled upon another motif that is made up of many singular aspects drawn together-- Shoen Road.

This motif, also known as 'Shining Road,' is actually more like a river motif, and the other aspects that go into making it a cohesive whole can vary greatly, depending on what impression the artist behind the fabric wished to convey.

Detail of sleeve on pink 'shoen road' kimono.

The floral motifs (fuji, ume and kiku-- wisteria, plum, and chrysanthemum), as well as the soft pink hue mark this as a decidedly 'early spring' kimono. You might notice some other design elements in this very busy piece-- the hanabishi diamonds, as well as a faux-shibori print ground for the wisteria. There are also auspicious (if somewhat drunken) cranes scattered through the design.

I find that pieces like this one do much better with uncomplicated obi and accessories; something that will mute the effect of having so much going on visually. When I wore this piece out for a very (VERY) late winter excursion, I chose a vintage knit shawl to compliment the ensemble. It was still cool enough for the second layer to be necessary, and made the whole effect less 'springy' overall.

Pink 'shoen road' kimono paired with blue ombre obi and knit shawl.

If you've been following along so far, you may have noticed that there are a great many pieces in my collection that are not limited to just one motif. I think this adds to the versatility of the garments, as well as to the effect I can have in making my own juxtapositions in ensembles. I'm sure that this is quite common in fashion and in art, and I would love to hear about any favorite pairings of theme or color my kind readers have in their own arts and fashions. Please feel free to write about them in the comments!

Tomorrow, we will be looking at what I refer to in the labels as a 'manufactured' theme. So far, we've been seeing either plants or animals with the occasional geometric, but tomorrow's theme of Kasa (umbrellas/parasols) is a motif that is clearly man-made in origin.

Motif: Eagle (Washi)

Strong and noble, the eagle is one of the few masculine motifs that is not a geometric pattern. As a consequence, it is often found on garments with more subdued coloring, and not one likely to appear on women's kimono (though there are always exceptions to the rule). It is also a very popular motif for kimono for little boys, such as they might be draped in for their first shrine visits.

As the motif is masculine, darker color combinations prevail and any pairing of obi is likely to be fitting for most seasons. The guidelines for men's kitsuke are not as extensive as those for women's, and thematic seasonality is not as strong a consideration so there can be a little more leeway. Also, the pallet of colors found most readily in men's kimono means that it is fairly difficult to pair things that don't compliment each other in some way.

Hawk and Pine (matsu) hakamashita (top) with plain black hakama.

I put the above ensemble together for a New Year's visit to San Jose's Japantown. California winters mean that I don't always need a haori for an added layer of warmth, but a plain black haori with this would certainly not go amiss. The subdued colors speak to the climate of the season, and while the New Year is a very festive time, I chose to let the auspicious nature of the eagles and pine that appear in the motif hint at that. 

I'd like to point out that while it is not unheard of for women to wear hakama, they tend to be reserved by the modern wearer for either sport, like Kendo, or for graduation ceremonies. In the later case, the hakama would likely be of some bright color (purples and greens seem to be the most popular) and they would be paired with a furisode as graduation is considered a formal occasion.

At some future date, I will do a more in-depth post on men's kitsuke, at least as far as I have come to understand it. If any of my kind readers have tips or pointers, I would be most interested if you cared to share them in the comments!

Tomorrow, we'll be visiting one of the many popular floral motifis, Fuji (wisteria)!

Motif: Chocho (Butterflies)

What could be more inspiring of summer than the vision of butterflies flitting from flower to flower? With their elegance and grace, it is no wonder that chocho are so commonly featured in kimono patterning.

Vintage yukata featuring butterflies. Purchased from Nichi Bei Busan in San Jose, CA.

Unidentified dancer at San Jose's Bon Odori, 2014.

The butterfly is a very popular spring/summer motif and can also be found as the primary theme for many mon, or family crests. Aside from it's grace and fleeting sense of beauty, the butterfly is also associated with themes of transience and death. This gives their appearance on yukata and even deeper meaning-- summertime is Obon season, the festival of remembrance for those who have died.

As with most botanical or animal-type motifs, it's best to pair it with a geometric or even plain pieces so that the patterns do not compete. If you look again at the first photo, you might notice that I throw this rule of thumb out the window and go for an obi featuring bunnies with a striking geometric on the reverse. In that case, the butterflies are not as central to the pattern as they are in the example from the Bon Odori, where she has paired a red obi with a lotus enclosed in a circle, mirroring the more subtle circular motifs that are also present in her yukata. With the vintage yukata, I was looking to liven up the very muted slate by pairing with an obi that brought out the lighter colors of the flowers. The darker lines on the obi also mirrored the vine-like lines of the pattern, giving the ensemble a cohesive air, even while not having a prominent geometric (except that tiny little bit showing in my obi musubi).

My philosophy is that as long as you know what rules you're bending and why, there's no harm in having a little fun with putting together ensembles. If my kind readers have any fashion 'rules' they like to bend (and I don't just mean wearing white after Labor Day), I would be most interested in seeing them in the comments!

Tomorrow, we're moving back to a geometric motif: Diamonds (Hishi)