Motifs: Iris (Ayame)

Most appropriate for spring, irises are felt to symbolize good news or glad tidings in Hanakotoba (the Japanese language of flowers).

Ayame yukata worn for Obon 2014.

While many floral motifs are given guidelines for when their appearance is most appropriate, I find that I very seldom adhere to them strictly. For instance, if the pattern is on a yukata, such as the above example, I feel that it is fair game for wearing for the whole of summer (though I would probably not push it past July, which is when Obon falls). If the pattern is more like the example below, then I might wear it even into late summer, because the more dominant motif (to me, at least) are the fan shapes, which are not quite so limited.

Detail of yukata fabric featuring ayame on a fan-shaped motif. 

Up to this point, I've talked a great deal about appropriateness to season, but I haven't really delved much into the meanings behind the floral motifs, either Western or Japanese. For many, the 'language of flowers' is a rather dead one, beyond roses for romance and lilies for mourning, yet so many people have favorite flowers that they may cherish for reasons that go far beyond the traditionally associated symbolism.

My own favorite flower is a favorite not because of what it means (the Western association isn't particularly flattering, though I was pleased to discover that the Japanese association is much more kind) but because of fond memories I have of looking for them to bloom in spring. If my kind readers have similar 'disassociated associations,' I would be most interested to read them in the comments!

For tomorrow's theme, I have had to be somewhat irreverent in the choosing of a motif. I don't have any Juji (cross motifs, also known as 'tens' because of how the numeral is written) in my collection, so we will be discussing the Juxtaposition of motifs!

Motif: Hydrangea (Ajisai)

As I promised yesterday, there is no lacking of ajisai examples in my collection. It started with just one, a very classic indigo yukata with white patterning that was so comfortable it quickly became my 'go-to' yukata. I especially like it because with the classic indigo/white color combo, I can pair any number of obi with it, as you can see from the following three examples.

    

You might have noticed that all of these causal ensembles feature an obi with a geometric motif. When I'm dressing in yukata, I tend to go for less complicated pairings, as it is summer and the yukata itself is a very casual garment, even if it is worn for festivals like Obon.

You may have also noticed that two of the three obi are tied in the same knot-- the kai-no-kuchi or clam's mouth knot. A lot of this has to do with the fact that it is the only knot that I can tie for myself with any reliability. The musubi used for the orange asanoha obi on the left was done for me by my wonderful roommate (I need her help with that obi no matter what-- it's so stiff that it creaks!) who is also responsible for almost all of the photographs you've seen so far.

My other ajisai yukata is not quite as easy to pair with multiple obi as it has a little more color than my first example.

Ajisai yukata with more vintage styling and coloration.

When I'm not quite sure what from my collection will compliment a kimono, I remember that red is always a safe bet. In the kimono pallet, red is considered a 'neutral' tone-- it goes with everything. The red of this yabane patterned reversible obi isn't quite a true red, but it definitely meshed well with this particular yukata. (Sharp eyes might note that this is the full reverse of the bunny patterned obi I paired with my example for chocho.)

This motif is one of the most seasonally limited that I have shared so far. It's best worn in late spring and early summer. While hydrangea has a lengthy bloom time, it is considered to be at its best during Japan's rainy season. I tend to push this a bit and wear them well through summer. Living in California, our 'rainy season' (if we are fortunate enough to have one) is generally winter, but by wearing ajisai during our hotter months, I might evoke a little of that sense of coolness.

For a very, very long time, I was not at all enamored of floral prints of any sort, but now that I have discovered kimono, I've found that there are actually a great number of floral motifs that I enjoy. Perhaps this is because there seems to be a much wider variety than was offered in the sweet little calico prints that were picked out for me. I suspect that my kind readers have their own favorite floral motifs and I would be most delighted to hear about them in the comments.

We'll have a break from posting on Sunday 4/10 and will be back on Monday when you might have a chance to learn about your favorite flower, if it happens to be the Iris (Ayame).

Motif: Grasses (Nowaki)

A soft pattern of waving grasses, paired with a muted geometric obi

Grass motifs are most appropriate for late winter and early spring, as well as most of autumn. Remember that kimono come from a place that experiences a 'four seasons' climate of cold winters, blooming springs, warm summers and fading autumns, and the guidelines for kitsuke are intended to reflect and compliment that.

Despite it's seasonal limitations, patterns featuring grasses can still be quite versatile. They work as a good canvas for showcasing any special little pieces you might have as accessories, like in the ensemble below:

Not quite a front view, but showing off the wool
shawl with sashiko plum-blossoms.

Back view with decidedly non-standard obi
musubi and kanzashi.

In my efforts to keep my commentary limited to items that are present in my own collection, it means that there are several motifs where I have only one solid representative. This seems to be one such case, even after scouring my collection. If my kind readers have images of any items with appropriate patterning they would like to share, they are most welcome to do so! I love to see the pieces that others have come to treasure, because there is always so much vibrancy to them.

Tomorrow, we'll be visiting a motif for which I have MANY examples, as it's come to be one of my personal favorites, right up there with asanoha-- Hydrangeas (Ajisai)!

P.S. I might have volunteered to do an emergency post for my dear friend Eclectic Alli. Her A-to-Z blog challenge is all about places we've been, and I was happy to fill in G for Gettysburg. Be sure to have a look around while you're there!

Motif: Fuji (Wisteria)

Part of the challenge that I set for myself when contemplating this undertaking was to find examples of each motif amidst my own collection. As a consequence, I'll be talking about the flower, rather than Mt. Fuji-san for today's motif. I'd like to point out, though, that Fuji-san IS an exceedingly popular motif, not just in prints and on accessories like fans, and that the iconic mountain can be found on kimono as well. Just not in my collection. Yet.

In truth, the best examples for wisteria come from my collection of ningyo (dolls, not the fishy yokai monster). The 'Wisteria Maiden' or 'Fuji Musume' is a very popular theme for ningyo, stemming from it's popularity in Kabuki theatre. They often appear with a willowy branch of flowers, a round, flat hat, and their kimono fairly drip with stylized wisteria motifs.

This lady is most typical of the 'Wisteria Maiden' style. She was a thrift-store find, but still has her hat and  wisteria branch.

This lady is also a thrift-store find, and though she has lost her hat (it's hard to tell if she had one) and wisteria branch (the posture suggests she did have one, as well as the position of her left hand), there is no doubt that she is a true Wisteria Maiden.

Detail of the left sleeve and obi of the second maiden.

While the first lady has all of the typical accessories and a wisteria-themed kimono, I feel that the second example is a little closer to the garments as they might have appeared on the Kabuki stage. Her's is a much more dramatic presentation, and if you look again, you will notice that the right sleeve of the kimono is actually slipped off, revealing the wisteria patterning continued on the juban sleeve.


As for garments in my own collection, the most striking is this haori.

The pattern isn't as rounded as wisteria is often portrayed, but the tiny hints of blue in the lighter petals lead me to feel that it's decidedly more flowery than a willow.

A garment like this can really pack a visual punch, and so it isn't often that my outermost layer is the focus of my ensemble (mostly because of the likelyhood it will be removed, unless it's quite chilly). I did have a chance to show it off in its glory in late January, when I attended the Edwardian Ball (in honor of Mr. Gorey, the illustrator). I had wanted to go for a look that would hint at the Taisho era (1920's) and the haori fit this to a tee with it's bold coloring and pattern.

The stripes don't show up well in the photo, and yes, this was taken in a mirror, causing my collars to appear to be overlapping incorrectly.

Wisteria is a decidedly spring motif, though you could push the season a little by wearing it in very late winter, thereby offering an expectation of things to come. If my kind readers have something they're looking forward to, perhaps upcoming posts in their own blogs, I'd love to hear about them in the comments!

Speaking of things to come... we'll be back tomorrow with Grasses (nowaki)! We'll be looking at botanical themes for the next several letters, so stay tuned!

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)!

Motifs: Diamonds (Hishi)

Diamond motifs are another one of those delightful geometric motifs which, on their own are not confined to any one season or occasion. Like other geometric patterns, diamonds can appear on its own or paired with other motifs to create a more seasonally-specific inspired look.

My first two examples are of yukata, so one will likely want to consider summery motifs to pair with them. Popular choices might be dragonflies, fans (uchiwa-- the round 'paddle' fans are most appropriate) or hydrangea.

This women's yukata is not STRICTLY a diamond motif as it might be a little closer to a woven pattern with the cross-hatched look.

This is a men's yukata and right away you can see that the patterning is more geometric and has a less in the way of visual interest.

There are many variations on this motif, the most common being 'hanabishi' or a diamond-shaped flower. In the next example, you can see it used as an accent to the more dominant pattern of chrysanthemums in a Nagoya obi.

The hanabishi appear in green. This is just one example of how hanabishi can appear in more complex designs.

Full view of the obi as part of an ensemble put together for an autumnal outing.

In the above example, you can see that the hanabishi really aren't prominent in the overall look, but there's no doubting that they add a certain amount of visual appeal. The green also harmonizes nicely with the hints of green in the subdued hues of the kimono.

Today's motif can be found in masculine and feminine garments, but tomorrow's motif, Eagles (Washi) are decidedly masculine. I hope you'll come back tomorrow when I discuss this noble motif!

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)