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Samurai outfits (kamishimo) usually had three distinct parts. Harunobu Suzuki, Young Samurai Looking at the Cherry Blossoms, c. 1767–68, color woodblock print, Bequest of Richard P. Gale
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Kabuki actors were fashion trendsetters. They wore elaborate costumes on-stage to add more drama to their performances. Hiroshige Utagawa and Seiemon Aritaya, Prologue, Edo period, color woodblock print, Gift of Louis W. Hill Jr.
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Kimonos worn in the summer were made of lighter fabrics; patterns reflected the season, comprising flowers, butterflies, or fishing scenes. Goyo_ Hashiguchi, Woman in Summer Kimono, 1920, color woodblock print, Gift of Ellen and Fred Wells
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Tell us about yourself
Each traditional Japanese garment provided clues about its owner. It could reveal the age and social or marital status of the wearer. For example, a married woman wore a robe with short sleeves and small patterns, while an unmarried woman, who wanted to announce her single status, wore a vibrantly colored, boldly patterned, long-sleeved robe that would attract admirers. Colors were important indicators of status. Because red dye was expensive and labor-intensive to produce, a brilliant red robe announced the financial status and high social rank of its owner.
Specific garments and styles were associated with particular professions and activities. A fireman would often wear a quilted coat that would be soaked in water before he attacked a fire. Warriors, too, had specific sets of clothing. During the Edo period, a samurai would wear a three-part outfit called a kamishimo, which included an outer coat, inner kimono, and a long split skirt. Kabuki actors would wear outrageously patterned kimonos that would establish a dramatic tone and complement the stage set.
The designs themselves were symbolic. On a fireman’s coat, the design connoted the bravery of the man who wore it. Family crests, usually derived from nature, designated the robe wearer’s clan. A kimono decorated with auspicious motifs, such as cranes, tortoises, plum blossoms, and bamboo, reflected a new bride’s hope for a long and happy life. Other designs, such as fishing scenes or maple leaves, indicated the season in which the robe was to be worn.
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Lavish kimonos were also worn in Noh dramas, another form of traditional Japanese theater. Inner Noh robe, c. 1650, silk, embroidered, impressed gold, The Ethel Morrison Van Derlip Fund
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