Fashioning Kimono: Dress and Modernity in Early Twentieth-Century Japan. Annie Van Assche, ed. Milan: 5 Continents, 2005. 327 pp.
Reviewed by Carrie Hertz
From
October 13, 2005 through May 1, 2006 the Victoria and Albert Museum
(V&A) held an exhibition of exquisite kimono from the Montgomery
Collection entitled “Fashioning Kimono: Dress and Modernity in Early
Twentieth-Century Japan” that presented examples dating from the Edo
through the Showa periods (1860s-1950s). An exhibit catalogue of the
same name and edited by Annie Van Assche was produced along with the
exhibit. This stunning catalogue boasts one hundred and thirty-nine
full page, color photographs of each kimono (and haori jackets) featured in the exhibit as well as five contextualizing articles mostly of a scholarly nature.
Three-fourths of Fashioning Kimono
swells with art museum style color photographs of individual objects.
Rather than displayed on mannequins revealing the fabric drape and play
of design on the body, the kimono are laid flat against solid backdrops
and photographed to highlight the overall surface design. The result is
visually impressive and illustrative of the theoretical focus of the
catalogue as the product of a museum of art and design
exhibition.
“Interweavings:
Kimono Past and Present” written by Annie Van Assche serves as an
introductory glimpse into the V&A exhibit and the world of kimono
fashion. Van Assche defines the kimono, the “national dress of Japan,”
as a “one-piece, front-wrap garment with a rectangular form” (p. 7).
With antecedents in seventh-century Chinese court dress, the form of
the kimono has remained relatively stable over hundreds of years.
However, Van Assche never portrays kimono as stagnant or frozen, as
devoid of fashion. Instead, she devotes most of her discussion to
presenting the interplay between traditional artistry and changing
trends. The author analyzes the garment as a material object by
focusing on form as well as fabric varieties, production, dying, and
design techniques. In a series of sections that explore various
fabrication methods accompanied with diagrams and photographs of
artists performing the described techniques, Van Assche foregrounds the
contemporary vivacity of kimono design. Each section provides not only
the explanation of a given fabrication method but also a brief overview
of the social-cultural milieu that introduced and perpetuated the style
as well as the individuals or categories of people most significantly
involved in the invention, production, or consumption of it.
As
Van Assche clearly articulates, the examination of the kimono cannot
end with formal analysis but must include an understanding of Japanese
culture and history in which the garment is situated. Van Assche
attempts to supply the reader with a few analytical tools in which to
evaluate the many photographs through a brief discussion of popular
design motifs, their emic names and traditional associations, as well
as a quick historical outline of the fashion trends representative of
the historical periods found in the Montgomery Collection, especially
the introduction of Western clothing during the Meiji period. Despite
this important contextualizing information, the treatment is too
cursory for a novice viewer to delve much further than the surface
beauty of the pieces, which appear divorced from the discussion.
Anna
Jackson’s more tightly focused article, “Dynamic Lines and Syncopated
Rhythms: Art Nouveau and Art Deco Designs in Early Twentieth-Century
Kimono,” explores Japan’s participation in a larger, global fashion,
art, and industry context by examining the reciprocal inspiration of
art movements featured heavily within the objects of the Montgomery
Collection. Jackson offers an intimate look at Art Nouveau and Art Deco
through the lens of national posturing encouraged by World’s Fairs
exhibitions in which Japan competed for acceptance as a modern power.
Since both art movements were themselves influenced by Asian style and
design motifs, their (re)introduction into the Japanese art world was
ultimately conservative, a “stylistic synthesis” rather than Western
“emulation” (p. 31). Through formal analyses of several examples within
the Montgomery Collection, Jackson successfully integrates the featured
images within a larger art-historical discourse by illustrating how the
physical objects reveal the spirit of the age in which they were
created.
Elise
K. Tipton, in her article “Atarashi Onna: The New Japanese Woman,”
steps outside the world of art and production to explore the feminist
movement in Japan during the early twentieth century. Although Tipton’s
focus does not include a thorough discussion of the kimono’s role in
women’s social and economic advancements during this period, she does
set a scene of impassioned struggle and excitement among Japanese women
who, despite the media’s characterization of the “new woman” as morally
suspect and aggressively Western, embraced the new, bold kimono designs
that reflected not a rejection of tradition but a fusion of modern and
traditional, Eastern and Western sensibilities. By comparing Jackson’s
and Tipton’s contributions, one may surmise that women’s kimono, more
dynamic and dramatic than the few men’s examples in the Montgomery
Collection, reveal early twentieth-century Japanese art, fashion, and
political movements carving out parallel paths.
The
final scholarly article, “The Kimono and Parisian Mode” by Akiko Fukai,
further exemplifies the continuous thematic thread weaving throughout
the catalogue articles: the modes of interconnectivity between Japan
and Europe, East and West. Fukai examines the influence of the
kimono—its formal construction, textiles, and characteristic surface
designs—on Parisian couture at the start of the twentieth century.
While Van Assche advocates in her introduction an emic presentation of
the kimono, the overarching thrust of Fashioning Kimono’s
catalogue situates the kimono in dialog with the West. The kimono is
declared a style of dress “quintessentially Japanese” but reinterpreted
as a symbol of cultural exchange and modernity for a primarily Western
audience in a prominent British
museum.
The
moment in which this presentation is broadened offers a glimpse of the
kimono in a new glimmering light. Reiko M. Brandon’s “Kimono Memories:
Personal Notes” is a biographical sketch of the author’s experiences
wearing and observing kimono within the context of everyday life. While
the scholarly articles concentrate on design, fashion history, and
globalized interpretations, Brandon’s article privileges the local and
individual by revealing the personal deliciousness of owning beautiful,
cherished objects, the sensuous sounds, smells, textures of a physical
possession. “Kimono Memories” adds a sophisticated balance between art
and functionality as well as the communal and individual interaction
with clothing by infusing personal biography, individual creativity,
and sensuous reality into a collection of beautiful but otherwise
flatly displayed garments divorced from human bodies and individual
lives. The scholars of Fashioning Kimono
offer the reader the kimono as an exquisite art object seen through the
eyes of an adoring Western audience; Brandon reminds us that clothing,
indelibly woven into the fabric of everyday life, is designed to be
worn. As she concludes, “wearing a kimono is, in itself, an art” (p.
47).
Carrie
Hertz is a doctoral student in the Department of Folklore and
Ethnomusicology at Indiana University and is Editorial Assistant for Museum Anthropology. Her
research focuses on museum and material culture studies, with a special
emphasis on the study of clothing and self-adornment. Her work has
appeared in Midwestern Folklore.