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Tracing Trends in Heian and Edo

Sheila Cliffe

Source: The Social Life of Kimono. Japanese Fashion Past and Present, 2018, Berg Fashion Library

Book chapter

It is probably impossible to pinpoint a moment or location at which fashion started. Chapter 1 outlined five defining aspects of fashion from a body of fashion fashiontheorytheory, and now we return to the story of kimono, in the light of those five aspects. References to clothing used in functional ways or to uphold custom(s)customs, traditions, or the status quo are to be expected, so here the search is for deviations from such norms. The search is for any shreds of evidence of clothing used in

Kimono

Alan Kennedy

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

The kosode takes its name from the adjective ko, meaning “small,” and sode, for “sleeve.” In that a kosode/kimono sleeve has the appearance of a large pouch, it is difficult to consider the kosode sleeve as being small. In fact, what is small relative to the overall sleeve size is the opening through which the hand passes. The kosode sleeve opening is so-named in contrast to the ōsode sleeve, which is entirely open and unsewn.

‘Twisted’ Poses: The Kabuku Aesthetic in Early Edo Genre Painting

John T. Carpenter

Source: Classic and Modern Writings on Fashion, 2nd Edition, 2009, Berg Fashion Library

Book chapter

Kabuki as we know it today – a highly respectable ‘traditional’ theatre with male actors playing established roles in dramas with complex plots – did not emerge until the late seventeenth century. In its earliest manifestation, it was a dance theatre with female performers, whose dances and skits appealed to the warrior elite and commoner alike. The word for Kabuki drama is now properly written with three Chinese characters, ‘song’, ‘dance’, and ‘skill’, but it has a less flattering etymology rel

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