Rules in wearing Kimono.

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Rules For Women In Wearing Kimonos

In Japan today, most people wear Western clothes in their everyday life, but the traditional Japanese clothing �kimono- is still popular. Kimono is a complex costume. This complication is shown in the rules in the standard dressing formula. There are a lot of rules about wearing a kimono, from choosing a suitable kimono and wearing a kimono to acting and walking while wearing it.

The most complicated thing in wearing a kimono is how to choose a suitable one because there are a lot of rules about what types and color of clothing people wear on various occasions as well as who can wear it and when. The kimono reflects a time past when social codes concerning status were important. Women must choose the right color and design according to her age and marital status. There is a clear distinction in color, design and the sleeve-length between married women and unmarried women’s kimono. For example, only unmarried [usually younger] women wear kimono with long, flowing sleeves [Furisode kimono]. In other words, those who once got married are not supposed to wear long-sleeve kimono in front of public. Younger women can wear brighter colors and the wide waist sash, or “obi,” which can be tied in a more showy way. The thin tie that holds the wide sash in place is tied in different ways, depending on whether the occasion is happy or sad. Married women should wear a shorter sleeved kimono and more conservative colors and designs [Tomesode kimono] (Occasions For Wearing Kimonos). Also, the distinction between formal and informal situation is taken seriously. In All-Japan The Catalogue Of Everything Japan, Liza Crihfield explained

At its most informal, a kimono is a cotton yukata � literally a bathrobe. Otherwise, when the occasion calls for a kimono, it will most likely be the most formal version a special silk kimono marked by heraldic crests and worn at weddings, funerals, and other times of high ceremony. (8)




For unmarried women, “the most formal kimono for festival occasions is in various colors. It has an overall design that runs diagonally from the shoulder down to the hem,” long sleeve. For married women, the most formal kimono is the “tomosode of black silk crepe with the family crest in 5 spots, has design only on the hem” (Kamachi 1-14). A key distinguishing feature of tomesode (both black and other colors) is that only the fabric on the bottom half of the kimono is decorated with a pattern. Women also often wear a “black susomoyo kimono with crest over a magajuban, with a white habutae collar while pre-married girls and brides wear the furisode.” “Haori is never worn by women on formal occasions. For informal wear, colored susomoyo is worn.” (Mombusho 05) As they get older, their kimono designs become less distinct and the colors deeper and richer while the obi is worn lower and made narrower. Obi colors, like the kimono, depend on the age of the wearer.

In addition, there are certain rules for colors of kimonos one should use that are defined by the season. Japanese people are keenly aware of four seasons, and the clothes they wear are always in keeping with the season. For example, in springtime, young woman would wear kimono which color is combination of light red and pink, suggesting color of sakura, the cherry blossom. In summer, blue, the color of water would be better. Autumn calls for colors that imitate the hues of the turning leaves, and winter is the season for strong colors like black and red. Therefore, hito hitoe, a single layered, unlined kimono, is worn during summer from June1 through September 0, and the winter kimono, awase, is from October 1 through May 1 (Dalby Kimono 08-1) Explaining Japanese’s habit of changing their kimonos to fit the season, Norio Yamanaka writes

From this [“wrapping” phenomenon 1 layers of kimono] arose a unique and deep appreciation of colors and their combinations, for great care was taken in matching and harmonizing the colors of the kimono […] Choosing colors to mirror the seasons and their moods is a reflection of how Japanese became finely attuned to even the slightest change in seasons and learned to appreciate the beauty of things in nature (8).

Japanese is not only sensitive about proper clothing reflecting the changes of season but also sensitive about accessories that go with the kimono. Western accessories are not appropriate to wear with the kimono such as piercing, necklaces and bracelets. Ring and wristwatch are worn occasionally. Unless you have had a kimono put on you, or lived in Japan for any length of time, you would probably be quite surprised just how complicated it can be. It isnt something you can just slip into. In fact, there may be 18 different articles or accessories, which are needed as a minimum. According to Norio Yamanaka, wearing a kimono requires tabi (split-toed socks), hadajuban (undershirt), susoyoke (half- slip), towels or body pads, nagajuban (full-length under-kimono), han eri (half-colar), eri shin (half-colar lining), chikara nuno (collar adjustment), date-jime or date-maki (waistband or under-sash), koshi himo (sash), kimono belt, obi, kari himo (temporary cord), obi ita (obi stay), obi makura (obi pad), obi-age (bustle sash), obi-jime (obi cord), zori (sandals) (7). Thus, putting on the kimono is not easy and must be in order. The kimono must be “fitted on the body with all the seams straight, and the length is adjusted by tucking in the excess material under the sash. One absolutely important rule is to pull tight the right side of the front first and then the left side over it” (Clothing). It requires 0 steps in putting on a woman’s kimono and practice is needed to do it properly.

Even though a special technique is required to wear a kimono, the style and refined beauty of the kimono derives more from the atmosphere created by the manner in which the kimono is worn than from the beauty of the cloth. A kimono is said to be beautiful only when the wearers spirit and character is “a thing of beauty.” “Wearing a kimono is not simply a matter of putting it on, for it is the wearer who makes the kimono elegant or tasteless.” (Yamanaka 16)

Posture is of great importance. It should be natural, with the back straight, the chin pulled in slightly and the shoulders relaxed. Sudden and large movements should be avoided, since they will expose the arms and, especially, the legs, and allowing even the briefest glimpse of the legs is considered quite bad taste (Yamanaka 16).

In walking, taking steps needs to be small and slower than when wearing western style clothes. This is quite restrictive always keep your back straight and keep your balance even when bowing, sitting, eating, drinking or just getting into a car. Therefore, Japanese women have a different way to get into a car. Norio describes “Place hand on the back of the front car seat and sit on the edge of the seat. Ease one foot and then the other into the car. Bring your feet in front of you, knees and feet together.” (17) Some people say the kimono looks nice but when they put it on themselves, it is too tight and they can hardly drink or eat anything. To wear a kimono elegantly and perfectly, no chocking as well as no uncomfortableness are the keys. The standard manners are also required while wearing kimono. For example, when eating and drinking, a woman avoids reaching things with both hands and always uses her free hand to keep the other sleeve from dragging. When drinking, she needs to use her right hand to place the cup or glass on her left palm and to keep it steady when not actually drinking. (17)

In spite of its complicated rules, wearing a kimono, indeed, is a traditional art. It requires training and experience to put on a kimono comfortably and attractively, it also requires training in walking and moving gracefully when wearing. The kimono must be fitted on the body with all the seams straight, and the length is adjusted by tucking in the excess material under the sash. The extract form of a woman’s kimono outfit is determined by her age, the season and the level of formality of the occasion. The choice of colors, designs and material cannot be made randomly but it is governed by a precise code of social appropriateness. These complicated rules coupled with the great expense involved contribute to the feeling of many Japanese women that kimono are completely impractical for modern life.





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