Getting Dressed: Tea Ceremony!

We interrupt our regularly scheduled "Getting Dressed" post to bring you me helping a friend to get dressed for her tea ceremony!

Here's Meg! We discovered too late (alas) that the kimono doesn't quite fit, but we managed to fudge it. I'm pretty happy with the Odaiko knot for the obi. The ohashiori (the fold that shows below the obi) is too long and a bit too bulky, too. I straightened the crooked obijime (cord) after the picture. In addition, the neck of the kimono is not far enough down (not enough nape exposed) and the length is a little short. There's a also a weird fold in the chest area (remedied by a tug and a tuck, but still indicative of incorrect technique). On the plus side, the collars (eri) on both sides were nice and taut and the seams lined up appropriately on the sides and centre back. The back and shoulders are smooth and wrinkle-free and the Odaiko, looks proportionate to her height and build ( I think, anyway). The colors are rich and appriopriate for the seaon, Meg's age and the fact she is going to a tea ceremony. I think this gets a grade of "B."

Getting Dressed: Nagajuban

Beneath the kimono a nagajuban is worn. A nagajuban (or juban for short) is bascially another kimono, usually shorter than the outer one, worn as underwear, complete with the long kimono sleeves, which are neatly fitted inside the outer kimono's sleeves. Silk kimono are difficult to clean and often delicate, the nagajuban (sometimes just called a juban) helps keep the outer kimono clean by keeping it off the wearer's skin.

Jubans are most often made from silk, but are also available in synthetics, including washable fabrics. I own some synthetic ones (mostly for summer wear, as I can launder them myself), as well as some silk ones. I also have a few vintage ones, one of which predates WWII. Many nagajubans have removable collars, to allow them to be changed and easily washed, without washing the entire garment, which can cause wear and tear on both the silk and on one's wallet.

Bascially, only the collar of the juban shows. Sometimes you can get a peek at the inside sleeve of the juban, which is considered titillating. However, having the juban's sleeves hanging beyond the end of your kimono sleeves is equivalent of having your slip showing, and is tacky, not sexy. The trick my kitsuke sensei taught me is to take up the excess sleeve length with a discrete fold and some tailor's tacks.

While only the collar edge of the nagajuban shows from beneath the outer kimono, womens' jubans are often as beautifully ornate and patterned as the outer kimono. They are considered a 'hidden smartness' and play a large part in the whole concept of iki in kitsuke. Just like everything else in Japanese culture, there are certain rules regarding the wearing of juban. The prime one being that for a kurotomosode (a mostly black, very formal kimono worn by married women), the juban should be pure white. Red juban are considered very iroppoi (sexy) and I tend to agree. I have seen elegant, cute, sexy and downright wacky patterns for juban fabrics.

Men's kimono are usually fairly subdued in pattern and colour,but a man's nagajuban allows him to discreetly wear a garment with very striking designs and colours.

The juban adds another layer of complexity and stylishness to kitsuke...it's more than just underwear.

Some nagajubans of mine. The one hanging up is vintage. It is also a little too long for me, so I need to shorten it before I can wear it. I could wear it and draw up the excess, but that is more work and adds bulk that I don't want. Most women have nagajubans custom-made or at least altered to fit their height. Ideally, the juban should hit just above the anklebone. The red and white juban is made of cotton and a washable synthetic. Note the "silk" is only on the lower half of the skirt and on the sleeves of the top. Red jubans are considered very sexy. The white juban in the foreground is one of my favorites to wear. The big white thing with cranes is not a juban at all, but an uchikake or wedding overrobe.The eri (collar) is stiffened using a piece of plastic. The concept is just like that of the collar points used in men's dress shirts. It makes the eri "pop" and helps acheive a crisp look.Putting the nagajuban on. Please don't make fun of the unattractive picture of me. I'm not quite this homely in person. I am pulling out the lapels to verify I have everything even and centered. You can't see the back, but there's a fist-sized gap between the collar and my occipital bone (the bump at the base of your skull). This makes the kimono drape properly and it's considered sexy.Next, wrap the right side firmly against your body. Right side is always against you, unless you are a corpse, then you wear it the other way 'round.Bring the left side over. The juban is pretty snug against my butt across the back. Tie the juban closed using a koshihimo (cord). You want to tie it fairly tight across the crest of your hipbones (techincally, the iliac crest) so that it doesn't hurt. If you tie the damn thing around your waist, you will feel as if you are are slowly being sawed in two. Not fun. Don't tie a square knot! It digs into your skin and leaves an unsightly lump! I use a little twist technique and then wrap up the excess around the rest of the cord. Note how the mune (chest) of the juban forms a triangle. For married women, the neckline is deeper and the angle more acute. Unmarried girls have a wider, shallower neck (45 degrees, actually. my kimono sensei made me practice and practice and even measured it).Old skool would use another himo (cord) to hold the chest area flat and in place, more modern folks use an elasticated belt, with pinchy clips on the end. They work great. It's fun to make my Sensei say "elastic" because she can't! It comes out ehrastrick!Here I am adjusting the juban. See that pink belt? I've sewn it to the back of the juban to help me keep my neckline in place. It's an easy way to save time and make the overall result nice. There should be no wrinkles on my back, so I have to gently tug the excess down under the belt so it all smoothes out. Note the gap in the neck!

Finished in less than five minutes! Here's the front!Here's the side!

Here's the back!

Here's the end!

Getting Dressed: Hadajuban

A hadajuban is a cotton slip that goes next to the skin. It's used to absorb sweat and oil and protect both the nagajuban and kimono (underkimono). A hadajuban is worn under the nagajuban. The hadajuban is a crepey cotton fabric and is easily laundered.

Most of the time, I don't wear a hadajuban, but apparently it is a must have for when you are wearing hanayome (wedding ensemble). Probably because hanayome is very hot and heavy and is also usually rented...don't want to have to pay a cleaning and/or damage fee.

Additionally, you can wear a susoyoke, which is like a petticoat with the nagajuban. I have a susoyoke, and I never wear it. It's annoying, adds bulk and really doesn't help all that much. I have a garment which is basically a one-piece jobber combining the hadajuban and susoyoke. You didn't get a picture because I didn't feel like digging it out of the back of my storage closet.

If you look closely, you can probably see the "HANES" label on my sports bra!Man, I am looking chunk-a-roonie lately. And that's after losing 5 pounds. 20 more to go. Sigh.

Getting Dressed: Tabi

Tabi are split-toed socks, which come to just above the malleolus (ankle bone). I put them on after my underwear, but before my underrobe and kimono, because once you start getting all the parts of a kimono on, it becomes difficult to bend at the waist and putting the socks on would be next to impossible.

Tabi have been worn in Japan since the sixteenth century, reaching their peak during the Edo period (1600-1868). They were developed to wear with sandals: the split between the compartment for the big toe and the remaining toes allow for the hanao (thong) of the sandal. According to Shiatsu theory, wearing Tabi socks benefits the back, the spine, and the digestion due to the acupuncture meridians located between the toes.

Tabi were traditionally hand-made to customers specifications/measurement, but production became mechanized in 1885, when Tsujimoto Fukumatsu established a factory and instituted a "business by volume" policy (a new tactic in Japanese business a the time--for an article about pre-WWII distribution systems in Japan, go here--it's quite interesting) by using altered German sewing machines. He managed to produce so many tabi that tabi went from something most people only wore in the winter to an everyday fashion item! Today, production is still mechanized, but there are tabi "masters" who preserve the art of hand-sewn, custom tabi.

Tabi are traditionally made from cotton and fasten with flat hook-and-eyes. Tabi should be tight-fitting and smooth, with white tabi worn by both men and women for formal occassions. Men in daily wear kimono will wear dark tabi and a recent trend has women wearing colored tabi with their daily kimono. Cotton tabi remain derigeur for dancers and martial artists, but most kimono folks wear a stretchy polyester tabi, since the are easier to wear and care for. It is my opinon though, that they are not as comfortable or as long-lasting as cotton tabi.

A lot of Japanese wear tabi just because they like them and/or find them more comfy or "healthier" for their feet. They wear spun/woven tabi (like our regular socks, but with a split toe) Spun/woven tabi come in a variety of cotton/wool/nylon and all kinds of fun designs. I buy many of mine from the 100 yen shop (like a dollar store). To put these on, you just make sure you have the correct sock for the foot (yes, they are left/right) and pull them on.

Shown in the picture below are some of my tabi. I have a whole sock drawer full of inexpensive pull-on ones for everyday wear. The crazier the pattern, the better! Tabi have pretty much replaced my western socks. You can see spotted nylon pull-on tabi and below those are very thick woolen tabi to wear instead of slippers (note the "grippy dots" on the bottom). Then I have colored pull-on stretch tabi, for wear with yukata or informal kimono and below those are white stretchy tabi which fasten closed with teeth, appriopriate for everyday wear, but also acceptable for formal occassions. Then you see the flower-print cotton tabi with fasteners and lastly, below them are the very traditional white cotton tabi.

To wear cotton tabi: (ankle tattoo not required)

I really don't have cankles, I think the angle at which I took the pictures makes it seem that way!

Fold the back part of the tabi over the front part of the tabi:














Slip in your toes:














Unfold the back part of the tabi:














Fasten the hooks at the ankle:










































It looks like this from the top:














Now do the other one!

Getting Dressed: Underwear

When I begin my kitsuke practice, I begin with a bra and (sometimes) underpants. Underpants were not traditionally worn with kimono and if you've ever tried to go to the bathroom while wearing a kimono, you'll understand why. When I am in kimono, it's one of the few times I actively seek out a Japanese-style toilet (colloquially called "squat pots"), as it is actually easier to use them rather than a western-style toilet.

In addtion to the logistical problem of trips to the bathroom, you can get VPL's if you wear underpants with kimono, since the kimono is actually pulled fairly tight across the bum. Special kimono underpants (with a split/snap/velcro) crotch are available, but why bother? If I really feel I need 'em, I have a pair of granny thunderpants that work well and don't result in VPL's. Don't get me started on thongs. What's the point?

Kimonos look best on small busts, since they don't spoil the "mune" (chest) of the kimono. Back in the day, women used to wrap their chests. Some may still do. I know how to do this (my teacher showed me how) but involves a lot of fabric and work. What I found works best is a sports bra or camisole (it needs to have a deep back, though, as a racer back will show, because the kimono is worn low on the nape of the neck). The more of a masher the bra is, the better.

I'll spare you the pictures of me in my skivvies.

The next thing I put on is Tabi.

Getting Dressed: Makeup

So now I am showered and have my hair done. The next step is makeup. I do part of my makeup before getting dressed, leaving off my lipstick, because I always seem to get it all over my kimono and accessories.

For going about during the day, I wear a light foundation to even out my skin tone and appropriate shades of eyeshadow and lipstick or gloss. A little mascara, and I'm good. For a more formal (evening) situation, I'll use powder, blush, shape my brows using powder, etc. Unless you're on display at Harajuku, subtley and naturalness is the aim. You're not trying to compete with the kimono.

For the most part (see Harajuku for the exception) the makeup I see worn by Japanese women makeup is subtle and refined. They've got some serious makeup application skillz. Eyeshadow is generally a sheer wash of a single color, and a very common trend I see nowadays is for a very "wet", glossy lip, which I believe is probably clear gloss over a underlayer of color. It looks very lush, but I know if I tried it, I would just be a mess. The very red lip, a classic look in both the East and West is still very popular, too. Japanese women take their cosmetics very, very seriously--it's a billion-dollar business here and even the "cheap" makeup at the 100 yen store is of decent quality.

Bridal makeup is less complex than geisha makeup but aspects of it are visually similar (although not quite the same) as the infamous "white face" makeup of geisha and maiko (apprentice geisha). A geisha over the age of 30 will no longer wear the white make-up, except for performing. A bit about geisha makeup.

I know how to do bridal makeup, but not nearly as quickly or as flawlessly as Eiko-san, my kitsuke sensei can do it. Some of the art in the makeup is adjusting it for different skin tones and texture as well as applying appropriate shading to achieve a symmetrical, classic look. Eiko-san went to school to learn this and honed her skills with 30+ years of practice. Eiko-san has demonstrated on my friend Masako, herself, her granddaughter, Miharu and me. Everyone looks smooth and flawless, like porcelain (albeit of different shades of porcelain). Although I will confess that when I practiced on Eiko-san's granddaughter, Miharu, Miharu (quite loudly) said the she preferred my application technique, because I didn't rub so hard. I also took about twice as long as Eiko-san did to complete the makeup! Eiko's next challenge for me is to do the makeup on my friend Sylvia, who is of mixed Japanese and African-American heritage.

My own makeup techniques for daily wear (and well as the stylishness) have improved greatly since I started kitsuke. Hair and makeup are as much an important part of the process as the kimono itself.

Getting Dressed: Hair

Before I do the actual dressing, I shower. Oils from skin are not good for silk and since kimono are not washed after each wearing, one needs to be clean. One should be clean anyway. Duh.

I then do my hair. Traditionally, when one wears a kimono, one should have their hair up. This is true for even the informal yukata, although the updo's worn with a yukata tend to be funky and informal. Nowadays a lot of women have shorter hair, which cannot be put up. For short hair, you can use a hairpiece. At the very least, a barrette or comb should be put in the hair, thusly short hair, like long, is always decorated with something, be it silk flowers, tortoiseshell combs, or hairpins of plastic, wood, jade, lacquer, etc.

Brides have a elaborate hairdo (to go with the elaborate kimono), which requires them to wear a katsura (wig). The wig is blended into the natural hair. In the last ten years or so, it has become more common for Japanese women to dye their hair, so now the wigs, which used to come only in black, now are being made in various shades.The wig, which is fairly heavy, can be made of synthetic or human hair, and is waxed and pulled up into a particular shape, and decorated with combs and hairsticks, called kanzashi. Over the wig is worn the headdress, called tsuno kakushi (literally "horn hider" -- to cover the "horns" of such unwomanly emotions as stubborness, jealousy, etc) the gorgeous kanzashi remain visible, as the tsuno kakushi only covers part of the head.

Geisha wear variations of the shimada hairstyle, meaning their hair is pulled back in one section. There are four major types of the shimada: Taka Shimada, a high chignon for usually worn by young, single women; Tsubushi shimada, a more flattened chignon generally worn by older women; Uiwata, a chignon that is usually bound up with a piece of color cotton crepe; and a style that ends up looking like a divided peach, typically worn by maiko. These hairstyles were decorated with elaborate hair-combs and hairpins, which often symbolized status. Combs and pins for the hair became much smaller during the Meijii restoration. Prior to that, combs could be quite large and showy and could often be considered an indicator of status.

Pictures of geisha and maiko (geisha apprentices) hairstyles at howstuffworks.

Akemashite Omedeto Gozaimasu!

Happy New Year!

2007 or Heisei 19, is the year of the Boar.
This happens to be my astrological sign.

For the new year, I am hoping to be more diligent in posting kimono/kitsuke articles. It's not that it was hard or even that I was busy, although sometimes I was sick...it's just laziness.

I think I will start writing about getting dressed in a kimono, from the underwear up to your hairdo.