#kimono style
Boys padded Kimono
Late Meiji period (1880-1912)
A padded silk boys kimono featuring motifs of tethered falcons. A rarity: there are various tufts of golden-yellow silk purposely placed at various locations on the kimono, perhaps intended to ward off evil demons. 35" from sleeve-end to sleeve-end x 39" height. Tethered falcons are a rare motif on Japanese textiles. Falcons were revered for their ferocity, regal quality, and directness of action, and symbolized the soul of the owner. As the visibility and popularity of falconry grew during the Edo period many falcon-related paintings were commissioned by samurai and other nobility: images of the hunt and especially portraits of favored individual birds depicted tethered to a stand.
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Ensemble
‘It’s Only a Game’
Spring/Summer 2005
Alexander McQueen
Dress and obi-style sash of lilac and silver brocade; jacket of lilac silk faille embroidered with silk thread; top of nude synthetic net embroidered with silk thread.
Andrew Bolton: McQueen designed the 2005 collection It’s Only a Game around the idea of a chess match between America and Japan. Each ensemble corresponded to a particular chess piece.
The queen wears a short, thigh-high dress, which is wide at the hips, a silhouette based on the eighteenth century. A kimono collar, obi sash, and an undershirt beautifully embroidered to look like tattooing are all drawn from Japanese culture. Next to her, the king appears as an American football player, with shoulder pads and a helmet covered in Japanese tattooing.
In the runway show, the models moved as if they were pieces in a life-sized chess game, an idea inspired by a scene from Harry Potter. Taken as a whole, the collection revealed McQueen’s remarkable ability to look across cultures for inspiration.
In McQueen’s Words
“[In this collection] the idea of the chess game meant that we looked at six different types of women, women on opposing sides. We had the Americans facing the Japanese and the redheads facing the tanned Latinos.”
Another Magazine, Spring/Summer 2005
Sources:|1|2 |4|5|6|7|8|9|
Text:Met Museum
Video:EditedfromYoutube
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Evening Coat
J.Hock
1910-1913
Woman’s red velvet evening coat lined with white satin. It is a wrap-around “kimono” style with long dolman sleeves. The lapel and cuffs are trimmed with pink embroidery having metallic threads. Label: J. Hock, Detroit.
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Evening Coat
Lucile
1911
Purple silk velvet and gold lame opera coat with silk satin lining and integral gold lame waistcoat.
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Opera Coat
Jean-Philippe Worth
House of Worth
1912
In 1912, the dolman coat once again became a fashionable form of outerwear, reviving the silhouette that was popular during the 1870s and 1880s. Worn almost exclusively for evening, the coat’s draped silhouette was often cut like a kimono. The stunning velvet of this example by the House of Worth features oversized woodland flowers including cattails and jack-in-the pulpits.
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Evening Coat
Weeks (attributed)
French
1910-1912
The contrast of black chiffon over aqua satin contributes to this evening coat’s visual appeal. The use of tassels and braid trim reflect an Asian influence and the ongoing interest in Orientalism at the time.
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Coat
Cristobal Balenciaga
House of Balenciaga
1927
Straight, mid-calf coat, based on the shape of a triangle. The large collar, crossover lapel, long sleeves and cuffs are decorated with ermine fur.
In this coat, made in San Sebastian, Balenciaga evoked the lines that define the Japanese kimono, one of the most influential garments in European fashion of the twenties. In perfect tune with the aesthetics of those years, the wide turndown collar and the sleeve cuffs were adorned with ermine fur.
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“Iris Noir”
Kimono Coat
Jeanne Lanvin
1935
Black and white silk taffeta kimono sleeve wrap coat. Using traditional Japanese construction techniques, a simplistic functional form is seamed from a single square of material resulting in minimal waste. Pure in form and function, the use of classic black and white is textured by the use of trapunto-stitch detail, which binds the black exterior with the white interior while adding additional body to the structure and warmth for the wearer.
Image and text taken from: Lanvin - Dean L. Merceron, pgs 281-282.
(I came across these old scans, will re-do when I get hold of the book again.)
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Dress
1894-1896
The chrysanthemums covering the entire surface of the fabric of this dress make it a fine example of Japonisme, which referred to the influence of Japanese art on Western art and culture and described the craze for things Japanese in the last quarter of the 1800s.
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