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The kimono (きもの/着物) is a traditional Japanese garment, and the national dress of Japan.
The kimono is a T-shaped wrapped-front constructed of mostly-rectagular pieces of fabric, and is sewn with set sleeve lengths, hem lengths and little tailoring to the body.
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Takmicarski kimono za mladji takmicarski uzrast izradjen od izuzetno kvalitetnog materijala srednje tezine. Moderan i komotan model kimona, izdvaja se po povoljnoj ceni.Materijal specijalno obradjen na skupljanje.
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November 2019 Woman in kimono at Fukuoka City Hall.
The kimono is a T-shaped wrapped-front garment constructed of mostly rectangular pieces of fabric, and is sewn with set sleeve lengths, hem lengths and little tailoring to the body.
The kimono is split into a number of varieties based on occasion and formality.
These are denoted through motifs and motif placement, fabric choice, type of decoration and colour.
The kimono has a set method of construction, with its own various terms and units of measurement to describe this.
Kimono are Дефлекторы EGR Дефлекторы боковых Mazda СХ-9 (2007-2016) № 92450026B worn left collar overlapping the right, unless the wearer happens to be deceased.
Kimono are worn with a wide sash called anwhich can be tied in a variety of ways based on gender, occasion and obi type.
Most variants of kimono are worn with an underkimono called a nagajuban, and kimono may be worn with orthough other forms of footwear can be worn, excluding formal occasions.
When wearing traditional footwear such as zōri or geta, socks are always worn.
The word "kimono" literally means "thing to wear"; it stems from the verb ki"to wear on the shoulders " and the noun mono"thing".
The plural of kimono is "kimono", as Japanese does not distinguish plural nouns, though in English the plural "kimonos" is sometimes used.
Kimono are, in modern times, mostly worn to formal events, but can also be worn as everyday clothing.
Kimono can be worn for importantweddings and funerals, but there are few occasions a person would be obligated to wear kimono to in the modern day.
Over time, the kimono has garnered a reputation for being uncomfortable and difficult to wear; however, it has experienced a number of revivals in popularity throughout the decades, and since the turn of the century, kimono enthusiasts have grown in number, promoting the garment as a comfortable and fashionable item of dress.
The people who tend to wear kimono most often - in some cases on a daily basis - are older men and women, geisha, maiko and sumo wrestlers, with sumo wrestlers being required to wear traditional Japanese dress whenever appearing in public.
Stylized Kimono in the late Heian period.
A few centuries after Japan demolished connections with China.
Matsuura byōbu, 17th century The overall silhouette transformed due to the evolution of obi, sleeves, and the layering of heavy fabrics.
Utagawa Kuniyoshi, Plum Blossoms at Night, woodblock print, 19th century Chinese fashion had a huge influence on Japan from the to the early Heian period as a result of mass immigration from the continent and a Japanese envoy to the Tang dynasty.
There is an opinion that Kimono was Акустика подвесная трансляционная PM8GD-W derived from the in the region.
During Japan's 794—1192 ADthe kimono became increasingly stylized, though one still wore a half-apron, called a mo, over it.
During the 1336—1573 ADthea single kimono formerly considered underwear, began to be worn without the trousers, divided skirt over it, and thus began to be held closed by an obi "belt".
During the Edo period 1603—1867 ADthe sleeves began to grow in length, по ссылке among unmarried women, and the Obi became wider, with various styles of tying coming into fashion.
Since then, the basic shape of both the men's and women's kimono has remained essentially unchanged.
Kimono made with skill from fine materials have been regarded as great works of art.
The formal kimono was replaced by the more convenient Western clothes and as everyday wear.
After an edict bypolice, railroad men and teachers moved to Western clothes.
The Japanese began shedding kimono in favor of Western dress in the 1870s.
The Western clothes became the army and for boys.
After thekimono wearers often became victims of robbery because they could not run very fast due to the restricting nature of the kimono on the body and clogs.
Also, kimono produced by traditional methods have become too expensive for the average family.
Many cost far more.
Even on some special occasions such as wedding day, an elaborate kimono is de rigueur, most people choose to rent one.
Between 1920 and 1930 the replaced the undivided hakama in school uniforms for girls.
The national uniform,a type of Western clothes, was mandated for males in 1940.
Today most people wear Western clothes and wear the breezier and more comfortable yukata for special читать далее />In the Western world, kimono-styled women's jackets, similar to a casualgained public attention as нажмите чтобы увидеть больше popular fashion item in 2014.
Kimono are also worn on special occasions such as coming of age ceremonies and many other traditional Japanese events.
Men's kimono should fall approximately to the ankle, with no hip fold — the ohashori.
A woman's kimono, however, should be as tall as she is, in order to allow the correct length for the ohashori to be formed.
An ideally tailored kimono has sleeves that fall to the when the arms are lowered; however, in informal situations, this is not strictly necessary, and indeed, kimono are worn casually by some women without the ohashori.
Till the end of the Edo period, tailoring of these fabrics were handled respectively at Gofuku store Gofuku Dana and Futomono stores Futomono Danahowever, after the Meiji period, kimono was not worn as daily wear very often and Futomono stores eventually went out of business.
Tanmono are roughly 36 cm wide and 11.
Some men's tanmono are woven especially long to include enough fabric for a haori, juban and kimono as well, as men's kimono can come in matching sets of the same fabric and colour.
The finished kimono consists of four main strips of fabric — two panels covering the body and two panels forming the sleeves — with additional smaller strips forming the narrow front panels and the ссылка />Children's kimono commonly consist of just three main panels, as only one width of fabric is needed for the body.
Historically, kimono were often taken apart for washing in separate panels, and were resewn by hand.
Because of the standardised method of construction, and the fact that no fabric is wasted, the kimono can easily be retailored to fit the changing body, or indeed another person.
The maximum width of the sleeve is dictated by the width of the fabric.
The distance from the center of the нажмите чтобы узнать больше to the end of the sleeve could not exceed twice the width of the fabric.
Traditional kimono fabric was typically no more than 36 centimeters 14 inches wide.
Thus the distance from spine to wrist could not exceed a maximum of roughly 68 centimeters 27 inches.
Modern kimono fabric is woven as wide as 42 centimeters 17 inches to accommodate modern Japanese body sizes.
Very tall or heavy people, such as wrestlers, must have kimono custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric.
Traditionally, kimono are sewn by hand; even machine-made kimono require substantial hand-stitching.
Kimono fabrics are frequently hand-made and -decorated.
Techniques such as yūzen dye resist are used for applying decoration and patterns to the base cloth.
Repeating patterns that cover a large area of a kimono are traditionally done with the yūzen resist technique and a stencil.
Over time there have been many variations in color, fabric, and style, as well as accessories such as the obi.
The kimono and obi are traditionally made of hemp, linen, silk, silk brocade, silk crepes such as chirimen and satin weaves such as.
Silk is still considered the ideal fabric.
Girls kimono Customarily, woven patterns and dyed repeat patterns are considered informal.
Formal kimono have free-style designs dyed over the whole surface or along the hem.
During the Heian period, kimono were worn withwith each combination of colors being a named pattern.
Today, the kimono is normally worn with a single layer on top of one or more undergarments.
The pattern of the kimono can determine in which season it should be worn.
For example, a pattern with or would be worn in spring.
Watery designs are common during the summer.
A popular autumn motif is the russet ; for winter, designs may includeand.
A popular form of textile art in Japan is intricate tie dyefound on some of the more expensive kimono and kimono jackets.
Patterns are created by minutely binding the fabric and masking off areas, then dying it, usually by hand.
When the bindings are removed, an undyed pattern is revealed.
Shibori work can be further enhanced with yuzen hand applied drawing or painting with textile dyes or with embroidery; it is then known as tsujigahana.
Shibori textiles are very time-consuming to produce and require great skill, so the textiles and garments created from them are very expensive and highly prized.
Old kimono have historically been recycled in various ways, depending on the type of kimono and its original use.
Kimono were shortened, with the больше информации taken off and the collar re-sewn, to make haori, or would simply be cut at the waist to create a side-tying jacket.
After marriage or a certain age, young women would shorten the sleeves of their kimono, and extra material taken from kimono could be used to lengthen it at the waist, create an obi, or was used to patch similar kimono.
Kimono were also used to create juban themselves, and after wearing layered kimono fell out of fashion, create a false underlayer — a — was another use for old kimono.
They could also be resewn into kimono for children.
The technique was a kind of rag-weaving, creating a mostly one-sided obi that was relatively narrow and informal.
Saki-ori obi are prized for their craftsmanship and rustic quality today, as they would have taken many hours to create, and saki-ori obi often feature patterns of stripes, checks and arrows.
The technique is kept alive to this day by craftspeople interested in rustic arts.
The covering portion of the other side of the back, maemigoro is divided into "right maemigoro" and "left maemigoro".
Until the collar, down to the bottom of the dress goes, up and down part of the strip of cloth.
Have sewn the front body.
They are basically sewn back-centered and consist of "right ushiromigoro" and "left ushiromigoro", but for wool fabric, the ushiromigoro consists of one piece.
However, most kimono owned by kimono hobbyists or practitioners of the traditional arts are far less expensive.
Cheaper and synthetic fabrics can substitute for traditional hand-dyed silk, and modern-day Универсальная коляска Little Neo Alu в 1) synthetic kimono are sold as 'washable' and easy to care for.
Some people make their own kimono, as kimono do not require a paper pattern or extensive fitting to sew, and can be made of whatever fabrics the owner wants.
Many kimono are also bought second-hand from vintage stores, a lucrative business in Japan, as kimono do not go out of fashion, though certain motifs and colours can be attributed to different eras.
Even antique obi can retail cheaply, though they can be stained and fragile.
Men's obi, even those made from silk, tend to be much less expensive, as they are narrower, shorter and less decorative than those worn by women.
The formality of a woman's kimono is determined mostly by pattern placement, decoration style, fabric choice and colour.
The formality of men's kimono differs, in that it is determined more by fabric choice and coordination elements hakama, haori, etc.
In both cases, formality is also determined by the number and type of crests.
Five mon itsutsu mon are the most formal, three mon mitsu mon are mid-formality, and one mon hitotsu mon is the least formal, used for occasions such as tea ceremony.
The type of mon adds formality as well, with a "full sun" hinata mon being the most formal, a "mid-shadow" nakakage mon being mid-formality, and a "shadow" kage mon being the least formal.
Embroidered mon, called nui mon, are also seen.
Formality can also be determined by the type and colour of accessories, such as weave of obijime and the style of obiage.
Most professional kimono dressers are found in Japan, where they work out of hair salons, as specialist businesses, or freelance.
Choosing an appropriate type of kimono requires knowledge of the wearer'soccasionally marital status though less so in modern timesthe formality of the occasion at hand, and the season.
Choice of fabric is also dependent on these factors, though some fabrics - such as crepe and rinzū - are never seen in certain varieties of kimono, and some fabrics such as shusu satin silk are barely ever seen in kimono altogether, instead being worn on the obi.
Though length of kimono, collar style and the way the sleeves are sewn on varies for susohiki kimono, in all other types of women's kimono, the construction generally does not change; the collar is set back slightly into the nape of the neck, the sleeves are only attached at the shoulder, not all the way down the sleeve length, and the kimono's length from shoulder to hem should generally equal the entire height of the woman wearing it, to allow for the ohashori hip fold.
Sleeve length increases for furisode - young women's formal dress - but young women are not limited to wearing only furisode, as outside of formal occasions that warrant it, can wear all other types of women's kimono such as irotomesode and komon.
Yukata больше на странице originally very simple indigo and white cotton kimono, little more than a bathrobe never worn outside the house.
However, from roughly the mid-1980s onwards, they began to be produced in a wide variety of bright colours, large motifs and patterns, responding to a demand for a more casual modern kimono that could be worn to a summer festival.
In the present day, yukata are worn with hanhaba half-width or heko obi, and for women, often accessorised with colour hair accessories.
Yukata are always unlined, and it is possible to dress up a high-end, more subdued yukata with a relatively casual nagoya obi - one with a simple dyed design in an informal fabric such as ro or tsumugi.
They are decorated with colourful patterns across the entirety of the garment, and usually worn to Coming of Age Day or weddings, either by the bride herself or an unmarried younger female relative.
The sleeves of the furisode average at between 100—110 cm in length.
Chu-furisode mid-size furisode have shorter sleeves at roughly 80 cm in length; most chu-furisode are vintage kimono, as in the modern day furisode are not worn often enough to warrant buying a more casual form of the dress.
Hōmongi are distinguished in their motif placement - the motifs flow across the back right shoulder and back right sleeve, the front left shoulder and front left sleeve, and across the hem, higher at the left than the right.
They are always made of silk, and are more formal than tsukesage.
Hōmongi first roughly sewn up, the design sketched onto the fabric, before it is правы.
Наклейки звезды, LYX-038 весьма apart to be dyed again.
The hōmongi's close relative, the tsukesage, has its patterns dyed on the bolt before sewing up.
This method of production can usually distinguish the two, as the motifs on a hōmongi are likely to cross fluidly over seams in a way a tsukesage generally will not.
Hōmongi may be worn by both married and unmarried women; often friends of the bride wear hōmongi at weddings except relatives and receptions.
They may also be worn to formal parties.
The dyed silk may have a flat woven pattern - iromuji suitable for autumn are often made of rinzu silk.
Some edo komon with incredibly fine patterns may be suitable for tea ceremony, as from a distance they are visually similar to iromuji.
Iromuji may часы MOSCHINO 7751 100 545 have one kamon, though likely no more than this, and are always made of silk.
Shibori accessories such as obiage are never worn with iromuji if the purpose of wear is a tea ceremony; instead, flat and untextured silks are chosen for accessories.
The edo komon dyeing technique originated within the classes during the.
Mofuku kimono are plain black silk with five kamon, worn with white undergarments and white tabi.
Men wear a kimono of the больше информации kind, with a subdued obi and a black-and-white or black-and-grey striped hakama, worn with black or white zōri.
A completely black mourning ensemble for women - a plain black obi, black obijime and black obiage - is usually reserved for those closest to the deceased.
Those further away will wear kimono in dark and subdued colours, rather than a plain black kimono with a reduced number of crests.
In time periods when kimono were worn more often, those closest to the deceased would slowly begin dressing in coloured kimono over a period of weeks after the death, with the obijime being the last thing to be changed over to colour.
The design is seen along the hem only; the further up the body this design reaches, the younger the wearer is considered to be, though for a very young woman an irotomesode may be chosen instead, kurotomesode being considered somewhat more mature.
The design is either symmetrically placed on the fuki and okumi portions of the kimono, or asymmetrically placed along the entirety of the hem, with the design being larger and higher-placed at the left side than the right.
Vintage kimono are more likely to have the former pattern placement than the latter, though is not a hard rule.
Kurotomesode are always made of silk, and may have a hiyoku - a false lining layer - attached, occasionally with a slightly padded hem.
A kurotomesode usually has between 3 and 5 crests; a kurotomesode of any number of crests outranks an irotomesode with less than five.
Kurotomesode, though formalwear, are not allowed at the royal court, as black is the colour of mourning, despite the colour designs decorating the kimono itself; outside of the royal court, this distinction for kurotomesode does not exist.
Kurotomesode are never made of flashy silks like rinzū, but are instead likely to be a matte fabric with little texture.
Irotomesode, though worn to formal events, may be chosen when a kurotomesode would make the wearer appear to be overdressed for the situation.
The pattern placement for irotomesode is roughly identical to kurotomesode, though patterns seen the fuki and okumi may drift slightly into the back hem itself.
Irotomesode with five kamon are of the same formality as any kurotomesode.
Irotomesode may be made of figured silk such as rinzū.
Similarities between the two often lead to confusion, and indeed, sometimes the two are so visually similar that the distinction is difficult to make.
Tsukesage can have between one and three kamon, and can be worn to parties, but not ceremonies or highly formal events.
ссылка на продолжение name uchikake comes from the verb uchikake-ru, "to drape upon", originating in roughly the 16th century from a fashion of the ruling classes of the time to wear kimono then called kosode, "small sleeve" unbelted over the shoulders of one's other garments.
Bridal uchikake are either red or white, and often decorated heavily with auspicious motifs.
Because they are not designed to be worn with an obi, the designs cover the entirety of the back.
Comparable to a and sometimes described as just a white uchikake, a shiromuku is worn for the part of the wedding ceremony, symbolising the purity of the bride coming into the marriage.
The bride may later change into a red uchikake after the ceremony to symbolise good luck.
A shiromuku will form part of a bridal ensemble with matching or coordinating accessories, such as a bridala set of matching usually mock-tortoiseshelland a sensu fan tucked into the kimono.
Due to the expensive nature of traditional bridal clothing, few are likely to buy brand-new shiromuku; Гравер BCT-72Li is not unusual to rent kimono for special occasions, and Shinto shrines are known to keep and rent out shiromuku for traditional weddings.
Those who do possess shiromuku already are likely to have inherited them from close family members.
A susohiki can be up to 230 cm long, and are generally no shorter than 200 cm from shoulder to hem; this is to allow the kimono to literally trail along the floor.
Susohiki, apart from their extreme length, are also sewn slightly differently to normal kimono, due to the way they are worn.
The collar on a susohiki is sewn further and deeper back into the nape of the neck, so that it can be pulled down much lower without causing the front of the kimono to ride up.
The sleeves are set unevenly onto the body, shorter at the back than at the front, so that the underarm does not show when the collar is set this low.
Susohiki are also tied differently when they are put on - whereas regular kimono are with a visible ohashori, and the side seams kept straight, susohiki are pulled up somewhat diagonally, to emphasise the hips and ensure the kimono trails nicely on the floor.
A small ohashori is tied, larger at the back than the front, but it wrapped against the body with a red momi wrap, which is then covered by the obi, rendering it not visible.
The jūnihitoe consisted of up to twelve layered garments, with the innermost garment being the kosode - the small-sleeved kimono prototype which would eventually go on to become the outermost garment worn.
The total weight of the jūnihitoe could be up to 20 kg.
The garments were decorated in relatively large motifs, with a more important aspect being the numerous recorded colour combinations an outfit could have.
An important accessory of this outfit was an elaboratewhich could be tied together by tassels tied onto the end fan bones.
These fans were made of cypress wood entirely, with the design painted onto the wide, flat bones themselves, and were known as hiōugi.
No garments from the Heian period survive, and today the jūnihitoe can only be seen as a reproduction in museums, movies, festivals and demonstrations.
The still officially uses them at some important functions, such as the coronation of the new Empress.
Men's kimono sleeves are attached to the body of the kimono with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly unattached from the body of the kimono.
Men's sleeves are less deep than women's kimono sleeves to accommodate the obi around the waist beneath them, whereas on a woman's kimono, the long, unattached bottom of the sleeve can hang over the obi without getting in way.
Jinbaori — Kimono tabards for armoured Samurai In the modern era, the principal distinctions between men's kimono are in the fabric.
The typical men's kimono is a subdued, dark color; black, dark blues, greens, and browns are common.
жмите сюда are usually matte.
Some have a subtle pattern, and textured fabrics are common in more casual kimono.
More casual kimono may be made in slightly brighter colors, such as lighter purples, greens and blues.
Sumo wrestlers have occasionally been known to wear quite bright colors such as fuchsia.
The most formal style of kimono is plain black silk with five kamon on the chest, shoulders and back.
Slightly less formal is the three- kamon kimono.
Consider it into new pages, addingor it.
October 2019 Though the kimono is BPW.Style, Слайдер-дизайн «Акварель этника» №1-372 national dress of Japan, there are many variations on it, some for traditional occasions, and others that co-existed kimono as a separate style of dress.
There are also a number of accessories that can be or are worn with kimono, and these vary in occasion and usage as well.
Some accessories and garments are specific to certain religious roles.
Others are related to traditional art forms in Japan.
There are also accessories and garments only worn for holidays and occasions;also known as pokkuri, are worn by children for the ceremony and by young women on.
Brides opting for a traditional ceremony will wear for certain parts of the ceremony.
Accessories such as and may be worn to any occasion and ceremony, though the style of these accessories changes based on formality, and, in the case of maiko, season.
Aor usually white worn by women over a kimono; usually on furisode by young women out celebrating their at shrines, etc.
Wooden sandals worn by men and women with.
One unique style is worn solely by see okobo below.
Traditional Japanese stylizedworn to keep sweat off of one's face, and as a symbol of effort or courage by the wearer, especially by those in the military.
Women at a graduation ceremony, featuring hakama with embroidered flowers, and demonstrating the waistline A divided umanori-bakama or undivided skirt andon-bakama which resembles a wide pair of trousers, traditionally worn by men but contemporarily also by women in less formal situations.
A hakama typically is pleated and fastened by ribbons, tied around the waist over the obi.
Men's hakama also have a koshi ita, which is a stiff or padded part in the lower back of the wearer.
Hakama are worn in several arts such as, and.
Hakama are often worn by women at college graduation ceremonies, and by on shinto shrines.
Depending on the pattern and material, hakama can range from very formal to wear.
Fastened closed with a cord, and carried tucked-within a person's futokoro, the space within the front of kimono collar and above the obi.
Used for formal occasions that require traditional dress, such as a traditional Shinto wedding or a child's ceremony.
As winterwear, it is often padded for warmth, giving it insulating properties, as opposed to the somewhat lighter happi.
It could be worn outside in the wintertime by fieldworkers out working in the fields, by people at home as a or aand even slept-in over one's bedclothes.
Haori A hip- or thigh-length kimono-like of varied length, which adds formality to an outfit.
Haori were originally worn only by men, until it became a fashion for women in the.
They are now worn by both men and women.
The most formal color is white see also fusa above.
A type of haori traditionally worn by shop keepers, sometimes uniform between the helpers of a shop not unlike abut for advertising businessand is now associated mostly with festivals.
They are worn for health, fashion and superstitious reasons.
Originally a kind of padded over-kimono for warmth, this has evolved into a sleeveless over-kimono like a padded outer or also similar to a orworn primarily by girls on formal outings such as the literally "seven-five-three" ceremony for children aged seven, five, and three.
Invented in the early 20th century.
Traditional Japanese loose-woven two-piece clothing, consisting of a robe-like top and below the waist.
Worn by men, women, boys, girls, and even babies, during the hot, humid summer season, in lieu of kimono.
It is worn under the nagajuban.
Particularly used when cooking and cleaning, it is worn by Japanese, cleaners, etc.
A traditional Japanese or pouch, worn like a or vaguely similar to the Englishfor carrying around personal possessionsetc.
A kind of sagemono see below.
They are used to hold virtually anything i.
A traditional Japanese not to be confused with a or acharacterised with a signature square neckline for showing-off the multiple-collars of the kimono worn beneathand for duel-fastenings either tie, or closures.
It is worn over the kimono for warmth and protection while outdoors on day-outings and long-distance journeys, as a casual or in winter, and as an artist's work,or aperfect for art-studio and garden tasks.
Some michiyuki will include a hidden beneath the front panel.
Although historically there are versions for men, most modern michiyuki are made for women.
There is no standard length, and some can be as long as the kimono-itself worn beneath it, which is more common for the style of michiyuki that are designed as.
Since silk kimono are delicate and difficult to clean, the nagajuban helps to keep the outer kimono clean by preventing contact with the wearer's skin.
Only the collar edge of the nagajuban shows from beneath the outer kimono.
Many nagajuban have removable collars, to allow them to be changed to match the outer garment, and to be easily washed without washing the entire garment.
They are often as beautifully ornate and patterned as the outer kimono.
Since men's kimono are usually fairly subdued in pattern and color, the nagajuban allows for discreetly wearing very striking designs and colours.
Often worn over a hadajuban see above.
Back of a woman wearing a kimono with the obi sash tied in the tateya musubi style or An ornament worn suspended from the men's obi, serving as a or a.
See also ojime, below.
The scarf-like sash, often silk, which is knotted and tied above the obi and tucked into the top of the obi, to hide the obi-makura.
Worn with the more formal varieties of kimono, and serves as decorates the top part of an obi belt; there are many types and designs: shibori, embroidered, etc.
Used for tying more complex bows with the obi.
A decorative fastening accessory piece, strung onto the obijime.
It is worn underneath the second layer of the obi, after wrapping around the body twice.
Modern versions have an elastic band or string, so it can be put on before the obi.
The colourful, decorative ropes, cords or strings, used to assist in tying more complex bows with the obi and hold an obi belt in place and helps it keep its shape; also serves as a decoration around the obi belt.
It ties in a knot in the front in the middle of the obi, and the ends are tucked into the sides of itself.
An ojime see below was used to fasten the obijime in place similar to a netsukeand also serves as a decoration.
Padding used to put volume under the obi knot musubi ; to support the bows or ties at https://realgost.ru/100/ekstsentrik-podsedelnogo-homuta-author-aqr-04-cherniy-45-mm.html back of the obi and keep them lifted.
It's essential for placing the common Taiko knot high on the back.
Obimakura is usually covered by the obiage to hide it and make the entire tie more presentable.
They were also worn between the inrō and netsuke and are typically under an inch in length.
Each is carved into a particular shape and image, similar to the netsuke cordlock, though smaller.
Similar to a netsuke see above.
A either an or angenerally of coated in paint, orwith wooden spines, often lacquered.
As well as being used for cooling-off, sensu fans are used as dancing props and to maintain makeup and are kept in the folds of the obi.
A thin -like piece of underwear, like aworn by women under their nagajuban.
A round, hollow Japanese Shinto or chime, that contains pellets that sound when agitated.
They are somewhat like a in form, though the materials produce a coarse, rolling sound.
As an accessory to kimono wear, suzu are often part of kanzashi.
Ankle-high, divided-toe usually worn with or.
There also exist sturdier,which are used for example to fieldwork.
A pair sashes made from either cloth or cord that loops over each shoulder and crosses over the wearer's back, used for holding up the long sleeves of the Japanese kimono; the bottom of the kimono sleeves can then be tucked into the loop, so that they don't hang so low.
Japanese slippers worn indoors at home, school or certain companies and public buildings where street shoes are prohibited.
Traditional sandals made of straw rope and bamboo bark and designed to wrap securely around the wearer's foot and up around the ankle; mostly worn byand others who often travelled long-distance by foot traders andetc.
Women's straw zōri Traditional sandals worn by both men and women, similar in design to.
Their formality ranges from strictly informal to fully formal.
They are made of many materials, including cloth, leather, vinyl and woven grass, and can be highly decorated or very simple.
The layered kimono underneath were known as dōnuki, and were often a patchwork of older or unwearable kimono taken apart for their fabric.
In modern-day Japan, layered kimono are only seen on the stage, whether for classical dances or in kabuki.
This effect allows it to show at the collar and the hem, and in some kabuki performances such asthe kimono will be worn with the okumi flipped back slightly underneath the obi to expose the design on the hiyoku.
The hiyoku can also be seen on some bridal kimono.
This traditional washing method is called arai hari.
Because the stitches must be taken out for washing, traditional kimono need to be hand sewn.
Arai hari is very expensive and difficult and посмотреть больше one of the causes of the declining popularity of kimono.
Modern fabrics and cleaning methods have https://realgost.ru/100/udlinitel-fujtech-sfutp-25-m-oranzheviy.html developed that eliminate this need, although the traditional washing of kimono is still practiced, especially for high-end garments.
New, custom-made kimono are generally delivered to a customer with long, loose stitches placed around the outside edges.
These stitches are called shitsuke ito.
They are sometimes replaced for storage.
They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment.
Like many other traditional Japanese garments, there are specific ways to fold kimono.
These methods help to preserve the garment and to keep it from creasing when stored.
Kimono are often stored wrapped in paper called tatōshi.
Kimono need to be aired out at least seasonally and before and after each time they are worn.
Many people prefer to have their kimono.
Although this can be extremely expensive, it is generally less expensive than arai hari but may be impossible for certain fabrics or dyes.
West was heavily criticised over the name of the brand which critics argued disrespected Japanese culture and ignored the significance behind the traditional outfit.
Following the launch of the range, the hashtag KimOhNo began trending on and the mayor of wrote to West to ask her to reconsider the trademark on Kimono.
In response to public pressure, in July 2019, West announced that she would the name.
However, as of August 4, 2019, the trademark filings remain active.
Seattle: University of Washington Press.
The Story of the Kimono.
The Oxford Handbook вот ссылка the History of International Law.
Oxford University Press, p.
Archived from on 2008-06-16.
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Retrieved 12 August 2014.
Retrieved 12 August 2014.
London: Vintage Random House.
Japan Business Press in Japanese.
Retrieved 14 May 2019.
Retrieved 20 October 2019.
Retrieved 20 October 2019.
Retrieved 14 2019.
Retrieved 14 May 2019.
The Book of Kimono.
Tokyo; New York: Kodansha International, p.
Accessed 22 October 2009.
Accessed 22 October 2009.
The Book of Kimono.
Tokyo; New York: Kodansha International, p.
Accessed 22 October 2009.
The Book of Kimono.
Tokyo; New York: Kodansha International, p.
Kimono Vanishing Tradition: Japanese Textiles of the 20th Century.
Accessed 22 October 2009.
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