KE Proposal. I have been fascinated with Japanese culture, language, and art for a very long time.

Transcription

1 KE Proposal I have been fascinated with Japanese culture, language, and art for a very long time. Recently, I had the opportunity to travel to Japan to help with the continuing tsunami relief. I worked with an organization called Megumi Project, which takes kimono, either found at the disaster site or thrown away, and redesigns them into contemporary fashion accessories. While there, I illustrated and annotated an educational book for visitors. The book gives a brief history of the traditions and functions associated with several types of kimono. This Fall I have the privilege of presenting a small show in the West Gallery, a typical white cube space. The exhibition is titled Beauty From Brokenness and features seven vintage kimono by unknown artists. This exhibition demonstrates both a cultural shift, and a catastrophe, that affects the original form and traditional function of the kimono. The kimono of today is a newly birthed creation that has emerged from the creative Japanese spirit. I will expand on this idea and redirect the focus in an exhibition titled Kimono Evolution (KE). KE will visually illustrate the metamorphosis of the kimono over centuries of time. A Japanese historical timeline, beginning in the Heian Period (794 A.D A.D.) and continuing through the present, will accompany the presentation of kimono from vintage treasures to the designs of contemporary artists. I will also incorporate woodblock prints that include representations of kimono within the images. Most Westerners think that all kimono are the same and are not aware of the history associated with this garment. Prior to WWII, the kimono was the daily garb most commonly worn by women and some men. However, throughout Japanese history the kimono has experienced many fashion shifts. Using the timeline, I will highlight moments throughout

2 Japanese history that influence the evolution of this garment: such as the Ban of Tenna in This Shogunate declaration forbade the wearing of luxurious or highly decorated garments by all but the nobility. As a result, the people found very creative and artful ways to lawfully ignore the ban. Many of the new methods of dyeing, weaving and designing are still being used over 300 years later. Kimono Evolution will include approximately 20 kimono that will be displayed in my dream museum known as Wabi-Sabi, which is located near the Japanese Cultural Center in Los Angeles. The exhibition space that will house KE is an indoor/outdoor Tea House and Zen garden that is built within the Wabi-Sabi compound. I have chosen this backdrop because it sets the tone and atmosphere that best compliments the works. The Tea House provides a warm and traditional setting for these unique vintage and contemporary pieces. Many kimono exhibitions have been presented, but none, that I can find, have focused on the history of the fabrics and styles, or on contemporary artists who are using the kimono as present day art and fashion.

3 Artist List Tamaki Matsueda: ( ) Tamaki Matsueda was recognized as a Living National Treasure in 1957 for his signature Kusuri (double ikat weave using indigo fabric), notably the type in which varied images are woven into the cloth. Crafts are often a family tradition, and, although Matsueda discouraged his son from following him because such laborious work was uneconomic, his grandson Tetsuya and his wife, Sayako joined his workshop. Tetsuya s specialty is indigo dyeing, using the traditional methods of his grandfather. The subtle shadings and vivid contrasts, that both these craftsmen manage to achieve, have come to be known as Matsueda Blue. This process took Tamaki fifty years to perfect. Kako Moriguchi: ( ) During his lifetime, Kako Moriguchi was recognized as a Living National Treasure, whose superb kimono rank among the finest works of art produced in Japan. Moriguchi was a Kyoto dyer who injected new vigor into the ancient art of yuzen-dyeing. Although he worked in a traditional medium, he refused to be shackled by convention. The hallmark of an Edo period yuzen-dyed kimono was its varied color and complexity of design. The craftsmen of that time delighted in using as many different pigments as this new technique allowed. Moriguchi, however, limited his palette, and both his abstract and figurative designs show graphic clarity that speaks of the 20th century. He also perfected dyeing techniques that include seki-dashi (color gradation) and maki-nori (literally meaning strewn paste ). This technique involves sprinkling grains of specially dried rice over specific dampened areas of cloth. The grains stick to the cloth and are washed out after the dyeing process has been

4 completed, which results in a distinctive speckled appearance. Moriguchi is famous for this technique. Itchiku Kubota: ( ) Kubota was a Japanese textile artist. He was most famous for reviving and modernizing a lost, late 15th to early-16th-century, textile dyeing and decorating technique called tsujigahana (literally, flowers at the crossroads). Kubota left school at age 14 to become the apprentice of Kobayashi Kiyoshi, a Tokyo kimono artist who specialized in hand-painted yuzen (a paste-resist-dyeing technique). Kubota also studied other techniques for decorating fabrics, as well as Japanese-style landscape painting and portraiture. When he was 20, he saw a fragment of textile in the tsujigahana style at the Tokyo National Museum, and decided to devote his life to recreating this lost art. This was a very ambitious task because all instructions for reproducing the complex decorative technique had been lost over time. In addition, the silk fabric necessary for its successful production (nerinuki) is no longer woven. As a result, Kubota was forced to experiment on his own for decades. In 1962, Kubota decided that there were too many technical problems surrounding his mission to recreate traditional tsujigahana. Instead, he developed his own form of tsujigahana, called Itchiku Tsujigahana, by substituting a contemporary silk crepe fabric (chirimen) for nerinuki and synthetic dyes for natural colors. In 1977, when Kubota was 60 years old, he displayed his Itchiku Tsujigahana decorated kimono for the first time in an exhibition in Tokyo. Kubota's Grand Opus was a series of kimono, called Symphony of Light, which depicted the "grandeur of the universe" and was exhibited at the Smithsonian Museum in Washington D.C.

5 for six months in This was the first time the Smithsonian presented an exhibit of a living artist. At the time of his death, Kubota had completed 40, of his projected 80, kimono in the series. Kubota's unique vision for this series involved a decorative landscape design that flowed from kimono to kimono, resulting in a magnificent panorama of seasons and views. Shizuka Kusano: ( present) Shizuka Kusano is one of the best-known textile artists in Japan today. She studied French embroidery under Takiko Moriyama and Japanese embroidery under Masaaki Niwa. Ms. Kusano teaches her art in several venues including the Tokyo American Club. Her artistic themes are drawn from Japanese poetry, literature, and art, as well as traditional seasonally oriented motifs such as trees, flowers, birds, and streams. Working exclusively with silk threads and fabric, and delicately balancing the use of space in her compositions, Kusano s designs achieve the sophistication for which the best Japanese art is known. Shizuka Kusano has held approximately thirty exhibitions over the past five years. She has also written five books, featuring kimono embroidery, that have been published internationally. Sueko Oshimoto: (birth year unknown) Sueko Oshimoto is a Kimono Master and one of the most recognized costume designer / stylists of our time. She was born in Okinawa, Japan and is the youngest of eleven children. Sueko received her Kimono Stylist Certification in 1992 from Yamano Aiko the First, founder of the Yamano-ryu Beauty School. Sueko has also studied architecture, color coordination, classical Japanese dance and has received her certification in flower arrangement. Since moving to the

6 United States in 1999, she has lived and maintained her studio in North Hollywood, California. Ms. Oshimoto is the founder and owner of the Suehiro Kimono Agency. In 2005 she became the Executive Director of the Yamano-ryu Kimono Dressing School in California, and began teaching kimono styling in both Los Angeles and Las Vegas. She now has 50 professional kimono stylists as her assistants and continues to promote traditional Japanese kimono styling in the United States. Ms. Oshimoto has hosted kimono lecture/fashion shows at several museums including the Japanese American National Museum and LACMA. In 2006, Ms. Oshimoto won the Jury's Special Award in the Kimono Styling Division of the National Art Festival, which is held in Tokyo. Since receiving this honor, she has returned to the Art Festival each year as a judge. Sueko Oshimoto shares her creativity in kimono design as a stylist for fashion magazines such as VOGUE. In addition, her work can be seen on film in the design and styling of wardrobe and costumes. As a hair designer, her work is present in the photographs of world famous photographer David LaChapelle. She is also a stylist for the VIP s of The Academy Awards, The Grammys, and The Latin Grammys. In October 2011, Sueko co-produced the Grand Vista in downtown Los Angeles, where she designed, hand made, and styled 20 kimono-like costumes for dancers. Her line of dramatic creations has been featured in Yahoo!, USA and L.A. Fashion Week. Ms. Oshimoto provided designs for Miss Universe Japan 2013 and won 5th prize in the National Costume category. In addition, she has designed national costumes for Miss World Japan. She is a member of the Costume Designers Guild. In 2014, Sueko won the Best Costume Design Award at the La Jolla International Fashion Film Festival.

7 Historical Relevance and Detailed Proposal I have long been fascinated by Japanese art, culture, and tradition. As I continue to study Japan, her language and people, I have come to the conclusion that the kimono is the symbol that is most frequently associated with, and especially epitomizes, the lifestyle, grace and character of Japanese women. The effortlessly flowing lines, beautiful fabric and subtle femininity of a kimono present a classically appropriate facade for the women who have worn this garment for centuries. However, beneath the facade is an amazing infrastructure. We often hear the word infrastructure used in reference to a system of roads, bridges and buildings that are considered the necessary underlying foundation of a town, city or state. We are in visual and physical contact with infrastructure every day of our lives without consciously considering its presence, necessity, consistent function and importance. We can apply this concept when considering the impact of women in the Japanese, or any other, culture. They are the vital framework of society and frequently function, without fanfare, while contributing strength and character traits that are too numerous to list. With this in mind, I will specifically cite a cataclysmic event, World War II, to illustrate how this fracture in history affected the women of Japan, and influenced the continuing evolution of the kimono. I will share a brief introduction and history of the kimono and relate the changes that have taken place in the presence and function of the kimono in Japan.

8 (Introduction and History) The kimono ( something to wear) is an elegant garment that compliments and gracefully enhances the wearer while always reflecting thoughtful consideration for those who will view it. It is thought that a kimono not only surrounds the body of the wearer; it also surrounds the spirit of the wearer. Kimono reflect Japan s rich natural beauty as demonstrated in the use of a wide variety of fabrics, which often depict seasonal landscape designs. The obi ( sash) is carefully chosen, and artfully tied to enhance the beauty of the kimono. These sashes often have raised embroidery and occasionally illustrate legends in Japanese history. Obi are almost ten feet long and are wound around the torso to close and stabilize the folds of a kimono as it is being placed on the wearer. The obi is secured by creating an elaborate knot in the back. The Japanese believe that the ideal female form is a straight cylindrical shape. However, since this is not a normal female shape, towels are often placed under the kimono and held in place by the obi to create the illusion of a straight form. This constructed cylindrical form effectively erects a mysterious boundary. The wearer is cocooned within and the viewer is invited to enjoy and imagine. The kimono may look very complex, but it is simply created by joining eight long rectangular sections of fabric. Before it is sewn, the fabric is ironed to align and tighten the weave in order to prevent future shrinkage. The thoughtful distribution of any design, or pattern, in the fabric is of prime importance in the construction of a kimono.!2

9 According to Shizuka Kasano, the most visible part of the kimono is the left side of the chest, where the primary focal point should be, while the secondary focal point is below the knees (90). Most Westerners do not realize that there are various types of kimono, and special rules one must follow in order to wear each one. For example, there are specific rules of style that dictate which kimono is worn by a married woman and which is worn by a single woman. A single woman wears a Furisode ( :broad-sleeved kimono) on special occasions like The New Year, or the annual official coming of age ceremony. These kimono are always eye catching. The sleeves are so wide and long, that when the wearer drops her hands to her sides, the sleeves almost touch the ground. In contrast, the most formal kimono for a married woman is called a Tomesode ( :narrow-sleeved kimono). Traditionally worn at formal events, such as weddings, the Tomesode s predominant color is black and it is graced with a luxurious design on the skirt. The top portion of the kimono remains a warm black with only a few kamon ( family crests) displayed on the upper back and the sleeves. The narrow sleeves indicate that the woman wearing this kimono is married, while the long sleeves on the Furisode demonstrate that the wearer is a single woman. It is very important to wear the appropriate kimono for each occasion and time. This includes observing many conventions that are associated with the seasons of the year. From October to May, the weather is very cold, and kimono with a lining are worn. From June to September when Japan is hot, kimono are worn without any lining. And for the!3

10 hot and humid days of summer, there are kimono made of gauzy silk. This light kimono not only makes the wearer feel cooler, but is also thought to comfort and cool the viewer. The history of the kimono dates back almost one thousand years. Aristocrats of that time wore garments composed of multiple layers called a Jyuunihitoe ( : 12 layered kimono). These were worn during the Heian Period ( ) and were impressive due to the layered mass of rich color and pattern as seen in (Figure 1). This combination of rich purples and reds was a color palette that was often worn during autumn. The innermost layer, called the Kosode ( : small sleeves), served as an undergarment. The Kosode (Figure 2) was the precursor of kimono that are worn today (Ito, 8). During the Kamakura and Muromachi Periods ( ), when Samurai became the rulers of Japan, the Kosode was promoted to outer garment status and worn by men. Ultimately it became the standard attire for men and women in the Samurai class (Simmons, 145). Then in the 16th century, there was an explosion of kimono fashion. Exquisitely woven, dyed, and embroidered kimono became the trend among women. And in time, this trend spread to wealthy merchants and courtesans (Kusano, 92). The narrow-sleeved kimono was a great hit and the entire robe became a canvas for bold and dynamic fabric compositions. This robe (Figure 3), made during the Momoyama period ( ), displays a rich maroon red on its upper back, and upper sleeves. While the body and skirt dynamically illustrates a strong, elegant bamboo tree curving to the right of the wearer.!4

11 Figure 1 Figure 3!5 Figure 2

12 Figure 4 Figure 6!6 Figure 5

13 Over time, the obi, which was originally a simple chord (As shown on this female in Figure 4), became longer and wider and more luxurious (Figure 5). Fabrics chosen for obi were more colorful and often woven using intricate patterns, and finished with elaborate embroidery, as seem in (Figure 6). Various techniques of stylized wrapping, and unique decorative knots, evolved during the Samurai Period ( ). The popularity of these showy knots was a nod to the celebrity Kabuki actors who sported them during performances. (Goldstein, 354). These artisans were expanding and bending fashion rules that recognized the elite as those who were allowed to wear such lavish styles. In 1683, the luxurious evolution of the kimono took a major downward turn. The Shogunate felt that the Artisans were out of control and were ignoring the social order. The angry Shogunate issued a new order (Ban of Tenna) that enforced a prohibition against extravagant displays of luxury, which included a ban on ornate kimono (Simmons, 140). Lavish embroidery and detailed patterns were deemed wasteful and were forbidden to all except those who were recognized as the social elite. These laws launched a new phase in the life of the kimono. However, the creative soul of Japan would not be snuffed out. Necessity demanded a fabric that would be considered acceptable to the Shogunate and still appeal to the Japanese sense of beauty and balance. The scene was set for the birth of a new technique known as Yuzen ( : Paste Resist Dyeing), which began in Kyoto, and allowed the saga of kimono to regenerate (Milhaupt, 63). This method of dyeing allows pictures and patterns to be drawn directly onto the fabric without embroidery or knot tying. The design outline is traced with a!7

14 brush dipped in paste, and then dyes are applied over the paste. The paste acts as a barrier to prevent the dyes from bleeding into the pattern/design. The fabric is washed to remove the paste and reveal the final design. The Furisode, shown in (Figure 7), is an outstanding example of a kimono created from fabric dyed using the Paste Resist Dyeing method. It is made from the finest silk that has been expertly dyed to illustrate an overwhelming bundle of noshi (origami folds). This kimono is so generous in length that it puddles at the feet of the wearer. The long, flowing sleeves are used to enhance a playful, coy attitude. The complete covering of the body conveys a sense of mystery and is meant to engage the viewer s imagination. In response to the Shogunate Sumptuary Laws, another fashion evolution was taking place, concurrently, in Edo (Modern-day Tokyo). There was a shift, from bold hues and patterns, to subdued colors and sleek designs. Understatement was the new focus and preference. Any figures or patterns were primarily placed at, or near, the hem of the skirt. (Figure 8) shows a subtle, navy blue summer kimono with images of plovers in flight rising from the bottom of the skirt. This style embodies the sleek style of Edo. Many techniques, used to this day, were birthed from the desire to design with beauty and grace under the rigid restrictions enacted by the Sumptuary Laws. Geisha Geisha ( :artist), have been present in Japanese history for over 400 hundred years, and are seen as the epitome of feminine beauty and power in Japan. During the Shogunate era, the original Geisha were men who served as court jesters to entertain the elite.!8

15 !9 Figure 7

16 !10 Figure 8

17 Over time this form of entertainment gradually shifted from men to women, and in 1779, Geisha officially became a profession, which specifically did not include prostitution (Maltby, 2005). Geisha were the first career women in Japan. This industry was run by women, for women and comprised of only women and created a bustling economy for everything from tea to silk. Geisha were presented as exotic, alluring and elegant works of art. They were the guardians of ancient customs and ritual; entrusted with secrets and expected to behave with discretion. Male clients, typically of the samurai and elite class, engaged them to entertain by dancing, playing musical instruments, singing and painting calligraphy. They were trained to be masters in the art of conversation and to serve with subtle grace throughout an evening. The career of a Geisha begins at a very early age, as early as eight years old. Some girls are sent to okiya ( :Geisha Houses) by their parents. Others decide to leave their families behind and dedicate their lives to the profession. Fledgling Geisha are called Maiko ( ) and sit in apprenticeship under a Geisha Mother and Elder sister. Geisha Mothers are the absolute rulers of this unique profession. Elder sisters are Geisha, with more experience, who teach their younger sisters through example. The Geisha Houses exist and function solely as a result of the money that is brought in by their daughters. It costs approximately $500,000 to house, educate, train and develop a single Geisha. A large portion of the cost includes the many, custom kimono!11

18 that are made for each daughter. Some of the best Geisha own at least two-dozen kimonos (Maltby, 2005). Maiko typically wear hikizuri ( ) as shown in (Figure 9). The purpose of these kimonos is to attract attention by using eye-catching bright colors with elaborate patterns and embroideries. The sleeves and obi are very long. Maiko tie their obi in overlapping designs, which accentuate their sensuality and beauty. Their obi are also woven using elaborate colors and patterns and, if not properly coordinated, they can almost conflict with a kimono of the same decorative caliber causing visual distraction (Y. Siffert, 88). However, when a Maiko is promoted to Geisha, her kimonos are much more subdued with subtle colors and fewer patterns. Their sleeves are also shorter in length, and their obi, which are standard length, are tied using more simple knots and bows. The graduate Maiko also changes the inner collar of the kimono from red to the white collar of a Geisha (Maltby, 2005). Many westerners labor under the misconception that Geisha are simply high-class prostitutes. This could not be further from the truth. It is rather rare for a Geisha to have sexual relations with a client. The truth is, Geisha and prostitutes participated in an intense rivalry in the pleasure quarters. An important visual clue, that identifies and separates Geisha from prostitutes is found in the obi. Geisha tie their obi behind their backs, while prostitutes tie their obi in the front. They (prostitutes) also adorned their hair with multiple hairpieces while Geisha used only a few (Goldstein-Gidoni, 352).!12

19 Figure 9 Frontside Backside!13

20 !14 Figure 10

21 At the end of the 19 th century, after the start of the Meiji Era ( ), Geisha became the superstars of fashion and, due to their influence, the entire kimono industry boomed; another example of the cause and effect of the Japanese woman within the economic infrastructure. Japan s economy and trade began to attract foreign businessmen who became desirable clients for Geisha. Demand for extraordinary kimono inspired designers to incorporate more modern, bold and dynamic colors into their kimonos. The kimono in (Figure 10) demonstrates the use of thick bold lines, simple shapes and overlapping subtle color palettes that have nothing to do with nature or the four seasons. Due to increased demand, kimono began to be mass-produced. The use of Meissen ( ) Silk, dramatically reduced costs and made fashion much more accessible to the public. (Nakagawa, 1963). Meissen Silk was made from soiled Silkworm cocoons, which, previously, had been rejected. The fabric was artfully dyed to camouflage the discolorations thereby preventing waste and lowering costs. In the 1920 s, the Jazz Age was in full swing in Japan. This was a time of easy money; more open living and liberation for both men and women. With it came more clubs, bars, music, dancing and expanded forms of entertainment. In addition to Jazz, (Mo-Ga or Flapper Girls ) and Cafe Girls became the new trend in entertainment (Milhaupt, 2014). This amplified opportunity for outside amusement threatened the traditional life and function of the Geisha. In 1926, twenty-five year old Emperor Hirohito declared that Geisha, who were considered the living embodiment of Japanese history, would symbolize the people of!15

22 Japan. During this period, Hirohito was heavily influenced by his militant advisors to turn Japan into a military power. Over the next five years the Japanese military invaded and conquered parts of China. Their continuing success in aggression emboldened Hirohito s military advisors. So, when the United States participated in an oil embargo against Japan in protest of their actions toward China, the Japanese turned their aggression to the West (Martin, 220). On December 7, 1941 Japan bombed Pearl Harbor and the next day the United States entered World War II. Geisha and WWII As the war intensified, the Japanese people were directed to either enlist in Japan s military or work in factories to support the war effort. Japanese women, of all ages, comprised a large part of the workforce and became the backbone of the Japanese war machine. This push also affected Geisha in the Gion District of Kyoto. Geisha houses were forced to close and the Geisha were expected to work in the factories. All raw materials were needed for the war effort, so Geisha had to take their expensive kimonos, rip them apart at the seams and turn them into work clothes for the factories (Martin, 223). Who knew that Geisha would be the Japanese version of Rosie the Riveter? When Japan surrendered to the United States in 1945 the nation had been reduced to a shadow of its former glory. The widespread destruction affected the entire population. The women, who had left their families and homes to become factory workers, returned to their traditional roles. Geisha returned to the Geisha houses but their clients had essentially melted away. At this point, Emperor Hirohito encouraged the Geisha to direct their attentions to the American military who were occupying Japan (Faiolia, 3). During!16

23 this period the rivalry between Geisha and prostitutes was revived. Prostitutes took advantage of the American servicemen who were uneducated regarding Japanese traditions and customs. They disguised themselves as Geisha Girls. Their kimono were poor versions of the luxurious authentic kimono and obi that were worn by true Geisha. The prostitutes went so far as to include the honored white collar, which is the symbol of a true Geisha, in their disguise. At this point, the prostitute s behavior tainted the graceful and mysterious image of Geisha (Maltby, 2005). The infiltration of Western Fashion Prior to WWII, Western fashion began to filter into the lives of the Japanese elite; although the majority of the population was still wearing kimono as their daily garb (Faiolia, 4). However, after the war, Western style clothing became the fashion preference, and kimono began to fade from the garment landscape. This priceless tradition in Japanese history and culture was quickly becoming a White Elephant. The premium space, needed for kimono storage, became more important to many people than the garment itself. Over time, kimono were primarily reserved for formal functions and traditional occasions such as Coming of Age and wedding ceremonies. Another consideration was the often-burdensome expense of making a new kimono; so the younger generation opted to rent kimono only as needed. Western style clothing accentuated a woman s physical curves, even to the point that more and more skin began to be revealed (Goldstein-Gidoni, 365). There was a general departure from modesty as more revealing clothing communicated a message of!17

24 provocation. All sense of traditional style and mystery was being stripped away as kimono were relegated to the backs of closets or given away. Post WWII Since the rise of industrialization in the Meiji Era, centuries-old art forms and craft techniques had been disappearing. Japan struggled to rebuild after World War II, and the government sought to preserve the nation s cultural legacy. As a result, in 1950, the government enacted the Cultural Properties Protection Law ( : bunkazai), which included the designation of individuals who are masters of a specific art or craft and are thus Bearers of Important Intangible Cultural Assets (Faiolia, 2006). These honored individuals, known as Living National Treasures ( : ningen kokuho), now number more than 100 men and women (Goldstein-Gidoni, 369). Included in this revered group are artists who are responsible for bringing the art of kimono into the 20th century. For example, Kako Moriguchi (Figure 11) who revitalized Yuzen using a stylized and graphic technique, and Itchiku Kubota (Figure 12), who revived tsujigahana, an ancient weaving method. Many Japanese artists have been influenced by western artistic practice. The echo of European embroidery is evident in Shizuka Kusano s pieces (Figure 13), French Impressionist landscapes affect Kubota s work, and Kako Moriguchi s minimal graphic design is a nod to Art Nouveau. The children of these National Treasures continue their legacy to this day.!18

25 Figure 11 Figure 12!19

26 Figure 13 Figure 14!20

27 In more recent times, contemporary designer, Sueko Oshimoto (Figure 14), has moved the kimono outside its traditional sphere and given it a haute-couture spin. These modern pioneers of kimono design, like Kubota and Oshimoto, have inspired me to bring their work to the forefront of museum culture. Kimono Evolution Introduction The title of my dream exhibition is Kimono Evolution (KE). KE will visually illustrate the metamorphosis of the kimono over centuries of time. A Japanese historical timeline, beginning in the Heian Period (794 A.D A.D.) and continuing through the present, will accompany the exhibition of kimono from vintage treasures, like the junihitoe, to the designs of National Living Treasures and contemporary artists. I will also incorporate woodblock prints that include representations of kimono within the images. Most Westerners think that all kimono are the same and are not aware of the history associated with this garment. Prior to World War II, the kimono was the daily garb most commonly worn by women and men. However, throughout Japanese history the kimono has experienced many fashion shifts. Using the timeline, I will highlight moments throughout Japanese history that influence the evolution of this garment: such as the Ban of Tenna in 1684 and WWII. The Shogunate declaration forbade the wearing of luxurious or highly decorated garments by all but the nobility. As a result, the people found very creative and artful ways to lawfully ignore the ban. Many of these new methods of dyeing, weaving and designing are still being used over 300 years later.!21

28 Upon entering KE, guests will encounter the selected pieces in chronological order. Each kimono will be displayed in a way that best illustrates its unique characteristics. Some will fit on special dress forms, some will be displayed on the walls, and others will be hanging independently from the ceiling, using invisible line, which creates the illusion of floating in mid air. Upon arriving in the exhibition space, the guest will immediately be transported into another time and tradition. Exhibition Display: Wabi-Sabi Museum Kimono Evolution pieces will be displayed in my dream museum known as Wabi-Sabi, which is located near the Japanese Cultural Center in Los Angeles. The exhibition space, that will house KE, is an indoor/outdoor Tea House and Zen garden that is built within the two story Wabi-Sabi compound. I have chosen this backdrop because it sets the tone and atmosphere that best compliments the kimono. The Tea House and garden provide a warm and intimate setting for these unique vintage and contemporary pieces. Wabi- Sabi s (W/S) mission is to educate and inspire visitors by sharing Japanese cultural history, and vanishing artistic processes, through demonstrations, workshops and symposiums. Wabi-Sabi is a small-scale boutique-style museum near the Japanese cultural center of Little Tokyo in Los Angeles. The architecture, also based in W/S, consists of muted colors, Zen gardens, water features and exterior design inspired by authentic Japanese architecture. The main level will consist of several galleries, a Teahouse within a Japanese garden and a large, multipurpose reception area. The Teahouse is used for exhibitions, Japanese style tea ceremonies, and lectures. Offices for the staff and the!22

29 permanent collection are housed in a subterranean level. Parking is an issue because the city is so dense. Therefore, subterranean parking will be provided at no cost to those who make reservations in advance. Though W/S is located in the heart of a Japanese community, it will attract an audience with a desire to learn about Japanese culture through the arts, and to gain insight regarding what is currently happening in the Japanese art world. The museum will be comfortable and accessible for both English and Japanese speakers. The Education Department offers public programs, which will include lectures, artist talks, workshops, conferences and seminars. Lectures and conferences are geared toward sharing the influence of specific artists, past and present, and observing the ways in which the Japanese art form has changed over time. Artist talks, will involve well known, or up and coming, contemporary Japanese or American artists. Workshops consist of guests learning the art of the Japanese Tea Ceremony, the process of woodblock print making, wearing a kimono, how to dye and weave kimono fabric and other art making practices inspired by certain artists or works which would be exhibited. These workshops, lectures and conferences will be held in either the Teahouse or the reception area; depending on the event and the number of anticipated visitors. Special events are scheduled on specific days of the month. For example, every second Friday, the entire staff would wear a kimono. On that day, visitors will have the opportunity to, by appointment, try on and wear a kimono. The Japanese community is very flattered and delighted that anyone would wish to wear one of their traditional garments. Each fourth Saturday will feature specific Japanese entertainment. This might!23

30 be a performance of traditional dances, Kabuki, or concerts that introduce visitors to Japanese instruments such as the Koto and Sanshin. Another example would be Free First Sunday, which is geared toward adults and children. This program might feature one or more of the following activities: origami, sumi-e (ink paintings), and fabric dyeing/traditional embroidery art. The Japanese community celebrates many annual festivals and these would be observed, throughout the museum year, as additional special events. My hope and goal for W/S is that nothing would become fixed and stagnant. This will be a place of ever changing tradition. A place to be warmly welcomed by the familiar, well loved truth and beauty of the Teahouse and, at the same time, knowing that there is stimulation and surprise around each well-known corner. The exhibitions, events and activities will continue to spark curiosity and excitement for guests who choose to return over and over. In thinking about the infrastructure of this potential museum and exhibition that will honor the history of the kimono, I am reminded of the quiet strength and determination of the Japanese women. They, like their kimono, have persevered against great odds while being sustained by tradition and anchored in beauty, dignity and grace.!24

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