gofuku-shō 呉服商: Drapery Stores

~ Carolin Becke ~ Leave a comment

These images by Kobe-based photographer Teijiro Takagi (高木庭次郎) depict a so-called gofuku-shō (呉服商), a drapery store, during the Meiji (1868-1912) or Taishō period (1912-26). Panels of fabric are rolled out on the floor and hung up on the background, with customers examining the pieces of cloth they would like to have turned into kimono. Made from single bolts of cloth in a two-dimensional, flat manner, kimono are relatively simple garments to sew. Gofuku-shō did not just sell kimono fabric, but also orchestrated the extensive network, which included spinners, weavers, dyers, embroiderers, specialist thread suppliers, stencil makers and designers, involved in the creation of the individually commissioned garments₁. Some of Japan’s famous department stores such as Mitsukoshi originally started their business activities as gofuku-shō.

(₁) ‘Making Kimono’, Victoria and Albert Museum.

Shunshō Katsukawa (勝川春章), ‘The Cultivation of Silkworms’, (1767-1768).
© Victoria and Albert Museum, London.

Japan House London: ‘Living Colours: Kasane – the Language of Japanese Colour Combinations’

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I went to visit the ‘Living Colours: Kasane – the Language of Japanese Colour Combinations ‘ (かさねの森　染司よしおか) exhibition currently staged at the Japan House in London last weekend (running until 19 May). The exhibition explores the work of the Kyoto-based Yoshioka Dyeing Workshop (染司よしおか) now operating in it’s fifth generation. Yoshioka Sachio is the current head of the operation with his daugther Sarasa set to soon take over the business.

The exhibition mainly focuses on so-called kasane (かさね), the ‘concept of layering colours’. Specific colour combinations were particularly popular during the Heian period when fashion-conscious members of the aristocracy used them to communicate seasonal sensibilities. The exhibition showcases some of the most popular combinations, as well as the natural materials and tools used during the dyeing process.

The display is free of charge so I highly recommend a visit to anyone interested in Heian court culture and customs, as well as dying techniques and fabrics in general!

All images © Carolin Becke

Toyohara Chikanobu: ‘Female Student with Umbrella’

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This ukiyo-e woodblock print from the Meiji period (1868-1912) depicts a young female student presumably heading to one of her lessons. In a very fashionable manner, she is combining a checkered buttoned shirt with a cherryblossom-patterned kimono, showing off the undergarment’s band collar and sleeves with rounded cuffs. The black laced umbrella additionally confirms the young woman’s position as one of the fashion leaders of the era.

Toyohara Chikanobu (楊洲周延),「真美人　十四　洋傘をさす女学生」(Meiji 30, 1897).
© Ōta Memorial Museum of Art (太田記念美術館), Tokyo.

AKB48: ジワるDAYS

~ Carolin Becke ~ Leave a comment

Having followed Japanese popular culture for quite some time now, I have found myself to be particularly curious about idol アイドル culture and aesthetics. Costumes play a very important role within the overall visual aspect of idols; they are utilised to signalise allegiance to one’s group through a general costume design on one hand, but also highlight individuality through the creation of a certain silhouette or allocation of a specific colour for the individual member on the other.

It was hence quite interesting to notice that popular idol group AKB48‘s video to their latest single ジワるDAYS (2019) featured all 345 costumes which member Sashihara Rino, who announced her graduation from the group in December, had worn over her 12 years of being an idol. The costumes are used for much of the videos background decoration, illustrating the sheer amount of clothing that is produced to maintain the idol image and character. Have a look for yourself below:

AKB48 – ジワるDAYS (2019)

一　ichi

~ Carolin Becke ~ Leave a comment

Just thought that I should would like to start blogging again, so here we go. Expect to mainly find images of kimono and other clothing / costumes related content accompanied by semi-academic short texts.

To get things started, here is a picture of me and my friend wearing hakama in Kyoto in 2018. We aimed for a Taishō Roman 大正ロマン look, trying to capture the aesthetics of the Taishō period (1912-26) in our chosen kosode / hakama ensemble.

© Carolin Becke