Furisode Kimono Explained: A Visual Guide to Japan’s Coming-of-Age Attire

When thinking of the Coming-of-Age Day in Japan, one image often comes to mind: young women dressed in striking, long-sleeved kimono known as furisode. Worn to mark the transition into adulthood, these colourful garments are rich in tradition and also full of personal and cultural meaning.

But not all furisode look the same. At the 2024 Yokimono Japanese Market in London, we presented two very different styles: one based on historical dress from the Edo period, and one showing how the furisode is worn today. This article takes a closer look at both styles, explores the symbolism behind their patterns, and considers how the furisode continues to evolve while preserving its role in Japanese rites of passage.


This article is 1,000 words long.
🕒 Estimated reading time: 5 minutes.

From left to right: Sonoe Sugawara (Furuki Yokimono Vintage), model Chizu, stylist Yuko Sasaki, model Yui, presenter Carolin. All images in this post taken by まなさん.

What is a Furisode?

The furisode (振袖) is a type of formal kimono distinguished by its long, flowing sleeves ranging from 85 to 114 cm in length. The name literally translates to “swinging sleeves,” which sway elegantly with the wearer’s movements.

Historically, furisode were worn by young, unmarried women, signaling both youth and availability for marriage. The long sleeves were believed to make a woman appear more graceful and attractive.

After marriage, it was customary to “shorten the sleeves” either by literally cutting them or having the garment altered by a tailor to convert the furisode into a tomesode (留袖), a formal kimono for married women, which has shorter, more restrained sleeves. This physical alteration marked a symbolic transition from maidenhood to matrimony.

Sleeve lengths vary by occasion: longest for bridal wear (left), medium for Coming-of-Age Day (center), and shorter for graduation (right). Image source: http://aikah.com.

Today, they are most commonly associated with the Coming-of-Age Day (成人の日 / Seijin no Hi), a national holiday in Japan that celebrates young people turning 18 years old, which is, since 2022, the official age of adulthood. These garments are often elaborately decorated with seasonal or auspicious motifs, each carrying symbolic meaning.

Furisode Styles Now and Then

For the demonstration at the Yokimono Japanese Market, we showcased two contrasting styles of furisode:

  • A historical Edo-period style, emphasizing traditional elegance and formal symbolism
  • A contemporary adaptation, showing how the furisode is worn today with practical adjustments and personal flair

The Historical Style: Formal Elegance

Yui wore a furisode styled in the fashion of the Edo period (1603–1868), a time when clothing adhered to strict codes that reflected social status, age, and marital status. The kimono she wore was richly decorated with a variety of auspicious motifs, each symbolising positive qualities or well-wishes for the wearer:

  • Chrysanthemum (菊, kiku) – A symbol of longevity and a floral emblem associated with the Imperial family
  • The “Three Friends of Winter” (松竹梅, shōchikubai) – Plum, bamboo, and pine; a classic trio in East Asian art representing resilience, integrity, and perseverance during hardship
  • Crane (鶴, tsuru) – A revered creature in Japanese folklore, symbolizing good fortune, fidelity, and long life

The hem of this kimono was left to trail on the floor, a style considered highly formal and luxurious. In the Edo period, this trailing hem was typical for young women of higher social rank attending important occasions. Today, such styling is rarely seen outside of stage performances or ceremonial roles, such as those of geiko and maiko, where traditional dress is preserved as part of cultural heritage.

The Contemporary Style: Practical and Personal

In contrast to the traditional Edo-period ensemble, Chizu wore a more contemporary interpretation of the furisode, illustrating how modern wearers adapt this formal garment to suit current lifestyles and practical needs. While the furisode remains a symbol of youth and celebration, today’s wearers often choose more accessible ways of styling it.

One key adaptation was the use of the o-hashori technique, where excess fabric at the hem is folded and tucked to create a clean, ankle-length silhouette. This method makes the kimono easier to walk in and helps prevent the fabric from dragging on the ground; an important consideration for modern-day mobility and comfort.

A particularly meaningful element of this outfit was the furisode itself. This kimono originally belonged to Sonoe Sugawara, owner of Furuki Yokimono Vintage and host of the Yokimono Market, who wore it at her own Coming-of-Age ceremony in 1995. It had been gifted to her by her grandmother and has been carefully preserved ever since.

Wearing this heirloom piece today highlights how kimono are not only fashion garments but also carriers of family history, memory, and generational continuity.

The Art of the Obi

No kimono is complete without the obi, a wide sash tied in the back. Tying the obi is both a technical skill and an art form, often requiring assistance due to the weight, length, and complexity of the knot.

The obi is often the most expensive part of a kimono outfit, as it must be stiff enough to hold elaborate shapes and usually features intricate weaving or embroidery. During the demonstration, Yuko showcased two different obi knots:

  • A formal structured knot worn by Yui matching the grandeur of her historical furisode
  • A rose-shaped obi knot worn by Chizu symbolic of blossoming youth and individuality

Secured with hidden cords and accessories, these knots balance visual beauty with structural durability meant to stay in place all day.

Watch the Presentation

🎥 See both styles brought to life in our full video recording below:

Our live demonstration at Yokimono Japanese Market highlighted not only the stunning beauty of furisode, but also the interplay of tradition and transformation that makes kimono culture so rich and enduring.

Whether worn in classical elegance or reimagined through a modern lens, the furisode remains a powerful expression of coming of age, identity, and celebration in Japan.

Sonoe Sugawara, owner of Furuki Yokimono Vintage
Yuko Sasaki, kimono dresser & stylist
Carolin Becke, kimono expert
Yui, model of the historical style
千珠 / Chizu, model of the contemporary style

Why Did I Go to Japan? Discussing Kimono on Japanese TV

It just recently occured to me that I never talked about my appearance on TV Tokyo’s well-known show Why Did YOU Come to Japan? (YOUは何しに日本へ?) on this blog. I’m not quite sure what kept me from writing about it before, but here is me aiming to change that.

This article is 720 words long.
🕒 Estimated reading time: 4 minutes.

For those unfamiliar with the show, Why Did YOU Come to Japan? follows the journeys of international visitors to Japan, often starting with spontaneous interviews at the airport. The programme’s crew approaches travelers to ask about their plans, hoping to uncover unique and meaningful stories.

I was one such traveler, approached by the crew at Kansai Airport in February 2018, just as I was arriving for a six-month stay to conduct PhD fieldwork. The crew followed me over three full days, capturing glimpses of my daily life as a researcher in Japan. While many scenes didn’t make the final cut, the broadcast focused on my research visit to the shop MIYABI in Kitakyushu.

Miyabi Ikeda, the owner of kimono shop MIYABI.
Me during an interview with Miyabi-san.

The shop MIYABI is renowned in Kitakyushu as a popular destination for the local Seijin-Shiki (成人式), or Coming-of-Age Ceremony. This annual event celebrates young adults reaching the age of then 20, now 18, marking their transition to adulthood. Kitakyushu’s ceremony, in particular, is famous across Japan for its attendees’ incredibly inventive attire—each year, many invest a significant amount into crafting unforgettable outfits that reflect personal style and hometown pride.

A female attendee of Kitakyushu’s coming-of-age ceremony in 2015.
A male attendee of Kitakyushu’s coming-of-age ceremony in 2016.

Although I didn’t get to attend the ceremony itself or interview the young adults firsthand, my visit to MIYABI provided valuable insight into these unique local customs. The shop’s owner, Miyabi Ikeda, shared stories of her experiences and the elaborate preparations that go into helping customers create statement outfits for this important day. Through her perspective, I gained a deeper appreciation for the cultural significance and creativity surrounding Kitakyushu’s Coming-of-Age Ceremony.

The distinctive styles of the hade hakama (派手袴) for men and oiran kitsuke (花魁着け) for women served as key inspirations for Chapter 6 of my PhD dissertation, Challenging Normative Gender Ideals? Alternative Forms of Coming-of-Age Dress. In this chapter, I examine how these bold styles transcend conventional norms to allow unique expressions of identity. For those interested, my full dissertation can be accessed here: Becke, Carolin (2022) Negotiating Gendered Identities Through Dress: Kimono at the Coming-of-age Day in Contemporary Japan.

A summary of the TV episode discussing these styles is also available in Japanese on the programme’s website: Why Did YOU Come to Japan? – Episode 180730. For a closer look at MIYABI’s most recent creations, I recommend following their Instagram account: @miyabi_kokura.

Reflecting on this experience, I’m reminded of how unexpected encounters can shape and enrich our journeys in ways we don’t anticipate. Being part of Why Did YOU Come to Japan? gave me a unique opportunity to share my research with a broader audience and connect with Japan from a new perspective. It captured not only the purpose of my fieldwork but also the warmth and curiosity that I encountered throughout my time there. I hope this glimpse into my journey offers you some insight into the fascinating intersections of research, culture, and the unexpected surprises that make travel so rewarding.


Cardiff-Japanese Lecture Series: ‘Kimono (and) Fashion in Japan’

This online public lecture titled ‘Kimono (and) Fashion in Japan’ is part of the Cardiff-Japanese Lecture Series which aims to explore and understand aspects of language learning for those studying Japanese language and culture at Cardiff University, as well as various learners, teachers and researchers with an interest in Japan. The event is funded by the Japan Foundation, London.

Abstract
Both inside and outside of Japan, kimono is commonly framed as the national costume of Japan, bestowing the garment with notions of tradition and stability. However, ever since the establishment of a widespread fashion system in the Edo period (1603-1868), kimono was worn in different ways to communicate individual and social characteristics such as status, occupation, gender and taste.

This talk sheds some light on the fashionable influences on the garment by examining the following questions; how was kimono marketed by members of the merchant class, who became affluent during the Edo period? In which way did the moga (モガ, ‘modern girls’) of the Taisho period (1912-1926) wear the garment? How is the retro style, which gained prominence due to magazines such as Kimono Hime (Shōdensha, 2003-2018) and Kimono Anne (TAC Shuppan, 2019-), connected to the popularity of kimono as an everyday garment in recent decades?

Watch the recording of the lecture to find out more!

Fashion Objects and the Changing Landscape of Fashion: ‘Sustaining Wellbeing through Kimono’

On May 6th, I spoke about my research on mental wellbeing and kimono at the Fashion Objects and the Changing Landscape of Fashion conference which was part of the Fashion Festival Debrecen. This research is inspired by a short, investigative article I wrote for the ‘Collecting Covid-19’ project initiated by the Centre for Digital Anthropology at University College London which encouraged scholars to collect responses to the unfolding covid-19 pandemic in early 2020.

During this time, I noticed a particular activeness of some of the kimono designers and enthusiasts I follow on Instagram; while life as we know it was drastically changing, members of the community reached towards kimono to provide them with a sense of stability and belonging in these challenging times. Imaginative challenges and exercises were set up to engage each other in creative endeavours, with individuals sharing images of affectionately coordinated kimono outfits which incorporated some of their newly learned kitsuke (kimono dressing) skills. I became fascinated by the ways in which the community took care of their mental health through an engagement with the garment, and decided to conduct some further research into the topic.

Besides the presentation at the conference, I am currently preparing a manuscript summarising my findings which I hope will become a published journal article titled ‘Sustaining Wellbeing through Kimono: Responses from the kimono fashion network to the covid-19 pandemic’.

Japan House London: ‘RENOVATION: Kimono & Sustainability‘

The slow but steady lifting of restrictions in regards to COVID-19 in the last couple of weeks here in the UK means that, alas!, museums and exhibition spaces are opening their doors to the public again! I am more than thrilled about this – visiting museums and exhibitions form an important part of my life, providing me with inspirational insights into the practices of various artists and cultures … and, I have to admit, the experience is one that cannot be easily re-produced online (although there are definitely some mention-worthy attempts!).

So finally last week, after a long period of not engaging with art in this way, I ventured out to see Japan House‘s ‘RENOVATION: Kimono & Sustainability‘ display featuring contemporary kimono by texile artist Hiroko Takahashi (高橋理子).

Hiroko Takashashi is the founder of kimono brand HIROCOLEDGE which aims to blend ideas of art and fashion. The artist’s signature bold graphics consisting of geometric patterns such as circles and straight lines form part of most of her designs, representing the infiniteness found in the universe. There is a big focus on sustainability within the brand as well, and this is showcased through the kimono which are part of the ‘RENOVATION’ project displayed at Japan House.

As part of the project, Takahashi sourced old kimono and unstitched, de-colourised, and then re-dyed them with her signitaure geometric patterns. In the past, a significant aspect of everyday kimono culture was the continued re-use of the precious materials, which included the taking apart and re-tayloring of garments to make them into new pieces. This practice is mainly lost now, but Takahashi would like to re-engage consumers with this form of appreciation and usage.

This is a truly inspiring display, so I encourage anyone with an interest in fashion, textiles and design to visit Japan House and study the garments in close detail themselves!

Japan House
Renovation: Kimono & Sustainability
5 August – 7 September 2020

All images © Carolin Becke.

UCL Collecting Covid-19: ‘#stayhomekimono’

This short article analyses the practice behind the hashtag #stayhomekimono which encourages kimono lovers to dress up in kimono at home and share photographs with their friends and followers online. It was originally written for a website set up by UCL’s Center for Anthropology to collect ethnographic data on how people around the world are experiencing the appearance of COVID-19 in their lives, and can also be found here.

#stayhomekimono: Creative responses from kimono lovers to physical distancing

Instagram user opalmoonrabbit participating in the #stayhomekimono challenge.

Both within and outside of the country, kimono has long been regarded as Japan’s national and traditional costume with its own etiquette and customs. Diverse ways of approaching and appropriating the garment have been applied by different parts of the population however, with kimono being regarded as a fashionable, rather than ‘traditional’ garment at many different points throughout history. It was rather in a post-war context that an idea of ‘the kimono’ and ‘one way of wearing’ has been strengthened, with kimono dressing schools and conservatively-minded authors being the main drivers behind this movement. The now associated abundance of strict rules and regulations ended up alienating the majority of the Japanese population from kimono.

In the last decades however, kimono has seen a bit of a revival, with individuals picking up kimono more due to fashionable than traditional reasons, aiming to express their identity and taste through the playful combination of items and accessories to create personalised kimono ensembles. This new generation of kimono lovers are people of all genders and ages who are getting together with their friends and / or in special dressing groups to enjoy wearing kimono in a communal setting. Due to physical distancing restrictions being put on the Japanese population, these ventures are naturally now also being restricted. Some inspiring and creative ways of coping with the ‘new normal’ have come out of the community however which I would like to outline below.

Continue reading “UCL Collecting Covid-19: ‘#stayhomekimono’”

Kimono Fashion Photoshoot with Marion Gabrielle: ‘Clearing Lines’

The places your research leads you to … I never thought that I would be involved in a kimono photoshoot but this is precisely what happend two months ago!

I took my friend Marion Gabrielle, a fashion photographer, to the KIMONO MAGIC SOCIETY POP-UP at the beginning of March and she was immediately fascinated by the designs of the presented garments! This led to us organising a full photoshot on very short notice (knowing the kimono designers and their garments wouldn’t stay in London too long), with the whole organisational process taking less than three days! The kimono and obi were kindly provided to us by Modern Antenna who gave us complete artistic freedom over the use of their garments. Marion got in touch with model agency Titanium Management who sent along the two lovely models Vera and Aanandita for the shooting. Jubby S. was in charge of styling, providing us with pieces of garments to wear with the two kimono that were chosen (see pictures below!).

On the day of the shooting we met at Titanium Management who are based in a small side street in Shoreditch, to have the models styled and put into their respective clothing ensembles. Having never put another person in kimono, I have to admit that this was quite the challenge! It all worked out in the end however, thanks mainly to our concept being based on a very fashionable approach towards kimono (and also A LOT of improvisation!).

After Vera and Aanandita were styled and dressed, we headed out with Marion looking for inspiring spots in the back streets of Brick Lane. This is were some of my favourite images (see below) were shot, at the parking lot and entrances to the storage space of a fabric supply company to be precise, providing us with a beautiful backdrop of brick buildings, heavy industrial doors, warehouse materials and (above all) shipping boxes!

The second location for the shooting was Brick Lane Vintage Market which provided a slightly more colourful, vintage-y visual context for the kimono ensembles. I loved how some of the motifs of the different pieces communicated with their surrounding; the lines of the Union Jack on Aanandita‘s obi for example visually respond strikingly to the The Who t-shirts logos in one of the LP record shops (see last image below).

All in all, this was a very inspirational experience, which, besides providing me with a welcome distraction from my more writing-focused research activities, offered greater insights into the way kimono and certain kitsuke (the practice of dressing in kimono) relate to and look in photographic images. Putting another person into kimono was another fascinating part of this whole experience, which made me want to actively study and practice different obi ties and bigger variety of kitsuke, particularly in regards to creating different lengths of the hem (my one-off yukata lesson in Kyoto surely did not adequately prepare me for this!). As Marion and I are already thinking about possible future collaboration, you probably do not need to wait long to hear more from us!

Clearing Lines
Photographer Marion Gabrielle @mariongabriellephotos
Models: Vera and Aanandita @titaniummanagement @veralialko @aananditarajawat
Kimono Stylist: Carolin Becke
Stylist: Jubbi S. @jubbi.s
HMUA: Margherita Fabbro @margheritafabbro_mua
Kimono Designer: Modern Antenna @modern_antenna
Assistant: Katrina Spadaro

Find the full gallery here: http://www.behance.net/gallery/95744735/Clearing-Lines

Sway Gallery London: ‘The Creation of Modern Kimono: KIMONO MAGIC SOCIETY POP UP’

The Creation of Modern Kimono: KIMONO MAGIC SOCIETY POP UP was held from February 29th to March 4th at Sway Gallery London. Yoshihide Hirayama and Asako Yamamoto from Modern Antenna, Tamao Shigemune from Tamao Shigemune (重宗玉緒), Rumi Shibasaki from Rumi Rock, as well as Narutoshi Ishikawa from iroca, forming the The Kimono Magic Society, were all in attendance, showing off the latest designs from their respective brands. This was a great chance for me to get to know the designers in person, interviewing each of them for my research on contemporary kimono fashion. While united under the banner of ‘kimono as fashion’, every single one of them has a unique outlook and approach, visible in their respective designs pictured below.

The highlight of the pop up was the fashion show held on Sunday March 1st. Kimono influencers Anji Salz and Sheila Cliffe joined the spectacle which was a great chance for the general public to see the designs coordinated and styled on real-life models.

All designers posing with kimono fashion influencer Anji Salz.
A packed Sway Gallery! Anna Jackson, main curator of the ‘Kimono: From Kyoto to Catwalk‘ exhibition, as well as author and research Sheila Cliffe were present as well.

Overall, this was a great event which provided the designers with the opportunity to showcase their skills and share their kimono expertise with people based in the UK. All brands have some of their works featured at the ‘Kimono: From Kyoto to Catwalk‘ show held at the Victoria & Albert Museum, a fantastic exhibition which I will cover in my next post, so stay tuned 🙂

Royal College of Art: ‘Kimono Magic Society: Kimono Bash’

On February 28th, I attended the ‘Kimono Magic Society: Kimono Bash’ event held at the Royal College of Art in London. The Kimono Magic Society consists of the designers and creators behind contemporary kimono fashion brands Rumi Rock, Modern Antenna, Tamao Shigemune (重宗玉緒) and iroca, who all have their designs featured in the ‘Kimono: From Kyoto to Catwalk‘ exhibition currently held at the Victoria & Albert Museum. The event mainly consisted of a fun and practical exploration of contemporary kimono. Besides being able to try on kimono and obi, attendees could also get their hands on customising their own obi to go with a coordinate put together by one of the brands. Below you can see my and a fellow attendees attempt in styling an obi for a Rumi Rock outfit.

Another part of the event was the ‘Kimono in Conversation’ discussion facilitated by Sarah Cheang, senior tutor at the Royal College of Art, Elizabeth Kramer, senior lecturer at Northumbria University, Clare Johnston, a textile designer based in London, and the infamous Sheila Cliffe, a kimono researcher, stylist and influencer based in Tokyo. The conversation centered around kimono as a fashionable garment, with the panelists sharing their individual encounters with kimono, and engaging with the audience on questions of the past and current state of kimono in Japan.

One of the most interesting insights that came out of the panel for me was this statement by Sheila who commented on the body and kimono, challenging a long held stereotype on the garment: ‘The idea that the kimono ignores the body is a misunderstanding. The kimono does not ignore the body. In fact, the fitting in Western clothes is done at the cutting stage; you cut the clothes to fit the body. So, unless you have something tailor-made, it actually does not fit the body. YOU have to fit into a size 12, or size 14. […] Whereas kimono, there is fitting. The fitting takes place in the dressing process, not the cutting process. And because it takes place in the dressing process, when you fold and wrap, you can fit it perfectly to the body without cutting anything.’ The idea that kimono ignores the body never sat right with me, but I could not precisely articulate why. Sheila managed to completely break down the idea however, presenting a highly convincing argument which I will now use as well!

Overall, this was a very engaging and fun event which managed to find a good balance between physical engagement with the garments, as well as some contextualising debates on them. It would be great to keep the conversation going and have more encounters like this in the near future!

The Kimono Magic Society also hosted a pop-up exhibition and shop at Sway Gallery in East London, which I will cover in my next blog post so stay tuned!

Museum für Kunst und Gewerbe: Kimono Photographs

And another collection of kimono-related images from an online database, this time from the Museum für Kunst und Gewerbe which is located in my hometown, Hamburg. The pictures are mainly from European photographers Felice Beato and Raimund von Stillfried-Rathenitz, as well as Japanese national Kusakabe Kimbei. Kusakabe worked for the former two as an assistant for many years, until opening his own studio in Yokohama in 1881. He came to be regarded as the most respected and successful Japanese photographers of his generation. Many of the images in the studio’s catalogue featured depictions of Japanese women, which were popular with tourists of the time.

Four dancers by Kimbei Kusakabe (around 1880–1890).
© Museum für Kunst und Gewerbe, Hamburg.
Photograph by Felice Beato (around 1868).
© Museum für Kunst und Gewerbe, Hamburg.
Photograph by unknown artist (around 1880-90).
© Museum für Kunst und Gewerbe, Hamburg.
Portrait of a young women by Raimund von Stillfried-Rathenitz (around 1870–1875).
© Museum für Kunst und Gewerbe, Hamburg.
Portrait of a young women by Raimund von Stillfried-Rathenitz (around 1870–1875).
© Museum für Kunst und Gewerbe, Hamburg.
Three young geisha by Raimund von Stillfried-Rathenitz (around 1870–1875).
© Museum für Kunst und Gewerbe, Hamburg.