Textiles 17


Meisen kimono, Japan, 1920-60, silk in plain weave, double ikat, hand-sewn, donated by Henriette Friis


Meisen kimono with window-like, geometric pattern, Japan, 1920-60, silk in plain weave, double ikat, hand-sewn, donated by Henriette Friis


Meisen kimono with pattern with rose motif, Japan,


1920-60, silk in plain weave, double ikat, hand-sewn, donated by Henriette Friis


Meisen haori, Japan, 1920-60, silk in plain weave, double ikat, hand-sewn, donated by Henriette Friis


innovations in stencil printing, the blurred motifs of the Meisen pieces imitated artistic, originally hand-dyed kasuri or ikat fabrics. In doing so, they sometimes drew on the traditional Japanese canon of forms while simultaneously being propelled into the new century through unusual combinations of individual elements and motifs and enlargement, as well as the exaggeration of existing patterns. Te classic forms of the Meisen


kimonos include diagonal, geometric, and diamond and lattice patterns. During the second bloom of these kimonos in the 1950s, elements that are


influenced by Expressionist


brushstrokes along with other Modernist decorations began to appear. In complete contrast, stylised floral motifs, reminiscent of the fabrics of Hawaiian shirts, can also be found during this period. Meisen is mainly associated with


fashion during the Taisho period (1912-26). From the 1920s to the 1930s, the number of office workers (who represented the new middle class) grew rapidly. At the same time, with the development of the transport network, the separation between place of residence and place of work widened. Despite a daily work routine determined by their work schedules, they also enjoyed their free time after office hours and during their holidays. In the household budget, the share of entertainment and leisure spending increased. Te Japanese women’s lifestyle has immensely modernised. To the majority of women who were


becoming independent, urbanised, and modern-minded young women, these kimono began to reflect the modernisation – or Westernisation – of Japan in the early to mid-20th century. Te designers of these kimonos pushed their talents to the limit, reinventing


Meisen haori, Japan, 1920-60, silk in plain weave, double ikat, hand-sewn, donated by Henriette Friis


local techniques while incorporating new influences. Japanese department stores were at the forefront of this modern kimono movement; when they released their new line of kimonos each spring and autumn, eager young women flocked to the stores to buy them. Tese female office workers, store


clerks, and waitresses started the trend to go window shopping in Ginza, the main shopping area in Tokyo which resembled that of the Champs-Elysées in Paris. Te iconic modern girl ‘moga’, so vividly depicted in the shin hanga (new prints) of the time, often wore Meisen kimonos with a distinctive bob haircut. Troughout this period, Meisen remained affordable, and the quality of the manufacturing greatly improved. It was only when wool and Western clothing were introduced to Japan that the popularity of Meisen came to an end in the early Showa period (1926-89). As new kimono styles emerged,


earlier ones soon became outdated and were retired to the bottom of the kimono chest and often not worn again. It is for this reason that so many of these kimonos remain for our enjoyment


and appreciation today.


After Japan’s defeat in the Second World War and the destruction of so many major urban centres, the kimono was quickly replaced by Western-style clothes, which were considered more affordable and conducive to the new post-war lifestyle. However, the vibrant Meisen kimonos that have survived perfectly reflect the stimulating changes that occurred in the lives of women living in a modern Japan.


WATCH


• Until 24 August, MAK, Vienna, mak.at


• Curator’s tours on 4 and 22 April and 13 June


The History and Modernisation of the Kimono with Monika Bincsik


#AsianArtPaper asianartnewspaper asianartnewspaper Asian Art Newspaper


Meisen haori with hibiscus flowers, Japan, 1920-60, silk in plain weave, double ikat, hand-sewn, donated by Henriette Friis


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