Komorebi #24

€200,00

Pink awase hiro eri kimono of the iro myji type with bara and nami texture.

 

FIT

Dress Length: 151 cm | 59.4"

Sleeve Length: 32 cm | 12.6"

Shoulder to Shoulder: 62 cm | 24.4"

 

MATERIAL

Handmande in Japan

Exterior 100% wild silk

Lining taffeta and synthetic silk

 

HISTORY

Awase is a lined kimono, exclusively worn between October and May (from Autumn to Spring in Japan). In hiro eri, the collar is wide and its inside is not sewn to the body. When put on, the lapel can be folded in two to feature the widht desired and fall naturally toward the erisaki (the bottom of the collar). It is used in many women’s kimonos.

In Japanese culture, iro muji has both formal and informal use and is therefore considered the basic kimono, often being the first kimono worn by the Japanese in adulthood. It is a plain color piece that can take on any color except black and can have texture but never pattern.

 

Hanakotoba is the Japanese form of the language of flowers. The Japanese have a long tradition of associating meanings to flowers, and they have influenced numerous aspects of their culture from kimono to war. Flowers such as the sakura (cherry blossom) and kiku (chrysanthemum) are national symbols of Japan. Such flowers have the power to invoke powerful emotions and they are engaged in the people's thinking. Beyond these national symbols, others have more subtle meanings. In Japan, they are a traditional gift for both men and women, and are often used to convey what can't be spoken. Even nowadays, flower meanings make occasional appearances in modern popular culture such as manga and anime.

Roses (bara) are known by many names in Japanese and can be expressed through two diferente sets of Chinese characters. The history of the rose design in kimono patterns can be traced through two distinct phases. In the Taisho ans early Showa periods, the rose was incorporated into designs featuring groups of classical flowers, thus subtly beginning to take the place of the peony. Designs featuring roses had an air of chic about them that must have seemed very fresh and novel at the time. In this period, rose designs leaned toward the realistic and natural. The rose’s second phase began post 1955, when the its depiction changed dramatically. The rose itself became a main image and its designs captured the flower’s characteristics in the manner of a work of art. Red roses are called benibara and represent love; white roses are bara and represent inocence, silence and devotion; kiiroibara is the yellow rose and represents jealousy; and the pink rose, momoirobara, is a symbol of trust, happiness and confidence.

Wave patterns are common in Japan because the country is surrounded by sea and has a large number or rivers. Summer kimonos feature all kinds of wave designs, ranging from layered concentric circles creating arches in a blue ocean, to waves boldly cresting or gently rippling. Favored for their vigor, waves are also often incorporated as motifs in family crests (kamon). There are also many patterns in which waves are combined with plovers, rabbits, swallows and other creatures. Nami (wave) was used as a symbol of the gods of the seas. This pattern was also seen in banners and armor from the Sengoku era (the age of provincial wars), in which troops in war resembled a moving wave. Represents strength, with marvelous depictions of churning, flowing waves.

In ancient times, reddish colors were generated by akane (rubia akane) or benibana (safflower).

 

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