Blue awase hiro eri kimono of the houmongi type with a detailed hand painted tsubaki motif.
Dress Length: 153 cm | 60.2"
Sleeve Length: 35 cm | 13.8"
Shoulder to Shoulder: 69 cm | 27.2"
Handmande in Japan
Exterior 100% cotton
Lining 100% synthetic silk
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.
Houmongi means “visiting dress” and, in Japanese tradition, could be used both by unmarried or married women at more relaxed moments. It is a semi formal kimono (less formal than tomesode but more formal than tsukesage or komon), whose pattern flows around the hem and the sleeve and sometimes up over the body of the kimono, joining up at the seams.
Hanakatoba is the Japanese 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.
Tsubaki (camellia flower) is one of the most popular Japanese patterns and has different meanings depending on the color: red flowers symbolize love and white ones show longing. The character for camellia originated in Japan and consists of a combination of the characters for "spring" and "tree", revealing the deep Japanese attachment to the camellia whose flowers most evoke the feeling of spring. In ancient times, it was thought to be a sacred tree with mystical powers. The eight-century Nihon Shoki or Nihongi, the second oldest book of classical Japanses history after the Kokiji records the story of how Emperor Keiko used a stick made from camellia wood to conquer local tribes. From the Kamakura period (1185-1333), the camellia finally gained appreciation as a flowering tree, while in the following Muromachi and Momoyama periods it came to be used as a subject in works of art and craft. However, it was during the Edo period (1615-1868) that the camellia reached its peak. Hidegata, the second shogun of the Tokugawa dynasty, planted a flower garden in the Fukiage palace and was presented with camellias by various provincial personages, sparking a craze for camellias which led to townspeople planting them in their own gardens. During the Edo perido, various inventories, including Hyakuchinzu (One Hundred Camellias) by Kano Sanraku, were produced and advances were made in their cultivation and hybridization. Splendid when used as a pattern on kimono or obi, camellias lend a feeling of warmth when used on haori jackets, giving the impression that spring has arrived on the exact spot they are decorating.