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Kimono Embroidery
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 44252# Japanese KIMONO SILK / HAORI BLACK / EMBROIDERY PEACOCK  US $2.25
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 44243# Japanese KIMONO SILK / VINTAGE TOMESODE / WITH HIYOKU / EMBROIDERY SENSU US $.99
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The Chinese were always a fashionable race and Chinese ancient clothing was largely influenced by all the dynasties which ruled it. The Han Chinese clothing or the Hanfu has the longest history of clothes worn. The Hanfu rules of dressing were followed strictly as a mark of respect for the culture. On the other hand, ancient Japanese clothing kept changing with every dynasty that ruled Japan. Since the Kimono is a national dress, it has always been mistaken for very ancient clothing worn by the Japanese people which is incorrect.
The basic design of the Ancient Chinese clothing Hanfu was largely developed during the Shang Dynasty. The Shang had two basic styles - the Yi which was the coat worn on top and the Shang whichwas the skirt worn beneath it. Buttons on any ancient Chinese clothing was substituted by a Sash. The clothing was in warm tones. The Zhou dynasty in western China varied in the sleeves being narrow as well as broad. The length of the skirt varied from knee length to the ankle and the different sizes and styles created a distinction between the people who wore them. Ancient Chinese clothing used minimal stitching on the garment and the use of embroidery and silk sashes to design the dresses.
Japanese ancient clothing was majorly influenced by Chinese clothing. Vigorous trade between Japan and its continental neighbors brought in Chinese dresses and styles into Japan during the Han Dynasty. The Tang styles and Sui dynasty from China influenced clothing in Japan while it was developing from a collection of loose clans to an Empire. All robes in Japan were to be worn from left to right just like the Chinese. Right to left was considered barbaric in China and the 'left over right' became the conventional rule of wearing a Kimono ever since. During the Heian period (894 specifically), Chinese influence began dying out and Chinese characters began being abbreviated in Japanese script. The Heian court was taken to sensitivity of art and subtle beauty and wardrobe became much more detailed. Colors, combinations and fabric textures changed and separated themselves from Chinese influence.
After the Heian period, the Kamakura period saw a number of clashes and war clans within Japan. The ancient Japanese clothing soon underwent another change and now clothes became more functional. The number of layers and broad sleeved clothes were shunned for more usable clothing. Soon the imperial land split into a southern and northern court and these people's lives got influenced by the soft court life. Fights resumed and the gradual decadence is obvious in the elaborate dresses of the period. Women had stopped wearing the Hakama and the robes were lengthened to ankle level. Veils and robes over the head were some strange ways experimented and worn during this time.
Japanese ancient clothing was mainly robes and most of the patterns and designs were religious and auspicious. Dragons were printed with nine yellow dragons and five cloud patterns. These heavily embroidered robes were won by the emperors and were auspicious for the wearer. The Cheongsam was another one piece dress adorned by ancient Chinese women. It had a high neck with a closed collar and short or medium sleeves. Buttoned on sides with a fitted waist, it had slits going up from the sides and complemented their figures.
Christopher Schwebius is an entrepreneur who seeks out sharply defined, specifically focused topics to research. Upon finishing his research he provides relevant, un-biased information to his readers based on his discoveries and/or personal experiences.
One of his latest ongoing projects can be viewed at http://www.ancientjapaneseclothing.org
ICON MODEL MANAGEMENT, 2010 LG FASHION WEEK (TORONTO)
Evoking a land of endless sky and sand, Saniya Khan's collection at Toronto's fashion week made it seem easy to take a vacation from your wardrobe.
Crafted with sumptuous fabrics and and loose-fitting lines, the designer, who is based in Toronto but notes that her roots are in Pakistan, Afghanistan and Eastern Persia, put together a no-fuss line that is nonetheless a departure from the everyday.
The melting pot of her ancestry extended to her unique mix of fabrics such as man-made tulle and fur with varying techniques such as ruching and embroidery.
"The goal was to mix -- I love to mix textures," said Khan after the show on Day 3 of LG Fashion Week.
The collection was created for a "contemporary woman," she added.
Saturated hues of rust red and deep blue seemed to change colour with every new fabric that came down the runway, as they ranged from silk velvet to chiffon to wool to cashmere.
Floor-skimming flowing suits that allowed freedom of movement and tie waists that signified simplicity contrasted leopard-printed dresses of sheer fabrics to encompass the whole of a woman's life.
Details that were almost Victorian in origin -- embroidery, golden embellishments and long luxurious scarves -- worked with style elements from other eras, like stitched patchwork, bell sleeves and pearlized buttons for a hint of glam.
The cuts were often generous, with flowing kimono-like sleeves, and blouses extending to the knee.
Khan's background as a textile designer was apparent in the clothing's artisanal quality, patchwork elements met with polish.
Toronto Sun
Models for show provided by ICON MODEL MANAGEMENT (TORONTO)
About the Author
Toronto-based Icon Model Management Inc. is a modeling and talent agency that has earned the respect of its industry peers. Recognized around the globe for possessing some of the hottest talent available, Icon Model Management Inc. is always one step ahead of the curve. Icon's models have appeared in screen media, on catwalks in some of the world's most prestigious fashion shows, and on the covers of some of fashion's most revered publications. From its offices in Toronto's trendy Fashion District, Icon Model Management coordinates all of the shoots for its diverse stable of models that includes women, men, and children. The ability to identify talent is a hallmark of the Icon Models agency, and this trait has placed the firm in the limelight of the modeling industry. Icon's heavy experience within the industry allows the firm to understand the various positions available to talented models at different stages of their careers. This translates into greater opportunities for Icon's models. Icon Model Management Inc. views each model and every client like a long-term investment. Committed to honest, professional, and direct dealings, Icon is keenly interested in the careers of its talent, as well as to the professional relationships established with clients. Icon Model Management is committed to providing the highest quality representation, as well as to providing the highest quality service.
How do I clean and repair a soiled old silk kimono?
The kimono is very delicate cream/oyster silk, with pale mauve embroidery - badly faded - depicting wisteria. The hem is very damaged and disintegrating. It appears to be padded with some sort of wadding, probably cotton.
No clear evidence on age of kimono. It was found in a loft with some other clothes, which are clearly Victorian. I suspect the kimono is from 1020's - 1930's.
There are yellow stains on several areas, especially around the neck.
I would like to know how to clean the stains and restore the damage. I intend to display the kimono on the wall.
Good kimonos like the one you are talking about are always hand sewn. Traditionally the outer layer of the kimono is made from a single bolt of fabric. The lining and additional layer and or padding are made of different kinds of silk dye different colors.
To prevent the colors from running on to each other and the seams from puckering, the kimono is taken completely apart the piece are basted back together like the original bolt of fabric and cleaned separately, then un-basted and re-sewn.
An additional advantage to this is if you gain or lost a little weight the kimono can be adjusted at this time. Also if there are spots on the silk that didn’t come out in cleaning the area can be re-dyed, or sometimes a pattern is embroidered or dyed over the area to disguise the stain. As you can guess this is expensive and isn’t done every time you wear it. Also the only cleaners I know of that do this work are in Japan.
What worries me is the fact the silk is already disintegrating. Dry-cleaning could cause a lot more damage at this point. Stains that have set that long in silk probably wouldn’t come out any way. My advice is unless you can have it professionally restored and it doesn’t smell of mildew, don’t clean it. Enjoy it in the patina of age it has earned.
To prevent any further damage, never store it in plastic, wrap it in washi paper or clean white cotton when storing it, hang in a smoke free, cooking grease and odor free area, cover the rod that you use to hang it from with padded white cotton or silk to prevent crease along the top and from possible color transfer. A mothball or two wrapped in silk or cotton could be put in each sleeve to ward away moths. Also beware house dust will settle along the top of the shoulder and sleeve when it hangs, some people will lay a bit of white cotton or silk over this area to keep it clean.
The Feminine Mystique, Expressed In Silks And Satins
NPR's Susan Stamberg takes a trip to the Metropolitan Museum of Art, where an exhibition tracks the evolution of the American woman through her sartorial choices -- from the corset-bound 19th century ladies who curtsied in imported gowns, to the sirens who lit up the silver screen in slinky ensembles during the 1930s.
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