NEW! The Hidden Secrets of Kimono: Uncovering the Silent Language of Japanese Dress

The kimono has a silent language, hidden secrets.

If you know it you can ascertain in a glance the age of the wearer, their marital status and likely what level of formality of an event they are going to.

You may also note the season, the age of the kimono, what decade it was made in, and, if the wearer themselves is aware, what kind of well wishes are being offered.

In this guide we reveal the kimono’s silent language and its meanings, including some opportunities for you to experience wearing kimono yourself.

Princess Kiko of Japan attended King Charles’ coronation in May of 2023 wearing a splendid three mon homongi kimono of pale beige. Mon are the symbols that you see on the kimono that represent the household that a person belongs to. Their family crests. 

A kimono may have no crests at all or have one (in the center of the back near the neck), three (center of the back and the back of both sleeves), or five (center of the back by the neck and both the back of the sleeves and front of the sleeves near the top). 

Nowadays they are often decorative as few who own kimono are actually of a house of the mon they wear (the royal family obviously being an exception) a Homongi is a formal “visiting” kimono for a married woman. The patterns seen on Princess Kiko’s kimono are spring and year-round celebratory symbols.

Pine (Matsu) – The pine tree remains green all year round, it symbolizes longevity, constancy and wisdom. 

Bamboo (Take) – Bamboo is a strong, flexible and fast-growing plant that symbolizes strength, flexibility and prosperity.  When only its leaves are depicted on the fabric, then it is associated with calm and tranquility.

Plum blossoms (Ume) – The plum tree is the first tree to bloom at the beginning of the year, announcing spring. It is also known as the “flower of peace”, it has a protective charm against demons. It symbolizes vigor, health, renewal and beauty, grace and elegance.

Chrysanthemum (Kiku) – is a symbol of longevity and rejuvenation. It is also the symbol of the royal family of Japan and appears on the Imperial seal.

Shippo – This pattern consists of superimposed circles forming petals or stars, depending on the way you look at it. The Shippo pattern represents the seven treasures of Buddhism (gold, silver, pearl, coral, crystal, agate and lapis lazuli), It is said to be a symbol of harmony and good relationships)

Mist/Fog (Egasumi) – When fog is shown around flowers, it brings thoughts of springtime mornings.

The obi worn by Crown Princess Kiko is of particular interest because of the patterns on it. 

Within the Shippo circles is a Karakusa (Vine) pattern with chrysanthemum. The chrysanthemum as previously mentioned is the symbol of the Royal Family of Japan. The Karakusa pattern is said to have originated in Greece or Rome and made its way to China via the Silk Road and then on to Japan. 

Remember, King Charles’ father Prince Phillip was of the Greek Royal Family and, while a popular pattern, it could have been a subtle nod to King Charles’ heritage. 

The obi age (obi scarf) was tucked in so as to almost not be seen. This is considered a stylish and elegant way for a married woman to wear her obi age. The Obijime was worn halfway down on the obi. This and slightly below the middle is where a married woman wears her obi cord. Unmarried women wear it placed above the middle.

The Zori were formal as there were 3 layers to the heel and she wore them in a traditional manner with her heel hanging off of the edge. Which is supposed to make your foot look smaller and daintier. 

With these examples in mind, let’s take a brief tour through history as the kimono has been evolving its design, narration, beauty and language for over a thousand years.

The first language of the kimono was colour. 

This emphasis was inspired by a part of Buddhist philosophy that equates colour with creation. Achieving a harmonious layering of colours was of utmost importance. It is exemplified by the famous juni-hitoe of the Heian Era (794-1181 AD). 

This “12-layer unlined robe” is a bit of a misnomer. Its official name is Karaginumo. Court ladies did not wear just 12 layers, in fact, they were known to wear up to 40 layers of robes. (It’s any wonder we see so many depictions in Ukiyo-e of them lounging on the floor!) In fact the use of the word juni-hitoe was taken from The Tales of Genji and is worn by a handmaiden trying to escape enemies while shielding a baby prince.

Colour, and how the layers of these colours were worn, were so important that woe betide those that wore those colours in the wrong season or order or who dared to wear a colour not assigned to their station or rank. A young prince in The Tales of Genji complains about the colour of green that he has to wear as a member of the Sixth Rank and is sure that all of his problems are because of it.

Over the millennia since then fashions have come and gone, such as the wearing kosode (a predecessor of the kimono) specifically worn on the head in the katsugi style. 

Sumptuary laws restricting fabrics and patterns and levels of decorativeness have forced innovation to get around the enforcers. Komon for example. It describes a small repeating pattern (sometimes so fine were these patterns that from a distance the kimono appeared to be of a single colour. 

The inside of men’s haori became decorated and status symbols. The richest merchants of their days would hire artists to cover the inside of their kimono coats with the finest fabrics and patterns money could buy. When they went to the bath houses, they would drape them in a way for others to see and admire, but from the outside the haori was plain, black, blue or brown. 

The kimono, as we recognize it today, can be traced to the mid to late Edo period, when the fashion was set by the most popular Kabuki actors of the day and iki was being introduced through the Geisha houses. The wide sash we all accept as the obi was introduced around this time and the famous Taiko Musubi, the most common obi knot looking like a square with a bit of tail coming from under it, was introduced in 1823.

In the 1920s a colour now known as Taisho purple became the most popular colour as it was finally released from being worn solely by royalty and some women wore Western wear accents such as hats, gloves, and muffs.

Art nouveau began to appear in kimono patterns alongside the traditional ones and omoshirogara (amusing or interesting patterns) kimono were born. These kimono depicted scenes of cities, modern inventions and wartime.

The red lining that was so often seen pre-World War II, a colour both of luck and a touch of psychology as the colour was a reminder of warmth in cold seasons, has all but disappeared. The length of kimono sleeves for married women was longer pre-1940s. 

One of the biggest changes to the culture of kimono after WWII was the introduction of kimono schools. Up to that point many women still wore kimono as fudangi (daily wear). Afterwards western style clothes (yofuku) became far more common and daughters no longer bothered to learn about them from their mothers and grandmothers. 

Kimono’s slide towards the uncommon and rare began. People forgot how to wear them, how to make them and what a rich language skimmed the surface of the antique silks seen hanging, folded and crumpled at every temple flea market.

Kimono is the only national dress of a country still worn every day. While it is estimated that upwards of 85% of the Japanese populace do not know how to put one on by themselves, they are proud to see someone wear one as they hurry by on the street to a wedding or graduation. 

They are excited to see the innovations that a younger generation, with a growing interest in kimono, are bringing to the market. 

If you’d like to discover the essence of kimono for yourself then I recommend taking a look at the Japanese cultural experts Wabunka. They ‘pull back the curtain’ on The Real Japan with exclusive private tours and expert-led experiences.

For example, at Hotel Chinzanso in Tokyo, you can have a full kimono dressing and photoshoot in their Japanese garden. Well-known kimono stylist and model Hitomi Ito serves as your personal instructor.

It’s even possible to wear a high-quality kimono from a historic silk weaver in Tokyo’s lively downtown district Asakusa. Get fitted with your kimono and then you’re free to stroll the bustling streets of Asakusa.

If you’re going to be in Kyoto, then there are a couple of experiences that stand out. The first is the chance to wear a high-quality pure silk kimono, get styled by a professional, with hair styling included and then get your souvenir photo taken the garden of a machiya – traditional townhouse.

If you’re interested in the historical and cultural context of kimono and not so interested in actually wearing them, then take a look at Miyake Kougei in Kyoto – a workshop specialising in hand-painted uchikake, the formal bridal kimonos.

Should your itinerary include Kanazawa, there’s a private atelier called Yuzen Kukan Kobo Hisatsune – who has created pieces for the Japanese Imperial Family – that offer a silk painting experience in their studio.

If you choose to wear kimono, (and I do so honestly hope that you do!) either for a special event or as fudangi (and there is a growing number of people choosing to), remember, in its deceptively simplistic robe-like appearance you are wearing a garment that is a work of art with a thousand year history and a silent language all its own.

Further Reading

Is It Rude (for Foreigners) to Wear Kimono?

Exquisite Colors in Japanese Art Book Review

Japanese Culture, Penpals and a Love Story

Kyoto Journal: Celebrating Japanese Culture in Style

Secret Moments of Maikos

Experiences Travel Hub

Recommended Resources

My Recommended Japan Travel Resources

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