The Georgian town house built in 1815, which now is home to The Sherlock Holmes Museum in London, opened in 1990. It is a private museum and is the world's first museum dedicated to the character Sherlock Holmes. The building was formerly a boarding house between 1860 and 1936. Although the building lies between the numbers 237 and 241, it bears the number 221B by permission of the City of Westminster.
]]>Engraving from Morysse and Damashin (1548)
Such publications, however, were not readily available, and samplers were more often used as reference. These would be strips of fabrics that would be covered with stitched patterns and were highly sought after. Oftentimes these valuable samplers would appear in wills, and treasured by families and passed down through the generations. One of the earliest examples of a sampler is in the collection of Victoria and Albert Museum which dates from 1598. A document that references a sampler from further back in time exists, dating from 1502, in the expense accounts of the Queen Elizabeth of York, wife of King Henry VII, where an entry records linen that was purchased to produce a sampler.
Sampler (mid 17th C.)
Colourful polychrome embroidery using silk became the fashion during the Elizabethan period, where floral patterns of scrolling patterns would be colourfully executed. However, much of the embroidery was carried out using a singular colour. Even when this included colours, these monochrome embroideries were referred to as blackwork embroidery. This influence originated from Islamic arts which feature geometric patterns with intertwining foliage and strapwork. Catherine of Aragon from Spain, the first wife of King Henry VIII has been credited to bringing this fashion into Tudor England.
The Tudor rose is the combination of the house of Lancaster - represented by a red rose, and the house of York- represented by a white rose. These families battled for decades in order to gain control of the English throne. Therefore, these flowers together represent unity and peace. The tudor rose, slipped and crowned, which is a version that shows the Tudor Rose as a cutting with a stem and leaves beneath a crown, since an Order in Council (5 November 1800), has served as the royal floral emblem of England.
Pissarro was a French landscape artist and is celebrated for his influence on Impressionist and Post-Impressionist art. Born in the Danish West Indies in 1830, a son to a French citizen of Portuguese-Jewish descent, he grew up as an outsider. Aged 12, Pissarro’s parents sent him to a boarding school in France, where he discovered a fascination for the most skilled French artists.
Although Pissarro’s resides within in the city, Pissarro preferred to work out in the open air. He is quoted to have said “Blessed are they who see beautiful things in humble places where other people see nothing." His most-loved subjects included scenes of village life and the natural world.
Impressionist works are distinguishable by their use of small, visible brushstrokes creating a bare impression of form, paired with unblended colour, and an emphasis on capturing natural lighting accurately. Alongside Claude Monet and Edgar Degas, Pissarro played an important role in shaping the impressionist movement, characterised by its radical approach as the impressionists rebelled against classical subject matter and shifted their focus to modernity. Their works intended to capture the reality of the world in which they lived.
According to Mary Cassatt, American painter who exhibited with the Impressionists, Pissarro could “teach the stone to draw”. He was also regarded as a father figure to many of the major artists of the period including the likes of Seurat, Cezanne, Van Gogh and Gauguin.
By the 1880s, Pissarro transitioned into the post-Impressionist period, in which he returned to earlier themes, whilst exploring new techniques like pointillism. Pissarro embraced innovation throughout his life, and as he turned away from impressionism, the movement fell into decline. Pissarro was the only artist to exhibit at all eight Paris Impressionist exhibitions, but also the only artist to exhibit work in both Impressionism and Post-Impressionism shows.
When a recurring eye infection prevented Pissarro from working outdoors, he would often paint while looking out of the window of his hotel room. As a result, many of his works of this period have views from a higher perspective.
The impressionist leader and father figure to the major artists that are known worldwide, passed away in 1903. He is buried at Père Lachaise Cemetery, which is the largest cemetry in Paris which is visited by more than 3.5 million visitors annually.
Lord Asano assaults Kira, Utagawa Kuniteru (19th century)
However, the ronin have also found a place in history as heroes and legends. There were several cases in which disgraced samurai decided to avenge the unjust loss of their leader, the most famous one being the tale of the 47 ronin, also known as the “Ako incident”. In the year 1701, lord Asano Naganori was ordered to perform seppuku (ritual suicide) after attacking the corrupt court official Kira Yoshinaka. Having lost their master, Asano’s men became ronin, 47 of which chose to ignore the shogun’s ruling forbidding them to retaliate, and sought vengeance against the arrogant Kira. Two years later the ronin gathered and commenced the attack. Led by Oishi Yoshio, the ronin charged Kira’s mansion in two groups, swiftly defeating the defenders. The terrified Kira was found hidden in a secret courtyard, and killed by the ronin. Their revenge now complete, the 47 ronin turned themselves in for defying the shogun’s order, who in turn honoured their sacrifice by granting them death by ceremonial seppuku rather than a criminal’s hanging.
Nobles in European Fashions by Chikanobu Toyohara (1899)
Composed of Emperor Meiji, the Empress and their retinue, this party is on a walk along the Sumida river, admiring cherry blossoms. Ladies wear sumptuous Victorian dresses and hats while the emperor sports his usual military attire. From the 1870s, the imperial government engaged Japan on a path of modernisation, including in matters of clothing. Imperial edicts of 1872 and the following years recommended to male nobles and officials to wear Western dress, based on court uniforms used in Europe at that time. Initially elite women went on wearing Japanese traditional garments, but in 1886 these regulations were extended to women, inviting them to wear Western clothes - clearly modelled on the latest Parisian fashions - on formal occasions.
The imperial couple decided to show the example, wearing Western dress on official occasions. Print artists and publishers were commissioned to portray them enjoying life at the palace or attending official events dressed in Western clothes. While the Japanese elite followed their example, the great majority of people, however, continued to wear traditional Japanese attire, especially women.
The above triptych is a perfect example of how the image of the Emperor Meiji and his family was used to promote the policies of Westernisation, from their clothing to their interior décor. The government’s objective was to push the nation to follow suit on the path of modernisation of the country.
After the initial craze for Western clothing among the Japanese elites in the 1870s and 1880s, there was a period of reckoning for the rich local traditions whereby the kimono came back into fashion amongst high-class ladies. Male fashion meanwhile persisted in following the West, which was further impelled by the increasing relations between Japan and the outside world. Hence, representative men had increasingly adopted the dark suit as the universal male garment.
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In this classic of Japanese film directed by Hideo Oba a promising young dancer asks her mentor to write a screenplay for a No play. He then introduces her to an idealistic and young student of classical literature and theatre, in the hope that they become a match and marry.
Kimono and fashion are very important aspects of this film. The costume design was done beautifully as a way of empowering kimono and showing how relevant and current still was it for the time. The director probably hoped to spark interest in the younger generations of once again going back to the roots of Japanese fashion and revive the kimono. Indeed, in the immediate post-war decades, the young Japanese switched to Western clothes for all occasions at all levels of society, men and women alike.
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Primarily intended as practical guides to kimono making, hinagata-bon fashion plates were frequently enjoyed purely for their aesthetic and aspirational value. Examples from the Edo (1603-1867) and Meiji (1868-1912) periods offer wonderful insight into the vibrant fabrics popular during that time. The designs, full of auspicious patterns and elements, carry various motifs intended to be worn during certain periods of the year, and others designed for specific events.
Hanakata for Summer: Bats (1899)
Due to their nocturnal life, bats stand for protection and rebirth. In Japanese folklore, they often symbolised good luck, and were used to decorate kimonos and everyday objects. Meanwhile the spider web represents resilience and hard work.
Hanakata for Summer: Flowers (1899)
The passing of time and life is represented through flowers of all seasons, with their auspiciousness they guaranteed the wearer’s good fortune. One wonders what the peculiar white shape cut against the red background stands for, likely referring to an unidentified flying creature.
Both the chrysanthemum and wisteria are believed to stand for immortality and longevity. The wisteria also represents balance and calmness and the chrysanthemum joyfulness.
]]>Meiji Period Hairstyles by Ginko Adachi (1885)
With the Meiji Restoration of 1868, Japan opened its borders to the world and numerous outer influences started pouring into the country. Foreign styles and designs began to impact Japanese fashion; one of the first widespread crazes consisted of different ways of arranging women’s hair. Many Western models became extremely common, and artists even began to create encyclopaedias of different Western hairstyles that could serve as explanation and inspirations for women.
This print by Ginko serves as a catalog of fashionable hairdos for ladies of the time. As communication on fashion was always at the heart of Ukiyo-e, and there was a great curiosity in novelties from the West, prints like this example would enjoy great interest from the Japanese public of the Meiji period.
What brings a unique edge to this artwork is how the artist, instead of using simple cartouches, has imaginatively captured the hairstyle models within what looks like photographs. Undoubtedly inspired by this new and revolutionary medium, the artist thus enhanced the taste of the new age thanks to his creativity.
.Efficiently cut from a single bolt of cloth, kimono have always been remarkably sustainable, producing minimal waste. The triptych by Chikanobu Toyohara (1838-1912) contains a series of cartouches (top) that show patterns for cutting narrow strips of fabric into the variously sized panels that will be sewn together into kimonos.
Japanese traditional customs ensured great sustainability also thanks to transmission of garments from one generation to the other. Elegant kimonos, especially the more costly and difficult to produce ones, for example wedding kimonos, had a lifespan of decades. Thus, the kimono culture paradoxically could give clues towards greater sustainability for textile industry today, in stark contrast with the fast fashion. Interesting point: while women could be taller or shorter from one generation to another, the obi sash provides a system for length adjustment to the size of every wearer. Indeed, a portion of fabric can be folded under the obi to provide the adequate length.
This wonderful and rare triptych is one where one could get lost just admiring every single detail it showcases. From the carpet, a very innovative and modern addition to any room for the time when this print was made, to a playful cat, the bustling activity shown here is never-ending. A wooden ruler is being used to measure the length of a cloth, women use needles to sew and we even have a couple of women ironing a newly sewn kimono.
Sewing Scene by Chikanobu Toyohara (c. 1890)
In this second triptych also by Chikanobu the different tools used for crafting kimono can be seen with more detail: the pot filled with hot coals to iron the kimono, the Japanese style scissors for cutting the cloth and the sewing chest full of everything needed to craft all these wonders of fashion.
The famed poetess Ono no Komachi (c.825-c.900) is seen wearing the Heian Period junihitoe kimono. Poetic names were given to different combinations of twelve coloured layers, which were skillfully selected to indicate status or identity, or to match the season and occasion.
Since men and women of the aristocracy were not permitted to see one another’s faces, women were expected to conceal themselves behind reed blinds. These blinds, similar to the ones at the top of this print, would hide the face and upper body from view, but leave the lower body exposed. A woman’s outfit, therefore, was one of the greatest tools she could use to communicate with potential (or clandestine) lovers.
Today's kimono is a direct evolution of the twelve-layered junihitoe worn by Heian Period (794-1185) noblewomen. Close attention was paid to the colour of each layer; different hues arranged in specific orders could convey vastly different meanings and effects. Such combinations of colours were given poetic names, evocative of seasonal changes and occasions, and it was vital that women of the court be familiar with the subtleties of proper dressing.
The kimono of later periods were adapted from an ankle length red or white silk robe known as a kosode, which was worn underneath the junihitoe. Over the kosode, a pleated red skirt and an unlined silk robe provided a foundation for the layers of brightly coloured robes that made the style so distinctive. Completing the outfit, a layer of stiff scarlet silk and a patterned robe denoting the wearer’s rank were worn underneath a waist length Chinese-style jacket. A long train was often fastened at the waist, adding an extra air of imperious grace.
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The above diagram shows how the tasuki is used even today as a way of
preventing the long sleeves of the kimono to get soiled or in the way of daily or working activities for people. Apart from the practicality that such an accessory has, it also provides a different look and aesthetic to the kimono, showing the versatility of a garment that sometimes is thought of as one-dimensional.
In the above print, we can also see the adaptation of kimono to colder autumn or winter weather conditions: the protagonist wears five different layers, with the collar upright, and a cloth headcover. This is in contrast with the attire displayed in the print Beauty in Summer by the same artist, shown in the exhibition.
The beauty in this print is shown wearing a light summer kimono. The summer months can be extremely hot in Japan so this young woman is trying to find the best way to cool herself. She is shown with an open fan, an auspicious symbol of opening to good fortune, and with pulled up sleeves and opened collar to be refreshed.
Kunichika cleverly uses an intense red background to further emphasise the sense of intense Summer heat. With her hair slightly falling by the side of her face, one can perhaps sense her discomfort from the hot weather.
Kimono had to be adapted to varying seasonal weather: in winter warmer fabrics were used, and people added more layers to their outfits. Summer kimono, called yukata, were made from lighter fabrics, such as cotton, and were worn with very light or no undergarments. Today people wear them to festivals in Summer. They are affordable, easy to clean and keep the body cool. In modern times, you might notice, it is for these reasons that sumo wrestlers are seen usually wearing such kimonos in their daily lives.
No. 13 Huang Xian (Ko Kyo) by Chikanobu Toyohara (1890)
This wonderful print is the 13th from the series Twenty-four Tales of Filial Piety by Toyohara Chikanobu, where legendary stories of filial service would be portrayed.
Shown in the top inset of the print is Koko, also known as Huang Xiang, a protagonist of a Chinese tale. As a young boy, he lost his mother and saw the devastation of his mourning father. Trying to make every effort to comfort his father, during the hot summer heat, he would fan his father's pillow to help him rest with comfortable sleep, and in the winter times, similarly, he would warm the blankets of his father for a restful night.
The beauty in the main image is depicted wearing a summer kimono, and holding a summer fan called uchiwa. The mosquito net is to avoid being bitten in her sleep. These various elements help us understand that this is a summer scene. The picture serves to show how the kimono was worn through all seasons.
Beauty with a Fan by Ito Shinsui (c.1931)
The yukata – or summer kimono - could be worn without the juban undergarment, and with a thinner shorter belt hanhaba obi, much easier to wear, just as in the above example by Ito Shinsui.
The above print depicts a beauty dressed in the latest fashion style of the period. In the 1920s and 1930s such fashionable women were called ‘moga’ (abbreviation of 'modern girl'). This was Japan's equivalent of America's flappers, Germany's Neue Frauen, and France's garçonnes.
Decadent and hedonistic, the moga girls would work, enjoy financial as well as emotional independence, and they would enjoy smoking, watching movies and socialising at cafes and dance halls.
Two Maiko by Gekko Ogata (1880)
Tying the obi skillfully is an important aspect of kitsuke, the art of wearing a kimono. There are many different styles of obi belts, which can be tied in many different ways, depending on occasion, social position, or personal taste. Maiko (apprentice geisha), for example, are easily identifiable by their red collars and the long, loose ends of their obi belts, worn in the darari musubi style just as showcased in this print.
It is depending on how the obi sash is tied - in front, in the back, or with loose ends - that we can get information on the status of women represented in Ukiyo-e prints. During the Edo Period, courtesans were obliged by regulations to tie the obi in front, and thus they are most often recognisable in prints thanks to that feature. It is relatively rare to see maiko wearing the obi with loose ends depicted in prints, as above.
A young beauty glances behind her shoulder - perhaps she has crossed paths with a handsome man? Wearing a kimono made of intricate patterns, she is portrayed elegantly holding up her umbrella. The light pink kimono creates contrast with the richly patterned obi sash in greens and blues. The theme of "love is in the air" is further suggested by the swallow flying in the sky above the woman: associated with spring, in ancient times the bird was also a symbol of marital love.
Usually worn in contrasting colours to the kimono itself, the obi has grown dramatically in size since the beginning of the Edo Period. It is this increase in width that led to the custom of tying the obi at the rear, the large knot being too cumbersome to practically sit at the front of the outfit.
Moreover, during the Edo Period, the obi sash tied in front became associated with courtesans of the licensed pleasure districts - a rule enacted in law. When looking at Japanese woodblock prints featuring female portraits, pay attention to whether the obi sash is tied at the front or at the back, to distinguish courtesans from the Edo townswomen.
Geisha with Musical Instrument by Eisen Keisai (c. 1820-1830)
Primarily musicians and entertainers, geisha can be identified by their simpler kimono, with obi belts tied at the back. In this print by Eisen Keisai (1790-1848) a geisha carries a musical instrument in a narrow black case as she is about to step into a party to entertain guests. Her fashionably plain kimono is offset by an extravagant obi in a sharply contrasting colour. According to Edo Period regulations, only courtesans working in licensed pleasure districts had to tie their obi sash in front. This way, they could be distinguished from all the other women, including geisha.
Two Geisha and a Maid Walking by Kitao Shigemasa (c. 1800s)
Geisha initially meant the job of all kind of performers, both male and female. With time, it increasingly applied to women only, and this latter meaning was imported to the West. Trained for years, geisha were (and still are) artists and entertainers. They are well versed in various arts such as music, dance, and poetry, as well as being expected to be up to date with the news and happenings of the world and to be able to converse with their patrons about all kind of topics from politics to sports and international relations.
Courtesans (oiran), in defiance of laws prohibiting sex workers from wearing extravagant fashions, donned intentionally impractical outfits as visual representations of their influence. The obi belt of an oiran was always tied at the front, which had the practical use of being easier to untie than one made at the back, seeing that courtesans would sleep with their clients this was a necessary aspect of their clothing and one that enticed men.
In the above print, the courtesan Nagao wears a lavish attire composed of many layers of luxurious kimono. The red obi sash, tied in front, is visible under her overcoats. She also wears the traditional clogs or geta, and an array of prominent hairpins. Accompanied by two maidservants, equally lavishly clad, an oiran would parade every afternoon in such an attire to her rendezvous with a client. They were observed by clients of the pleasure quarters, the passersby, as well as the Ukiyo-e prints designers who would thus get inspiration for their artwork. Images of top courtesans with their maidservants, wearing lavish clothes, became an archetypal theme of Ukiyo-e visual culture, and a vehicle of new fashions spreading from the pleasure district to the city of Edo and beyond.
Courtesan Nagato of the Owariya by Sencho (c. 1840)
Arguing that hairpins were a necessary tool of their trade, used to clean the ears of wealthy clients, courtesans avoided paying the taxes usually levied on these accessories. As such, an overabundance of hairpins became a symbol of their profession, further distinguishing them from lower ranking sex workers and entertainers.
Bustle in the Boulevard of Flowers by Chikanobu Toyohara (1890)
It is time of celebration of cherry blossoms in the Edo pleasure quarter and the most beautiful courtesans are portrayed clad in their most fabulous kimonos admiring the flowers. They are compared to being exquisite flowers, to be admired, which is another reason for the use of the word "flowers" in the title.
While the artist depicted faces and hairdos of courtesans with relatively little variations, he took special care in displaying a rich variety of designs of the ladies’ kimonos. Among an array of plants and flowers, such motifs can be noticed as an anchor, a dragon with a flaming pearl, a carp swimming upstream a waterfall, and a shihi - a mythical beast resembling a lion. Such elaborated designs could be embroidered, dyed, or painted onto the fabrics.
Asian art is filled with symbolism – one such example is the iconic motif of the carp fish swimming upstream, which is regarded to this day as a symbol of surmounting challenges and succeeding. This motif can be seen on the ornate obi belt adorning the courtesan portrayed in the centre of the triptych.
Interesting detail in this artwork is the portrayal of ladies wearing traditional Japanese garments, in contrast to some of the men depicted who are shown with Western hairstyles and fashions (such as the bowler hat). This highlights the gender divide that emerged in that period of Japanese history, when men were expected to embrace and take on the new era of Western fashion, while women were still bound to maintain the tradition.
Yoshiwara, as the Edo / Tokyo pleasure quarter was widely known, was an enclave of the “floating world”, separated from the rest of the city by moats and walls. Its central boulevard, depicted in this print, was akin a stage where top class courtesans called oiran would parade every afternoon wearing their lavish kimonos, surrounded by their attendants. In this work, the parade of top courtesans unfolds under the blossoming cherry trees, conveying the special festive atmosphere of the season and its celebrations around the cherry flower viewing or hanami, an ancient Japanese tradition observed to this day.
While physically separated from the city and the realm, thanks to Ukiyo-e prints the top courtesans were made famous all around Edo and beyond. Fashions emerging in the Yoshiwara were made popular beyond the pleasure district by the same token.Dancer in Yellow by Kaoru Kawano (1950s)
Full of mystery, this rare print plays on the viewer’s sense of curiosity. Despite being portrayed in front of a mirror, we are not able to see the young lady’s face. Who is she? With her face hidden, we are left to wonder what is her expression and what are her feelings, and what is the context of the portrait.
Decorated with fine tie-dyed patterns of waves and wheels, her yukata - or summer kimono, is tied with a dark obi belt. The sash is a hanhaba obi, that is an informal obi worn in summer or in private.
While the artist hid her face from our gaze, he exposed her beautiful neck, considered as a highly erotic part of feminine body by the Japanese. In the past, women’s kimono sometimes hid a cord attached to the back of the collar that could be discreetly pulled by the lady to reveal her neck to her lover. Thus, the art of seduction was integrated into the design and layout of the kimono!
After the Meiji restoration men of all ranks were required to wear European suits at work, changing back to the familiar kimono at home, whilst ordinary women retained the kimono as an everyday garment. This led to an association of the kimono with womenswear and femininity which remains to this day.
Model: @itsnangemagro Photograph: @g_a_j_o_s
Nange Magro (@itsnangemagro) is an Italian fashion designer based in London. Her father was a Japanese sculptor, and her mother an Italian painter, which ensured she was surrounded by art from an early age. This led to her enrolling at Milan’s Lucia Fontana Arts High School.
Model: @itsnangemagro Photograph: @erevosfoto Group: @londonphotographysocial
During her time at the school, Nange developed her style in the sculpture, drawings and technology. Following this, Nange studied Fashion Design at Milan Bovisa Politecnico, and then completed an MA in Digital Fashion at the London College of Fashion.
Model: @cervenafox Photography Team: @deadlotus.studios @its.markmaxwell @itsnangemagro
This technological savvy is evident in her work for her fashion brand @deadlotus.couture which features latex kimono that are elegant and edgy in equal measure, where the central concept of her art and fashion is the creation of a parallel universe consisting of stories, dreams and emotions with a strong foundation of culture and technology.
She is showcasing a piece with us as part of our exhibition, Kimono: the Making of a Cultural Icon, where we have a programme of events where you might have the opportunity of meeting one of the most talented fashion designers of our time.
Because of their elegance herons are continuously portrayed in Japanese art, from poetry to painting these birds are one of the most recurring bird motifs. In China, the heron represents strength, purity, patience and long life. In other cultures, the heron carries positive symbolisms, from representing good judgement skills, to being the creator of light.
Herons are also believed to be a symbol for someone who is following a righteous path towards a great and honourable life, even enlightenment. Because of this, many officials and samurai clans adopted the heron as their insignia.
White Heron Standing in the Rain by Ohara Koson (1928)
In general they tend to be associated with winter and due to the snowy or rainy scenes they tend to be a part of, they can also stand for standing strong and upright against adversity, enduring difficulties without losing sight of one's values.
The way cats wash their faces licking their paws and wiping their face - it is as if they are inviting good luck beckoning with their paw. Cats with this gesture are often represented as an auspicious ornament, the Maneki-Neko (a beckoning lucky cat) in Japan.
Historically, the cat is not indigenous to Japan and was imported from China where it was traditionally seen as a cunning shape-shifter, capable of transforming itself into many different guises. In Japan its abilities of transformations and acts were told to be beneficial, and so many legends are recorded, such as where a cat would change into human form and manage to bring money to save their ruined master.
The most popular auspicious manifestation of the cat is the "Maneki Neko" or beckoning cat. The exact origins of "Maneki Neko" and the source of its power are explained with various tales. One prevalent tale involves a poor temple in the woods. A traveller takes shelter under a nearby tree during a storm. A cat appears and beckons the traveller to follow it to avoid the storm in the temple. As soon as the traveller follows the cat, the tree and the spot he had been in are struck by lightning. Because the cat had saved him and brought him to the temple, the traveller and his family become patrons of the temple and brought it fame and wealth. Since then the cat has been a symbol of good luck.