Kimono Design by Keiko Nitanai
Author:Keiko Nitanai
Language: eng
Format: epub
ISBN: 978-4-8053-1428-9
Publisher: Tuttle Publishing
“The cool of the evening at the Shijo riverbank,” triptych by Toyokuni Utagawa III, May, 6th year of Kaei (1853). (Collection of Ritsumeikan University Art Research Center)
Detail 1
Detail 2
Enjoying Obi-dome
KEIKO NITANAI Kyoto Antique Fabric Preservation Society
* * *
To women, obi-dome (obi sash brooches) are treasures. In the times before Western clothes were as widespread as they are now, when there were no ornamental items such as necklaces, pendants, brooches and bracelets for personal adornment, the only kimono accessory was the obi-dome. Naturally, items similar to brooches, such as the erikazari (collar decoration) existed, but these seem to have disappeared before they really caught on.
Looking at obi-dome from olden times until the present within the framework of their eras, the examples from the early Meiji period (1868–1912) are extremely small and form a unit with the cord to which they are attached. This is said to be because at the end of the Edo period (1615–1868), just before the Meiji period, artisans who had previously specialized in manufacturing sword decorations for samurai were out of work and turned to making obi-dome instead. Viewing obi-dome from this time, one notices that many designs resemble sword hilts and the ball-shaped ornaments that were attached to them.
As the Taisho period gave way to the Showa era (1926–88), obi-dome designs became more Western and sophisticated. Examples can be seen that emphasize the linear features of Art Deco and the curves of Art Nouveau, and at the start of the Showa obi-dome incorporating gemstones began to appear.
The obi-dome is positioned in the very center of the obi and in the middle of the obi-jime cord. As this is the area of the body that most draws the eye, whether an obi-dome is worn or not makes a great deal of difference to the overall look of the kimono. It is appropriate to think of the obi-dome as the finishing touch to a kimono outfit, or even its star.
With the aim of passing on the tradition of such obi-dome to today’s young people, since 2010 the Kyoto Antique Fabric Preservation Society has run an obi-dome design exhibition that is open to the public. Some of the entries are shown on page 155. Each year, many works are submitted for either of the two prize categories, the first prize and the Kyoto prize.
A member of the judging panel since the first exhibition, Mr Terufumi Shimada says: “I think of the obi-dome as a communication tool. Simply wearing an obi-dome starts conversations with all kinds of people. Even a single obi-dome can help to explain about Japan and Kyoto to foreigners, so having a collection of these kinds of works would be excellent.”
Every time I look at their creations, I am filled with admiration for the sensitivity and energy of our young people, who are looking into the future as they produce new objects while recognizing the asset we have in the designs from times past.
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