The Westernization of Japan Told Through the The Lifespan of the Kimono 

 

by Danielle Richardson

 

Our world is constantly changing. Everything from our political systems, to cities to even hobbies are in a consistent state of transition. Even as late as our generation, we are witnessing mammoth shifts in the culture and traditions of the world. That being said, some of the most lively and popular debates today revolve around concepts of westernization and modernization. Some of the greatest minds of our time have come together on multiple occasions to discuss these topics. In particular the concept of whether or not westernization is necessary in order for a nation to experience modernization. The author of the book, ‘The End of History’, Frances Fukuyama presents an interesting argument. “All countries,” he writes, “undergoing economic modernization must increasingly resemble one another.” Fukuyama goes on to proclaim that every country desiring to modernize must first implement a centralized legal system, an important amount of urban spaces and a decent education system. In addition to all of this, he argues that all modern societies have, in his words, “replaced traditional forms of social organization like tribe, sect, and family with economically rational ones based on function and efficiency.” In other words, modern societies have lost much of what made them culturally what they were. 

 

One of such examples of westernization can be found in the country of Japan. In other times, Japan was a nation known for it’s traditional crafts in addition to exotic customs and orderly government. In recent years, however, a shift in the reputation of the territory can be noticed. Now days, Japan is famous for it’s technology. Were you to ask a random person the first things they thought of when the country was mentioned you would probably end up with a list containing cars, computer games and nuclear reactors. Having greatly evolved from it’s previous customs of Samurai and Geisha, Japan’s incredible story of adaptation is perhaps best told through it’s clothing. In 1851, not even two centuries ago the Japanese population was still wearing long decorative robes known as ‘Kimonos.’ Today, less than two-hundred years after the fateful opening of Japan by Commodore Matthew Perry, the denizens of the nation are garbed in apparel as routine to western eyes as jeans. Clothing is one of the few man-made creations that is completely, constantly, instantly and directly reflecting the evolution of societies and their inhabitants, hence, there is no better way to analyze and examine the different characters of history than to look in their wardrobes. 

 

Each ruler of feudal Japan had their own style of leadership.  And with each and every change in the governing of the country came new habiliments that reflected the alterations. Chinese influenced designs could be found when Japan itself was in close relation to the Chinese, detailed, lavish garments were designed at the time when a detailed, lavish court was in power and when Japan was in the process of westernizing, the clothes westernized along with it. But Kimonos weren’t always the lengthy robe-like textiles that we see plastered among paintings and traditional art of the time. In fact, the word ‘Kimono’ itself does not, as most people believe, describe that particular type of attire, but instead is the Japanese term for clothing. The actual word used to catalog the traditional Japanese garments is ‘Kosode.’  Kosodes only really became fashionable in the Heian period (794- 1185), before that time period the habiliments were very different to the loose, multi-colored attire so well known today. 

 

The 6th and 8th century’s outfits were composed of two pieces; a jacket and skirt. The apparel itself was very heavily influenced by the Chinese designs. This in itself was not surprising as Japan and China retained very close connections with China during this time. The two neighboring countries even shared ambassadors. These similarities persisted throughout the Nara period (8th century) intensifying themselves to a point where there was very little difference between the two nation’s cultures, law enforcement[1] and outfits. Nara, the namesake for the era’s name, was the base for the government at this point in history. It is worth noting that the government itself was molded after the T’ang dynasty[2]. Chinese influence was at it’s height in Japan. The Yoro code was enacted in 718 and promulgated in 757. It contained information and policies regarding virtually every law and punishment imaginable in  8th century Japan, and was principally based off of the codes and laws of China. As Carl Steestrup, author of ‘A History of Law in Japan until 1868’, states, “The idea that the Japanese officials just copied from the Chinese code wholesale is wrong: they studied them, and then made provisions befitting Japan as a whole.”  Some of such altered provisions adopted from the People’s Republic of China could be found in the status of women in general, which tended to be higher in Japan. The Chinese criminal justice system, differentiated with it’s Japanese counterpart in that it tended to be more lenient in order to better suit a country largely dominated by Buddhism. Unfortunately, the Yoro code has mostly been lost to the ever-rolling current that is time. We have, however been able to deduce most of it’s contents with the aid of it’s predecessor, the T’ang ritsu which was completely preserved. 

 

As the Heian period was just beginning in 894, Emperor Uda, advised by the ambassador at the time, Sugawara no Michizane who was witnessing the fall of the T’ang Dynasty, made the decision to cut all ties with China as a whole. This event marked a fateful turn of things in Japanese history as it was only really after this date that Japanese culture and fashion really began to take flight. Everything was developing even down to the written language which was simplified, named the ‘kana’ script and nicknamed the ‘woman’s language’ by the people. The capital was moved from Nara to Kyoto due to the Emperor’s desire to escape the political influence of the Buddhist temples surrounding the former capital.  Due to the importance of art and subtle beauty throughout Japanese culture the typical Japanese woman’s wardrobe would be very elegant and simplistic in design. For the first time, Kimonos were dyed bright colors and detail, patterns and designs were added which showed signs of Japan moving away from the Buddhist ideals of conservatism. For the first time, the country was starting to alter and develop the religion to match the country’s needs and characteristics. The Heian court was developed much to the delight of the female courtiers who took pride in outdoing one another in Kimono design and intricacy. It was a time of peace and prosperity that lasted 400 years up until 1185. 

 

When the Kamakura period came, it changed everything. After a half-decade of war between the Taira and Minomoto Samurai clans post the death of Taira Kiyomori, a popular leader who had been governing the country through the Emperor, the country was ready for peace. The power shifted from the Emperor to the head of military or ‘shogun.’ In place of the extravagance presented by the Heian era, the Kamakura period was all about functionality. These qualities were reflected in the laws and lifestyles of the people during this time. So paranoid was Shogun Yoritomo Minomoto of the nation rebelling against this new lifestyle that he had his own brother arrested and condemned to commit seppuku[3] due to allegations that he supported the glamour and intrigue of life in court. This concept of using only the bare necessities could be seen in the clothing of this era. In place of the many decorative layers and skirts of the Heian style of dressing, Kimonos in the Kamakura period were stripped down to include only the most fundamental parts,  almost extinguishing their decoration completely.  During the Kemmu Restoration and Muromachi period almost three hundred years later, the life of the courtiers experienced a sort of renaissance as the power was reestablished to the Emperor. Ornamentation was restored to the wardrobes of the court and it stayed that way, even throughout the Momoyama era when the power was once again returned to the shogunate developed in the Kamakura period. Under the rule of Toyotomi Hideyoshi the clothing was characterized by gold leaf and ornate embroidery as well as gaudy color and clashing fabrics. With time came the Edo period and with it, Tokugawa Ieysu’s reign. The clothing at this time changed very little, only adding a few details in minimal places and slightly altering the style of the obi or belt. Two hundred and forty years into the Edo period Commodore Matthew Perry invaded Japan. And everything changed.  

 

When the Americans first came to Japan they arrived in monstrous ships that used steam engines and cannons. They were commanding, powerful and in the eyes of the Japanese, invincible. Commodore Matthew Perry arrived with a letter addressed to  the Emperor from the U.S president, Franklin Pierce. The brief contained a request for American sailors to be able to access Japanese shores in order to stock up on provisions on their voyages to China. After having delivered his request for a treaty, Perry left, leaving behind a model steam engine, a telescope and telegraph in addition to several large cases of Western wine and liquor. He returned one year later with an even larger fleet to an intimidated Japanese Emperor who reluctantly signed the treaty. Western fashions were yet unknown to the Japanese and it was only in 1643, after many of the Samurai revolts that laws were passed by the shogun that informed social status with dress codes. According to the new policies, only the nobles at this time were permitted to wear the ornate and elegant clothes that before then, everyone had been wearing. The laws were son abolished, however, and the Japanese were free to don what they wanted for a time. Several centuries later the Emperor himself began to appear in Western dress. Government officials and people of power were quick to follow suit. In 1871 the Emperor issued a mandate requiring high-officials to wear western clothing during business hours and during functions. Not long afterwards many fashion conscience women caught on and began adapting their wardrobes to suit it. The Empress herself made many public appearances garbed in Western attire which further persuaded the ladies of Japan. 

 

Today Kimonos are only worn on special events such as New Year, tea ceremonies and the occasional visit to temples shrines, graduations and weddings. Japanese politicians are currently trying to take measures to ensure that the traditional garments as a whole do not loose their cultural significance as Japan is becoming increasingly Western in recent years. As kimonos have gone out of fashion, the number of companies making them in Tokyo has shrunk - dwindling from 217 to 24 over the past 30 years. Even in Kyoto, the historic centre for traditional Japanese culture, there are now just 64 kimono makers left. In the words of Teiyu Ogura, who has been making kimonos for the past 35 years, “The kimono industry has come to a complete stop.” We are entering a new age. One in which each the world is becoming more similar. One in which many of our cities and regions have altogether forgotten their culture. One in which it is possible for the leaders of most of the word’s nations to sit in a single room and discuss possible solutions together. One in which humans are not dropping like flies from simple causes like infections. One in which technology is developing at such a rate that it is impossible to keep track of. And who knows? Perhaps by some miracle, Kimonos will rise again as the next new fashion in modern-day Japan. Perhaps the world will rediscover it’s cultural roots.  

 

Westernization is by no means a completely negative thing and we should not treat it as such. It is not completely optional either, after all, in the words of Fukuyama, “Those who resist [westernization] will be swept away or at the very least overshadowed by those who choose to follow.” There is no question that it was necessary for Japan to modernize, should they wish to avoid being invaded by another more dominant and technologically advanced nation. The question still remains though; was it necessary for Japan to westernize? Regardless of the answer, it happened. The world’s future is full of possibilities, and I personally am completely ready to don a  white spandex jump suit and jump on my hover board.       

 

 

End Notes

 

[1] http://www.britannica.com/EBchecked/topic/580677/Taiho-code

[2] http://www.britannica.com/EBchecked/topic/403360/Nara-period

[3] (the traditional and honory method of killing one’s self after bringing shame utilized by the Samurai).

 

 

Sources

 

 McGann, Cass. "A Brief History of Japanese Clothing." Reconstructing History RSS. Reconstructing History RSS, 27 Mar. 2002. Web. 28 Feb. 2014. <http://www.reconstructinghistory.com/articles/japanese-articles/a-brief-history-of-japanese-clothing.html>.

 

 Goldberg, Barbara. "The Japanese Kimono." School Arts Apr. 1993: 31+. Questia School. Web. 20 Feb. 2014. 

 

Steenstrup, Carl. "A History of Law in Japan Until 1868." Google Books. N.p., n.d. Web. 28 Feb. 2014. <http://books.google.co.jp/books?id=fLmX1vUXVQIC&pg=PA35&lpg=PA35&dq=yoro+code+contents&source=bl&ots=Ip6zsewKFS&sig=srSbcX3nYy2sUKm2Amb5ziN2mXI&hl=en&sa=X&ei=ftgNU7G-BoTVkAW_3oD4Dw&ved=0CD4Q6AEwBA#v=onepage&q=yoro%20code%20contents&f=false>

 

Borgen, Robert (1994). Sugawara no Michizane and the Early Heian Court. University of Hawaii Press. pp. 158–181.ISBN 978-0-8248-1590-5. 

 

Bill (Last name unknown) "Lectures." Pennsylvania State University. Pennsylvania State University, n.d. Web. 20 Feb. 2014. <https://www.courses.psu.edu/spcom/spcom483_sdp2/lectures/Bill/politicsemp.html>.

 

 Department of Asian Art. "Heian Period (794–1185)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/heia/hd_heia.htm (October 2002)  

 

"Ginza, Japan in the Meiji Restoration." Musée Virtuel Du Canada (MVC). Montreal Museum of Fine Arts, n.d. Web. 28 Feb. 2014. . Fukuyama, Frances. The End of History. N.p.: n.p., n.d. Web. <http://www.museevirtuel-virtualmuseum.ca/edu/ViewLoitDa.do?method=preview&lang=EN&id=12944>.

 

 Tokyo, Danielle Demetriou in. "Kimono Making in Japan Is a Dying Art." The Telegraph. Telegraph Media Group, 23 Oct. 2010. Web. 28 Feb. 2014. <http://www.telegraph.co.uk/news/worldnews/asia/japan/8082875/Kimono-making-in-Japan-is-a-dying-art.html>.