Breaking The Rules Of Kimono

A new book by Dr sheila Cliffe shows off the different personalities of this very traditional yet often misconceived garment.

- Lisa Wallin

Kimono has long been pigeon-holed as the “national costume” of Japan, and largely ignored by Western fashion academics who view it as an unchanging garment that simply serves the purpose of covering the body. It is clothing, but it isn’t considered fashion. Dr. Sheila Cliffe, who moved from Bristol to Japan in 1985 and is a professor at Jumonji Gakuen Women’s University in Saitama, aims to shatter this antiquated and Eurocentric view of the kimono in her book The Social Life of Kimono. Spoiler alert: she succeeds. Her in-depth social analysis of past and present kimono wearers, as well as makers and craftsmen in the industry, indicates kimono is part of a complete fashion system separate from the West.

Cliffe’s passion for kimono is infectious, and her deep knowledge on the subject – both academically and aesthetically – is nothing less than inspiring. When asked what kimono means to her, Cliffe tells Weekender: “It’s fashion, very simply. But it’s far more interesting than Western fashion, for a lot of reasons: it’s slow and it’s three-dimensional. It caters to multiple audiences because of that. It’s also much more connected with nature, climate, the seasons and place. Also, a dress or a shirt and pants are kind of a done deal. You can add some earrings or something, but what you buy is basically what you wear. If I buy 50 obi, then that’s 50 different outfits with this one kimono. That’s fascinating to me. Anyone who loves the idea of putting an outfit together will become hooked on kimono.”