HAKUBI GROUP

AND

THE FOUNDATION ON PROMOTING THE NATIONAL COSTUME OF JAPAN

IN THE ROYAL ONTARIO MUSEUM THEATRE

TUESDAY 27 MAY, 1997

'HEIAN NO MIYABI,' THE ELEGANCE OF JAPANESE COURT ATTIRE OF THE 10-11TH CENTURIES

The theatre of the Royal Ontario Museum has been in use for many years. Its stage is small, but once was once used by Canada's finest actors before the large number of legitimate theaters that comprise Toronto's theatre district were built. It comprises some 350 seats. It is there that the Hakubi Group and the Foundation chose to present the finest of their Toronto performances on the evening of 27 May, 1997. The evening was designed to give the audience a fuller appreciation of the history of Japanese kimono from its earliest origins to the forms in which it is worn today.

The evening began, thus, with Mr. Takayoshi Mizushima's special lecture, as a visiting Professor to the Univ. of Toronto, on the history of Japanese attire. He began his lecture in flawless English, and turned to Japanese only later for the more precise descriptions of kimono and the nomenclature used to describe it. Prof. Kenneth L. Richard acted as his simultaneous translator for this section of the lecture. Mr. Mizushima spoke of the Six Stages of the development of Japanese attire:

1.) The Primitive Style of homespun fabric, leather, and thong in use in the Japanese archipelago before the advent of influence from the outside world, that is, until sometime before 200 AD.

2.) The Korean Influenced Style of the era after 538 AD, that is, after Buddhism was introduced to the Japanese court in the Nara basin, from the Korean peninsula. The burgeoning city of Heijo-kyo, as Nara was then called, attracted many Korean monks and artisans. They are credited with bringing continental styles of dress to Japan.

3.) The Modified Chinese Style of the era after 600 AD when Japan sent its first emissary to Sui in China. For most of the 7-9th centuries, Chinese influence of all kinds was paramount at the Japanese court, and fashions in attire were no less important than other matters such as the first Japanese Constitution of 604 AD. Throughout the Heian Era from 794-1185 AD, fashion crazes ensued for all things Chinese, but direct influence on clothing styles seems to wane after the emissary program to China was abandoned by the Japanese court in 894 AD.

4.) The Establishment of the First Native Japanese Kimono Style is said to have come about during the Heian Era, perhaps as early as the mid-tenth century. By the time Lady Murasaki Shikibu wrote her masterpiece, the novel The Tale of Genji in 1005 AD, a fashion for highly ornate, layered garments of silk known as junihitoe, literally 12 layered garment, were worn exclusively by the highest ranking court women. Other forms of attire developed during this era, and all reflected a mature sense of Japanese sensibility and refinement that had not come from the Chinese mainland. For the next two eras, the attire of the Heian court continued to be worn by the nobility, that is, in the Kamakura and Muromachi/Azuchi-Momoyama periods, approx. 1185-1603.

5.) The Expansion of the Kimono Among Common People occured during the Edo Era (1603-1868) when Japan entered into a period of relative isolation from the Asian continental mainland, and from a limited exposure to Europeans and to other foreigners. The history of this long era is quite complicated, but, put simply, simply woven silk fabrics became more available, as well as did cotton. In a period of seclusion, native styles and fashions were the order of the day, and the kimono as it is known today, developed rapidly as the national costume. Other important dates for the period are: 1634 when the artificial island of Dejima, in the Bay of Nagasaki, was built as the only place for trade with the three countries of Holland, China, and Korea; 1853 when Commodore Perry arrived from the USA with his 'Black Ships' demanding trade and open ports; 1858 with the extablishment of friendly trade treaties with the USA, Holland, Russia, England, and France, and 1871 when the rank of samurai was officially abolished by the new government of Meiji.

6.) The Mixture of Japanese and Western Attire that occured after Japan set out to modernize its nation along Western models was rapid, enthusiastic, and long-lasting. In some ways, the kimono has even lost out to Western clothing as the main form of Japanese attire. There are practical reasons for this, of course, but nevertheless, the meeting of East and West has been an inevitable part of Japan's history as a modern state. The modern era is divided into these four Imperial reigns: Meiji (1868-1912), Taisho (1912-1926), Showa (1926-1989, and Heisei (1989-present). Though not worn absolutely every day in Japan, except by the staff of the Hakubi School, the kimono is still widely worn at weddings, funerals, and other ceremonial occasions.

Ms. Yasuko Osanai and Prof. Richard continued, after Mr. Mizushima's lecture, with commentary and history of the specific forms of court attire worn by the nobility of the Heian court in the period from 1000-1200 AD while the stage filled with the beautiful visions of the layered attire of this period.They spoke first of the junihitoe, the formal layered garment worn only by the Empress and the highest ranking of her ladies. Ms. Emi Matsuzaka, model for the junihitoe, entered the stage in her undergarment so that the audience could witness the dressing in many layers. When finished, she posed, with her two dressers, for the audience.

Secondly, Hakubi presented the male equivalent to the junihitoe, the sokutai, in this case, the bunkan sokutai or attire of the scholarly male nobleman. Mr. Yoshi Waterhouse of Oakville, Ontario, acted as model for this costume.

Notice the high tail of the lacquered horse-hair hat, and the long trousers called sashinuki, as well as the trail of his overgarment in the back. The shoes or kutsu are lacquered wood. The outfit is completed with the shaku, or imperial sceptre, held in the left hand.

The imperial male attire was followed by the Uneme, or shrine maiden attire, worn by priestesses who ministered to the needs of the Imperial Family and other nobles in the Heian court. Ms. Melanie Oda of Toronto acted as model for this costume.

Notice the simplified trousers, the gossamer type silk material, and the twisted silk braiding cascading down from her hair. This attire illustrates a less formal type of wear, one that allowed for greater freedom of movement. In truth, this form of attire was worn, in simplified forms, by the common people as well as by priestesses.

The last costume of the evening, but for many the most alluring, was the hosonoga, literally the 'narrow and long.' The hosonaga was worn by court women only, but during the summer season when circulation of the humid air becomes more important that layering, and for informal occasions, such as entertaining a suitor, a lover, or a husband. This costume is mentioned extensively in The Tale of Genji, and is one of the most beautiful forms attire known in Japan. Ms. Mayumi Endo of Tokyo and Toronto was model for this costume. She looked as if she had been born to wear it.

Finally, the male and female layered garments were modeled together, perhaps as though they were the Emperor and Empress of Japan. In fact, when the current Emperor Heisei was crowned in 1990, he and the Empress Michiko were dressed amost exactly as were the two models seen on the stage.

By the time the performance finished, the ROM Theatre was filled to overflowing. Many patrons had heard word of what was happening in the theatre below the main level of the exhibition galleries. After the performance, the models remained on stage for photographs.

The City of Toronto owes a great debt to Mr. Takayoshi Mizushima and his staff at the Hakubi School for making this visit possible. We in Toronto did our best to make them feel at home. Thank you Hakubi for your fine work, your sense of the true meaning of international cultural exchange, and for your kindness. PLEASE COME BACK AGAIN!