Japanese Kimono Culture from Paris: The Challenge of Comptoir de Kimono

A Japanese space nestled in a corner of Paris, "Comptoir de Kimono." Owner Sono Fukunishi sends the charm of kimonos out into the world from this location.

"Comptoir" in French primarily means "counter" or "store section." True to its name, this store isn't just about selling kimonos but also serves as a haven for those wanting to experience and consult on kimono culture.

But why kimonos in the fashion capital of Paris? We spoke with her to find out her passion and challenge.

Passion for Kimono & the Challenge in Paris

First, can you tell us how you came to open a kimono shop in Paris?

In 2002, I enrolled in the fashion department of Parsons School of Design, with its main campus in New York. I saw fashion as a form of art with the power to change people. Initially, I planned to spend two years each in Paris and New York, but during my stay in Paris, I got the opportunity to intern at Lanvin, where Alber Elbaz was the designer. That experience was so stimulating that I ended up dropping out of college.

Later, with increased styling work and visa issues, I established a company. I started a limited company handling consulting and imports related to fashion and food, and I worked in the fashion industry. However, with the rise of fast fashion, the fun of the industry began to fade.

Fast fashion brands can offer products at low prices thanks to mass production and efficient logistics systems. Moreover, with accurate trend analysis, they are appealing choices for consumers. However, this has resulted in an environment where the creativity and efforts of young designers are hardly rewarded.

After the Great East Japan Earthquake in 2011, I co-founded the NPO "Paris Komatchi" with Japanese women living in Paris. We wore kimonos to support the affected areas, increasing our participation in charity events. This experience led me to rediscover the appeal of kimonos and explore new possibilities.

Subsequently, I participated in the Executive MBA program at the Institut Français de la Mode (IFM) to develop fashion industry executives. The learning and networking there greatly aided the subsequent business launch.

Ultimately, I found a municipal store operated by the City of Paris and, with around 10 million yen, opened a store with kimono sales, rentals, gallery, and salon space. This journey was not easy, but the experience from the Executive MBA helped realize my dream.

After opening, we faced tough times due to the COVID-19 pandemic, but through this intense experience, we arrived at the current business.

How do you convey the traditional Japanese attire of kimonos to the people of Paris?

Some customers buy kimonos for everyday wear, while others seek them as art. Depending on their budget and purpose, we recommend yukatas and kimonos and make length adjustments if necessary.

Men's kimonos are worn like jackets or coats, while women's kimonos cater to a wide range from casual to formal wear, with many wanting to wear them as traditional kimonos. We also serve those seeking kimonos for specific purposes, like tea ceremonies and kyudo.

For the inheritance of kimono culture, it's essential not only to sell kimonos but also to impart the knowledge of dressing and etiquette. While kimonos can be found in vintage stores, few can explain the detailed etiquette, like choosing colors and patterns for a tea gathering.

Therefore, we provide practical advice on handling accessories and dressing methods. We also offer advice to professionals, such as filmmakers and commercial creators, on kimono selection tailored to specific themes or characters.

There seem to be many challenges in conveying culture.

Kimono culture is attracting attention not only in Japan but also overseas. Each person enjoys it differently, and in France, in particular, there seems to be a unique interpretation.

The cultural "rules" regarding kimono patterns and seasonal feeling were difficult points for foreign customers to understand. For instance, the crane pattern is formal wear and not suitable for yukata, and since yukata are summer clothing, there are no sakura-patterned ones. There is a big gap between foreigners' imagined "kimono" and the actual kimono culture.

Furthermore, there is also a misconception about the word "kimono" itself. In French, "kimono" can refer to judo wear, so some customers come looking for judo garments (laughs).

Some common questions from foreign customers include, "Is it okay to wear a kimono outside?" and "Can men wear kimono too?" For these questions, I explain humorously that "kimono" originally just means "clothes" in Japanese.

As such, there is a significant difference between the kimono culture and knowledge that Japanese people take for granted and the image and understanding that foreigners have. Bridging this gap while conveying the charm of kimonos is the essence and challenge of running a kimono shop in Paris.

Kimonos represent a very unique culture. When people overseas try to find information in English, they often can't obtain enough information. In such cases, I believe our strength lies in being able to act as interpreters or cultural bridges as Japanese people who understand kimonos well.

This store functions as a place where a diverse group of people interested in kimonos and Japanese culture gather. While challenges are numerous, we take pride in playing a pivotal role as a key location for spreading kimono culture across the world.

As the store name "Comptoir de Kimono" (Kimono Counter) suggests, our shop serves as a venue where people from various backgrounds encounter and interact with kimono culture. Here, we provide not only the sharing of knowledge about kimonos but also a space where cultural dialogue and mutual understanding emerge.

The store also has a gallery space, which is expected to play a significant role in the future vision of Comptoir de Kimono.

This gallery is designed to be appropriately used by artisans and companies I wish to support. The showcased works are diverse, including long-established Parisian maisons and artists related to kimonos in France.

For example, through a project I proposed and actualized, the traditional Parisian fan maison "Duvelleroy" commemorated the 300th anniversary of the origin of Tango Chirimen by producing six special fans using fabrics from six companies in the Tango Textile Industrial Association, exhibited in our gallery.

The fans, made with cloth incorporating mother-of-pearl and plant motifs, gave visitors a "journey-like sensation," and many attendees were amazed by the craftsmanship of Tango artisans and Duvelleroy's exceptional techniques.

We also hosted an exhibition and sale event for a brand established by a Senegalese man in France. This brand, inspired by Japanese culture, embodies cultural fusion.

There is a shared aspect in craftsmanship beyond cultural boundaries. As I work aiming to promote kimono culture as a Japanese person, it's clear that there are limits to expansion on our own. During the Senegalese brand's exhibition, a different clientele visited. They were drawn to the unique cuts inspired by hand-woven Senegalese fabrics and Japanese attire, which also developed an interest in other kimonos.

In this way, I feel the necessity of gradually expanding the domain and involving various people to increase kimono enthusiasts. Of course, there are many people who inherently like Japan and kimonos, but it's vital to convey the charm of kimonos to other segments as well.

Moreover, we invited a French Rakugo storyteller to perform. Among the audience who visited during that time, some were studying Noh. For them, Rakugo and Noh are techniques of theater, much like Shakespeare. This perspective, which Japanese people don't possess, was a refreshing surprise.

Through such exchanges, the appeal of this store lies in the opportunity to experience perspectives unknown to Japanese people. Individuals with different cultural backgrounds can discover something new through kimonos and deepen their understanding of each other's cultures. As a platform for cultural exchange, we aim to continue our activities in the future.