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Relay Column: Kimono Crisis Super Pinch – Period Drama Costumes & Fashion (Risako Ota)
PROFILE
Risako Ota
Currently enrolled in the doctoral program at the Graduate School of Humanities, Kobe University. A researcher specializing in Japanese art history. Her areas of expertise include the painting and crafts of the early modern and modern Kyoto art scene (textiles and dyeing). She also conducts research on Japanese painting and film. Her works include: "日本漫画映画の生成を担ったもの―政岡憲三と京都における近代絵画の観点から" (edited by Osamu Maekawa and Hiroshi Okumura, "マンガ/漫画/MANGA—人文学の視点から" (2020, Kobe University Press)).
2020 and 2021 were impactful years. One might think this is true for everyone due to the COVID-19 pandemic, but for me, who studies costumes in period drama films, 2020 saw the "Kimono Exhibition" at the Tokyo National Museum, and in 2021, the "Fashion in Japan 1945-2020: Trends and Society Exhibition" at the National Art Center Tokyo were held back-to-back[1]. The "Kimono Exhibition" attempted to trace the history of kimono from the birth of the kosode to modern kimono; however, it did not incorporate Western garments that actively adopted the forms and designs of kimono, such as those by Issey Miyake. In contrast, the "Fashion in Japan Exhibition" focused on Western attire, hardly mentioning traditional Japanese clothing. Given the distinct characteristics of the Tokyo National Museum and the National Art Center, I felt like I had been told kimono are merely a traditional costume that embellishes the history of museums and no longer constitute fashion in contemporary society.
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