On Thursday, 8th August 2024, I visited the Ashmolean Museum in Oxford to see Kabuki Kimono, an exhibition of costumes belonging to the legendary kabuki actor Bandō Tamasaburō. Each garment in this exhibition, curated by Dr. Clare Pollard, is a masterpiece, showcasing the sublime craftsmanship of Japanese textile design. Some of these intricate costumes weigh up to 40kg - imagine the skill and physical strength required to dance gracefully in such elaborate attire. Kabuki Kimono is free to visit and will be on display until 8th December 2024 - I highly recommend seeing it if you have the opportunity. As well as exploring the rich tradition of kabuki costume, this exhibition reflects the artistry of Bandō Tamasaburō, a designated 'Living National Treasure' who works closely with master artisans to create his bespoke costumes. But who is Bandō Tamasaburō?
Bandō Tamasaburō in the role of Miuraya Agemaki from Sukeroku Kuruwa Hatsuhanazakura.
The Man Behind the Kimono
Bandō Tamasaburō is widely regarded as one of the greatest onnagata actors (male kabuki performers specialising in female roles) of all time. Born on 25th April 1950, Tamasaburō’s illustrious career spans seven decades, and he continues to perform major kabuki roles today. As a baby, Tamasaburō had polio, which led his doctor to recommend nihon buyo (traditional Japanese dance) as therapy - a suggestion that serendipitously set him on the path to kabuki. Recognising his natural talent, Tamasaburō began training under the esteemed kabuki actor Morita Kan'ya XIV at the age of six, marking the beginning of his remarkable journey into the world of kabuki. By the age of fourteen, Tamasaburō was making waves in the kabuki world. I love this photograph of Tamasaburō knitting fabric with his kabuki mentor. It not only captures their close bond but also subtly hints at the vital role that costume has played in Tamasaburō’s craft from the very beginning.
Tamasaburō, aged 14 (centre), knitting with his kabuki teacher Kanya Morita XIV.
Tamasaburō’s influence extends beyond kabuki, and he has collaborated with icons such as ballet star Mikhail Baryshnikov, Yukio Mishima, and David Bowie. In 1973, when Tamasaburō was 23 and Bowie was 26, they met backstage after a kabuki show. Tamasaburō shared the secrets of kumadori (kabuki makeup) with Bowie, who was deeply inspired by Japanese art and theatre. Bowie went on to synthesise kumadori into his Ziggy Stardust persona, with the striking red mane and distinctive makeup unmistakably echoing the androgynous aesthetics of kabuki. To explore more about Tamasaburō's artistic exchange with Bowie, you can read my piece: Tamasaburō Bandō V: On the Hanamichi.
Bandō Tamasaburō (left) and David Bowie (right) applying kabuki make-up.
For the Kabuki Kimono exhibition, Tamasaburō decided to showcase a selection of kimonos reflecting the seasons. He explains, "Japan has four distinct seasons, so many Japanese performing arts are created with an awareness of these seasons." This poetic curation offers visitors a glimpse into how the changing seasons are woven into the very fabric of kabuki.
Over-robe with a design of a flame drum, sunbeams, and cherry blossom embroidered on a red silk crêpe background.
Spring
One of my favourite costumes in the Kabuki Kimono exhibition is this magnificent red full-length kimono representing spring. It is worn by the character Agemaki, the leading courtesan in the classic kabuki play Sukeroku, a story deeply rooted in the Edo period (1603-1868). The kimono is adorned with a meticulously embroidered cherry blossom design. Tamasaburō explains that the artisans hand-stitched each blossom individually, before intricately attaching them piece by piece to the fabric in order to create a three-dimensional effect.
Spring: Bandō Tamasaburō kimono details. Seiko Time and Japanese Culture Project.
This kimono also carries historical significance. Sukeroku was first performed in the early 1700s, and around 1770, the fifth-generation actor Hanishiro Iwai introduced the practice of Agemaki wearing multiple costumes in sequence during the performance, each change reflecting a different aspect of the character or story. This tradition has been passed down through generations, with Tamasaburō’s interpretation of Agemaki continuing to honour this legacy while bringing a fresh perspective to a centuries-old practice. At the Kabuki Kimono exhibition launch at Seiko House in Tokyo in June 2023, Tamasaburō reflected on the responsibility of preserving kabuki traditions:
"Even if I have the desire to pass on certain traditions, I never know whether or not I will be able to do so. I think the essence of kabuki, and of Japanese culture for that matter, is ineffable. It cannot be accurately conveyed in words. I try not to impose my ideas on others, but rather, aim for the other person to naturally absorb what I have to teach. The same can be said for my performance in front of an audience."
Bandō Tamasaburō performing Mudanting at huguang Guildhall, Beijing in 2008.
Summer
The summer kimono featured in the Kabuki Kimono exhibition might seem surprisingly subdued for the season. Dyed purple and adorned with autumn grass designs, it does not immediately evoke the typical vibrancy of summer. But Tamasaburō says this is precisely the point: "In Japan there is a sense of sophistication in capturing the essence of a season slightly ahead of its time. The presence of autumn grass creates a sense of mystery and encapsulates the fleeting beauty of summer." This kimono is crafted from two layers of gauze fabric. The lower layer is intricately patterned, while the upper layer is transparent, allowing the design beneath to subtly show through. The fabric, referred to as sha or ro, is designed with tiny gaps that allow a cool breeze to pass through, providing relief from the summer heat. Tamasaburō hopes that viewers can feel a sense of coolness emanating from this kimono.
Summer: Bandō Tamasaburō kimono details. Seiko Time and Japanese Culture Project.
Tamasaburō emphasises the importance of physically meeting with the various dyers, weavers, and other artisans during the costume creation process. "These artisans rarely have a chance to meet the actor who will wear the costume, but when they do, the artisans are inspired and further imbue their work with the emotions this meeting has stirred," he explains. "Even if they do not exchange words, it is crucial for the artisans to be aware of the type of actor who will ultimately wear the costume.”
“Long ago, I was a little concerned about how the colours would appear in the material, so I requested a weaver to create a test sleeve for me to check. When I shared my concerns about colour combinations, he responded, "Subdued colours work well for the Noh theatre, whereas vibrant colours are more appealing on the kabuki stage." I chose to place my trust in his expertise and left the matter in his hands. During the performance, the costume was vibrant and the patterns were nothing less than stunning, precisely as the weaver had foretold.”
Autumn
Karaori Noh robe with maple leaves and diamond patterns on a gold woven background.
This opulent costume is for the Demon Princess in the play, A Gathering of Demons amidst the Autumn Leaves at Shinano. It features a golden background, symbolising the warmth of autumn sunlight, against which the red and turning-red maple leaves are arranged. In Japan, the sight of autumn leaves, or momiji, has long been a cherished pastime, a moment to appreciate nature's fleeting beauty. However, this enjoyment is steeped in myth and legend. According to folklore, demons would disguise themselves as beautiful women to deceive and attack high-ranking individuals who ventured out to admire the autumn foliage. These demons would lure samurai with offerings of saké before revealing their true intentions. Kimonos with maple leaf designs, like the one featured here, are said to be the attire worn by these deceptive demons.
Autumn: Bandō Tamasaburō kimono details. Seiko Time and Japanese Culture Project.
Winter
During the exhibition opening in Japan, Tamasaburō was asked, "Of all the costumes you have, which one do you consider the finest?" He unhesitatingly selected the New Year's kimono worn by the courtesan Agemaki in the play Sukeroku. Tamasaburō remarked, "I’ve heard that among the costumes exhibited, the one with the lobster (ise-ebi) on the back has attracted considerable attention." The notion of wearing a lobster or a kagami rice cake on the back of one's costume is both bold and intriguing. The technique of capturing the audience's attention and immersing them in the narrative is a distinct characteristic of kabuki." The kimono is also adorned with a shimekazari (a traditional New Year’s decoration), mandarin oranges, and urajiro (fern leaves), elements carefully chosen to embody the essence of the New Year.
Over robe with a design of New Year's decorations embroidered onto a black satin background.
Obi sash with a carp ascending a waterfall (left) and details from Agemaki's New Year's kimono (centre and right).
Musing on his synergy between costume and character, Tamasaburō says, “When I'm performing a character from the long-ago Edo period, sometimes I feel a strange connection with the character's essence, especially when I look at ukiyo-e paintings from that period. There are times when I’m inexplicably moved by some art form or intuitively think that I like this or don’t like that. This unconscious reaction may come from my soul being connected to someone in the past, someone whom I am not even consciously aware of.”
The Hell Courtesan (Jigoku Dayū), Utagawa Kunisada II, circa late 1850s.
Earlier this summer, I had the privilege of seeing Yoshitsune and the Thousand Cherry Trees at the Kabuki-za in Tokyo. Seated right beside the hanamichi (flower path), I was close enough to feel the presence of the actors as they passed by. When the star of the show, Ichikawa Danjūrō, brushed past me, I caught the timeworn scent of Japanese fabric - a subtle yet powerful reminder of the ancient traditions and craftsmanship woven into every thread of his costume.
Winter: Bandō Tamasaburō kimono details. Seiko Time and Japanese Culture Project.
The beauty and power of kabuki costumes extend far beyond mere decoration; they are living works of art that breathe life into the characters on stage. With their intricate designs and rich histories, these garments work in harmony with the actors, adding layers of meaning and storytelling that are deeply intertwined with Japan's cultural and artistic heritage. At the close of the Kabuki Kimono exhibition opening in Japan, Tamasaburō shared a heartfelt reflection with the audience:
“Arranging the costumes in this way, I sense the passage of time. I can’t help but think that we have thirty years’ of costumes right here. It brings me great joy to see so many of the designs that I've created slowly and patiently, completing just one or two each year, all gathered together in one place. And it's really heart-warming to be able to connect with the thoughts and feelings of the artisans as well. Thank you all so much for coming to view this exhibition.”
Other kimono's from the Kabuki Kimono exhibition and Bandō Tamasaburō (centre).
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