The origins of the kimono (着物) can be traced back to the Asuka period (6th–8th century), shaped by influences from ancient Chinese clothing, Buddhist culture, Japanese aesthetics, and social hierarchy. During this time, garments such as kosode, nōshi, and hō were worn, inspired in part by Tang dynasty robes and other imported styles. They were not yet called “kimono.” By the Edo period (1603–1868), the kimono had become more than clothing: it evolved into a symbol of cultural values, aesthetics, and social status. Following the Meiji Restoration, as Western clothing entered Japan, the word kimono emerged to distinguish traditional dress from Western styles. Today, kimonos are worn on special occasions such as weddings, coming-of-age ceremonies, tea rituals, and festivals, serving as enduring emblems of Japanese tradition. Types of Women’s Kimono (p.5–7) • Tomesode (留袖) - Kurotomesode (黒留袖)：Black, formal, elegant — worn by married women at weddings. - Irotomesode (色留袖)： Colored base with patterns near the hem, for semi-formal events, suitable for both married and unmarried women. • Furisode (振袖)：Long-sleeved, brightly colored, worn by unmarried women at formal occasions such as coming-of-age ceremonies and weddings. • Komon (小紋)：Casual kimono with repeating small patterns across the fabric. • Iromuji (色無地)：Solid-colored, plain or minimally patterned, often worn at tea ceremonies. • Mofuku (喪服)：All black, including obi and accessories, worn at funerals or memorials. Types of Men’s Kimono (p.8–10) • Kuromontsuki (黒紋付)：Black kimono with five family crests, paired with haori and hakama. The most formal men’s attire, used at weddings, funerals, coming-of-age, tea ceremonies, and Noh theater. • Iromontsuki (色紋付)：Non-black kimono (gray, blue, brown) with one to three crests, slightly less formal, worn at weddings, school ceremonies, and cultural events. • Mujikimono (無地和服) with Haori：Plain, crestless kimono without hakama, used casually for daily wear, arts, or home. Many contemporary men’s fashion designs derive from this style. What is Deconstruction? Originating in philosophy, deconstruction emphasizes decentering — rejecting a single fixed truth or hierarchy — and challenges binary oppositions (male/female, rational/emotional, subject/object). In fashion, it is not about destruction, but about rethinking: analyzing structures, exposing contradictions, and exploring unseen possibilities. Deconstruction in Clothing Western dress traditionally centered on the body’s structure — waistlines, shoulders, symmetry. Deconstructionist fashion rejects this, instead creating fluid garments with asymmetry, inside-out seams, dismantled and reconstructed forms. Clothing becomes a moving device, not a fixed shape. Eastern Clothing and Kimono The kimono does not mold itself to the body but emphasizes fabric and form. Its loose, layered structure creates a “dynamic space” between cloth, body, and air. Like deconstruction, it resists centering the body, blurring the boundary between wearer and garment. Yohji Yamamoto & Rei Kawakubo Designers Yohji Yamamoto and Rei Kawakubo embody this intersection of Eastern aesthetics and deconstructionist thought. By questioning the essence of clothing, they deconstructed and reimagined fashion, bringing Eastern philosophy into their work. In the 1980s, their radical designs shocked Western fashion, offering a new perspective from the East that continues to shape global design today.