Editing Kimono (section)

==History==
{{Main|Japanese clothing}}
{{More citations needed|section|date=August 2020}}

{{Image frame| width=350 |content=
<gallery mode=packed heights=thumb>
File:Takamat1.jpg|Women's dress under [[Goguryeo]] influence, with overlapping collar and {{transliteration|zh|mo}} skirt.<ref name="Jill">{{cite book |last1=Liddell |first1=Jill |title=The Story of the Kimono |date=1989 |publisher=E.P. Dutton |isbn=978-0525245742 |page=28}}</ref> ([[Takamatsuzuka Tomb]], 7th century)
File:Yokohama Silk Museum 046.JPG|[[Asuka period|Asuka]] (late [[Yamato Period]]) dress, 7th century
File:Jidai Festival (cropped to Wake no Hiromushi and children).jpg|[[Nara period|Nara-period]] dress, late 8th century, 2005 reconstruction
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=== Yamato period to Nara period (300–794) ===
The first instances of kimono-like garments in Japan were [[Hanfu|traditional Chinese clothing]] introduced to Japan via Chinese envoys in the [[Kofun period]] (300–538 CE; the first part of the Yamato period), through immigration between the two countries and [[Japanese missions to Tang China|envoys to the Tang dynasty court]] leading to Chinese styles of dress, appearance, and culture becoming extremely popular in Japanese court society.<ref name="Dalby Fashioning Culture" /> The Imperial Japanese court quickly adopted Chinese styles of dress and clothing,<ref>{{Citation|url = https://academic.oup.com/jdh/article/30/3/300/3010188 |title = Elizabeth LaCouture, Journal of Design History, Vol. 30, Issue 3, 1 September 2017, Pages 300–314}}.</ref> with evidence of the oldest samples of {{transliteration|ja|[[shibori]]}} tie-dyed fabric stored at the [[Shōsōin|Shōsōin Temple]] being of Chinese origin, due to the limitations of Japan's ability to produce the fabrics at the time.<ref name="Wada">{{cite book |last1=Wada |first1=Yoshiko Iwamoto |last2=Rice |first2=Mary Kellogg |last3=Barton |first3=Jane |title=Shibori: The Inventive Art of Japanese Shaped Resist Dyeing |date=2011 |publisher=Kodansha USA, Inc |location=New York |isbn=978-1-56836-396-7 |pages=11–13 |edition= 3rd}}</ref> As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar to that of [[Han dynasty]] China.<ref>{{Cite book|last=Textile Museum (Washington, D.C.)|url=https://www.worldcat.org/oclc/33947597|title=The kimono inspiration : art and art-to-wear in America|date=1996|publisher=Pomegranate|others=Rebecca A. T. Stevens, Yoshiko Iwamoto Wada, Textile Museum|isbn=0-87654-897-4|edition=1st|location=Washington, D.C.|pages=132|oclc=33947597}}</ref>

In 718 CE, the ''Yoro'' clothing code was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions.<ref name="kimono inspiration">{{cite book |last1=Stevens |first1=Rebecca A. T. |last2=Wada |first2=Yoshiko Iwamoto |title=The kimono inspiration: art and art-to-wear in America |location=Washington DC, San Francisco |publisher=The Textile Museum, Pomegranate Artbooks |url=https://www.worldcat.org/oclc/33947597 |date=1996 |edition=first |isbn=0-87654-897-4 |oclc=33947597}}</ref>{{rp|133–136}} This convention of wear is still followed today, with a right-to-left closure worn only by the deceased.<ref name="kimono inspiration"/>

Clothing used by the upper classes was significantly simpler to don and wear than dress from the following Heian period.<ref name="sora">{{cite news |last1=Rogers |first1=Krista |title=Dress like an aristocrat from the Nara period at new costume rental shop in Nara【Photos】 |url=https://soranews24.com/2015/12/14/dress-like-an-aristocrat-from-the-nara-period-at-new-costume-rental-shop-in-nara%E3%80%90photos%E3%80%91/ |access-date=16 October 2021 |work=SoraNews24 -Japan News- |date=14 December 2015}}</ref> Sleeves, while narrow, were long enough to cover the fingers, since status was associated with covering more of the body.<ref name=raiment>{{cite journal|last1=Rybalko| first1=Svitlana |title=JAPANESE TRADITIONAL RAIMENT IN THE CONTEXT OF EMERGENT CULTURAL PARADIGMS |journal=Cogito (2066–7094, Humanities Source, EBSCO (Host) |volume=4 |number=2 |date=June 2012 |pages=112–123 |url=https://www.academia.edu/3435310  |url-access=registration |access-date=October 29, 2016}}</ref><ref name="sora"/>

=== Heian period to Azuchi–Momoyama period (794–1600)===
During the [[Heian period]] (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the [[Heian Palace|Imperial Palace]]. This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing.<ref>{{Cite journal |date=March 18, 2000 |title=The Arts of Edo Japan |url=https://education.asianart.org/wp-content/uploads/sites/6/2019/12/Arts-of-Edo.pdf |journal=Asian Art Museum}}</ref> The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or {{nihongo|"{{transliteration|ja|kokufū}} culture"|国風文化|kokufū-bunka}}. The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes.<ref>[https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 平安時代の貴族の服装] {{Webarchive|url=https://web.archive.org/web/20210819153341/https://www2.nhk.or.jp/school/movie/clip.cgi?das_id=D0005310767_00000 |date=19 August 2021 }} [[NHK]] for school</ref>

Women's clothing in the imperial palace became increasingly stylised in the formal {{transliteration|ja|[[jūnihitoe]]}}, with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved {{transliteration|zh|chun ju}} jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the {{transliteration|ja|mo}} skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;<ref name="Dalby Fashioning Culture"/> the {{Nihongo|{{ill|Mo (Japanese clothing)|lt=mо̄|ja|裳}}|裳}} grew too narrow to wrap all the way around and became a trapezoidal pleated [[Train (clothing)|train]].<ref name="Fgarments">{{cite web |last1=Badgley |first1=Joshua L. |title=Women's Garments |url=https://sengokudaimyo.com/garb/womens-garments |website=Sengoku Daimyo}}</ref> [[Hakama]] (trousers) became longer than the legs and also trailed behind the wearer.<ref name=Foutfits>{{cite web |last1=Badgley |first1=Joshua L. |title=Women's Outfits |url=https://sengokudaimyo.com/garb/womens-outfits |website=Sengoku Daimyo}}</ref>

During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the {{transliteration|ja|[[kosode]]}} ({{lit|small sleeve}}) garment—previously considered underwear—becoming outerwear by the time of the [[Muromachi period]] (1336–1573 CE). Originally worn with {{transliteration|ja|[[hakama]]}}, the {{transliteration|ja|kosode}} began to be held closed with a small belt known as an {{transliteration|ja|obi}} instead.<ref name="Dalby Fashioning Culture"/> The {{transliteration|ja|kosode}} resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the [[Sengoku period]] (1467–1615) and the [[Azuchi–Momoyama period]] (1568–1600), the decoration of the {{transliteration|ja|kosode}} developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the {{transliteration|ja|mō}} and {{transliteration|ja|hakama}}, were almost never worn,<ref name=Foutfits/> allowing full-length patterns to be seen.

{{Image frame|content=
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File:Genji emaki TAKEKAWA.jpg|In the late Heian period, the {{transliteration|ja|[[jūnihitoe]]}} consisted of many layers ({{transliteration|ja|hitoe}}) worn over a plain {{transliteration|ja|[[kosode]]}} and {{transliteration|ja|[[hakama]]}}.<ref name="Bardo">{{cite book |last1=Fassbender |first1=Bardo |last2=Peters |first2=Anne |last3=Peter |first3=Simone |last4=Högger |first4=Daniel |title=The Oxford Handbook of the History of International Law |date=2012 |publisher=Oxford University Press |location=Oxford |isbn=978-0198725220 |page=477}}</ref> ([[The Tale of Genji]], 12th century)
File:Genji emaki YADORIGI 2 (cropped to center).JPG|The courtiers in the foreground are wearing their {{transliteration|ja|hitoe}} off-the-shoulder, showing the {{transliteration|ja|kosode}} beneath.
<!--File:Empress Shoshi and son (cropped to Shoshi and son).jpg|Empress Shoshi and son, 13th century (Kamakura period). Pale pleated {{transliteration|ja|mō}} train.-->
<!--File:Eshi no soshi (Tosa Mitsuoki), part 1.png|Simpler dress, {{transliteration|ja|kosode}} and {{transliteration|ja|hakama}}, [[Kamakura Period]] (1185–1333).{{better image}}-->
File:Matsuura-Byobu-by-Iwasa-Matabei.png|The {{transliteration|ja|kosode}} worn as outerwear. Note wider cut of the body, unisex narrow {{transliteration|ja|obi}} and shorter sleeves. Matsuura {{transliteration|ja|[[byōbu]]}}, {{circa|1650}}, Azuchi-Momoyama period.
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=== Edo period (1603–1867)===
[[File:NDL-DC 1307775-Utagawa Kuniyoshi-夜の梅-cmb.jpg|thumb|The overall silhouette of the kimono transformed during the Edo period due to the evolution of the {{transliteration|ja|obi}}, the sleeves, and the style of wearing multiple layered kimono. ([[Utagawa Kuniyoshi]], ''Plum Blossoms at Night'', woodblock print, 19th century)]]

During the [[Edo period]] (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early [[Genroku]] period (1688–1704 CE), wherein "[[Genroku culture]]" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful [[chōnin|merchant classes]] ({{transliteration|ja|chōnin}}), whose clothing was representative of their increasing economic power and rivaled the aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework.<ref>{{Cite web |title=Genroku period {{!}} Edo culture, Ukiyo-e art & Kabuki theater {{!}} Britannica |url=https://www.britannica.com/event/Genroku-period |access-date=2024-06-04 |website=www.britannica.com |language=en}}</ref> {{transliteration|ja|[[Rinzu]]}}, a [[damask]] fabric, also became the preferred material for kimono at this time, replacing the previously-popular {{transliteration|ja|nerinuki}} plain-weave silk, which had been used to create {{transliteration|ja|[[tsujigahana]]}}.<ref>Ishimura Hayao et al. ''Robes of Elegance: Japanese Kimonos of the 16th–20th Centuries''. [[North Carolina Museum of Art]] (1988), p. 1. {{ISBN|0-88259-955-0}}.</ref>

In response to the increasing material wealth of the merchant classes, the [[Tokugawa shogunate]] issued a number of sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed {{transliteration|ja|shibori}} patterns.<ref>[https://www.jstage.jst.go.jp/article/fiber/64/7/64_7_P_242/_pdf 町人のきもの 1 寛文～江戸中期までの着物] Mami Baba. Sen'i gakkaishi vol.64</ref> As a result, a school of aesthetic thought known as [[Iki (aesthetics)|''Iki'']] developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence.

From this point onwards, the basic shape of both men's and women's kimono remained largely unchanged.<ref name="Dalby Fashioning Culture"/> The sleeves of the {{transliteration|ja|kosode}} began to grow in length, especially amongst unmarried women, and the {{transliteration|ja|obi}} became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material to support them.<ref name="Dalby Fashioning Culture"/>

In the Edo period, the kimono market was divided into craftspeople, who made the {{transliteration|ja|tanmono}} and accessories, {{transliteration|ja|tonya}}, or wholesalers, and retailers.{{r|Valk|p=129}}

===Modern period===
====Meiji period (1868–1912)====
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File:Ootuki family 1874.jpg|alt=Three men in kimono and {{transliteration|ja|haori}}|Part of the Ootuki family in kimono, 1874
File:Gensei Kajin Shu by Yoshu Chikanobu 1890.png|alt=Women in a variety of Japanese dress; one woman in Western dress; a schoolgirl in {{transliteration|ja|hakama}}|Assorted types of kimono, Western dress, a court lady in {{transliteration|ja|[[:Commons:Category:Keiko (dress)|keiko]]}}, and a schoolgirl in a high-collared shirt, kimono and {{transliteration|ja|hakama}}. All wear both purple and red. 1890.
File:1912 May Ishikawa Setsuko.jpg|alt=Large family portrait|Family of [[Horiai Setsuko]], May 1912, some in European dress, some in kimono, some wearing {{transliteration|ja|hakama}}. Women's {{transliteration|ja|hakama}} spread from the court as part of [[reform dress#Japan|Japanese reform dress]].
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In 1869, the social class system was abolished, and with them, class-specific sumptuary laws.{{r|Valk|p=113}} Kimono with formerly-restricted elements, such as red and purple colours, became popular,{{r|Valk|p=147}} particularly with the advent of synthetic dyes such as [[mauvine]].

Following the opening of Japan's borders in the early Meiji period to Western trade, a number of materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimono being relatively common in pre-1960s Japan; the use of safflower dye ({{transliteration|ja|beni}}) for silk linings fabrics (known as {{transliteration|ja|momi}}; literally, "red silk") was also common in pre-1960s Japan, making kimono from this era easily identifiable.

During the [[Meiji period]], the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of modernity. After an edict by [[Emperor Meiji]],{{citation needed|reason=Previously given reference of "Edict 399 in the year 1871" does not support the abolition of kimono in certain job roles|date=February 2020}} policemen, railroad workers and teachers moved to wearing Western clothing within their job roles, with the adoption of Western clothing by men in Japan happening at a much greater pace than by women. Initiatives such as the {{nihongo|Tokyo Women's & Children's Wear Manufacturers' Association|東京婦人子供服組合}} promoted Western dress as everyday clothing.

====Taishō period (1912–1926)====
Western clothing quickly became standard issue as [[kokumin-fuku|army uniform]] for men<ref>{{cite web |author=更新日 |date=25 November 2010 |url=http://www.ndl.go.jp/horei_jp/kakugi/txt/txt00477.htm |title=戦時衣生活簡素化実施要綱 |publisher=Ndl.go.jp |access-date=2012-07-22 |url-status=dead |archive-url=https://web.archive.org/web/20080616143836/http://www.ndl.go.jp/horei_jp/kakugi/txt/txt00477.htm |archive-date=2008-06-16}}</ref> and school uniform for boys, and between 1920 and 1930, the [[Japanese school uniform|{{transliteration|ja|fuku}} sailor outfit]] replaced the kimono and undivided {{transliteration|ja|hakama}} as school uniform for girls.{{r|Dalby Fashioning Culture|p=140|q=By 1924, girls' school uniforms began to move away from the kimono-and-hakama outfit to the uniform skirt and middy-blouse seen today.}} However, kimono still remained popular as an item of everyday fashion; following the [[Great Kantō Earthquake]] of 1923, cheap, informal and ready-to-wear {{transliteration|ja|[[meisen]]}} kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people's possessions.<ref name="Taisho Kimono">{{cite book |last1=Dees |first1=Jan |title=Taisho Kimono: Speaking of Past and Present |date=2009 |publisher=Skira Editore S.p.A |location=Milano, Italy |isbn=978-88-572-0011-8 |edition= 1st}}</ref> By 1930, ready-to-wear {{transliteration|ja|meisen}} kimono had become highly popular for their bright, [[Seasonal Wardrobe Change in Japan|seasonally changing designs]], many of which took inspiration from the [[Art Deco]] movement. {{transliteration|ja|Meisen}} kimono were usually dyed using the [[ikat]] ({{transliteration|ja|[[kasuri]]}}) technique of dyeing, where either warp or both warp and weft threads (known as {{transliteration|ja|heiyō-gasuri}})<ref name="Taisho Kimono"/>{{rp|85}} were dyed using a stencil pattern before weaving.

It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of the {{transliteration|ja|hōmongi}}, divisions of {{transliteration|ja|tomesode}} (short-sleeved) kimono for women, and {{transliteration|ja|montsuki hakama}}.{{r|Valk|p=133-134|q=Noriko Harada notes that women in the early 20th century began to attend public events and formal, ritual events more, and as a result, they needed a new kind of formal wear. A particularly savvy invention on the part of the industry was the hōmongi in the Taisho era (1912–1926), which is now women's formal wear par excellence (Harada in Koizumi 2006: 39). Toby Slade writes that by the Taisho period, department stores, many of which started out as kimono shops, were involved in marketing trends in kimono style (Slade 2009: 132; see also Milhaupt 2014: 104–5). In this way, the industry was instrumental in establishing not just trends but the modern rules of the 'kimono canon' itself. Many of these rules had not existed before the 20th century. Many of these rules, such as the montsuki hakama for men, and the hōmongi and tomesode kimono for women, invented in the early 20th century, remain entrenched today. This is the reason why there is a proliferation of types of kimono for women and very few for men: the industry knew that they could no longer expect men to buy kimono, but there was a lucrative market in selling to women and creating ever-expanding types of kimono that women felt they needed to have in order to be equipped for every possible occasion.}} The bridal kimono [[Hope chest|trousseau]] ({{transliteration|ja|oyomeiri dōgu}}), an uncommon practice of the upper classes in the Edo period, also became common throughout the middle classes;{{r|Valk|p=67, 76}} traditions of kimono bridalwear for marriage ceremonies were also codified in this time, which resembled the bridalwear of samurai-class women.{{r|Valk|p=82, 93, 146}} Standards of {{transliteration|ja|kitsuke}} at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniform {{transliteration|ja|ohashori}} and a smooth, uncreased {{transliteration|ja|obi}}, which also resembled the "proper" {{transliteration|ja|kitsuke}} of upper-class women. However, {{transliteration|ja|kitsuke}} standards were still relatively informal, and would not become formalised until after World War II.

====Shōwa period (1926–1989)====
[[File:Cha-baori (easy haori) 1957.jpg|thumb|A 1957 clothing ad, showing postwar {{transliteration|ja|kitsuke}} standards for women, which promoted a neater, more standardised appearance]]

While kimono were no longer common wear for men, they remained everyday wear for Japanese women until [[Japan during World War II|World War II]] (1940–1945).{{r|Valk|p=17}} Though the Taishō period had seen a number of invented traditions, standards of {{transliteration|ja|kitsuke}} (wearing kimono) were still not as formalised in this time, with creases, uneven {{transliteration|ja|ohashori}} and crooked {{transliteration|ja|obi}} still deemed acceptable.{{r|Valk|p=44-45}}

During the war, kimono factories shut down, and the government encouraged people to wear {{transliteration|ja|[[monpe]]}} (also romanised as {{transliteration|ja|mompe}}) – trousers constructed from old kimono – instead.{{r|Valk|p=131}} Fibres such as rayon became widespread during WWII, being inexpensive to produce and cheap to buy, and typically featured printed designs.{{citation needed|date=August 2021}}<ref>Salusso, C. J. (2005). Rayon. In V. Steele (Ed.), ''Encyclopedia of Clothing and Fashion'' (Vol. 3, pp. 81-84). Charles Scribner's Sons.</ref> Cloth rationing persisted until 1951, so most kimono were made at home from repurposed fabrics.{{r|Valk|p=131}}

In the second half of the 20th century, the Japanese economy boomed,{{r|Valk|p=36}} and silk became cheaper,{{citation needed|date=August 2021}} making it possible for the average family to afford silk kimono.{{r|Valk|p=76}} The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class.{{r|Valk|p=36}} Formalisation sought perfection, with no creases or unevenness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono.{{r|Valk|p=44-45}} The kimono-retail industry also promoted a sharp distinction between Japanese and Western clothes;{{r|Valk|p=54}} for instance, wearing Western shoes with Japanese clothing (while common in the Taishō period) was codified as improper;{{r|Valk|p=16}} these rules on proper dressing are often described in Japanese using the English phrase "Time, Place, and Occasion" (TPO). As neither Japanese men or women commonly wore kimono, having grown up under wartime auspices, commercial {{transliteration|ja|kitsuke}} schools were set up to teach women how to don kimono.{{r|Valk|p=44}} Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation.{{r|Valk|p=36, 133}}).

Kimono were promoted as essential for ceremonial occasions;{{r|Valk|p=76, 135}} for instance, the expensive {{transliteration|ja|[[furisode]]}} worn by young women for {{transliteration|ja|[[Seijinshiki]]}} was deemed a necessity.{{r|Valk|p=60}} Bridal trousseaus containing tens of kimono of every possible subtype were also promoted as ''de rigueur'', and parents felt obliged to provide{{r|Valk|p=76}} kimono trousseaus that cost up to 10 million yen (~£70,000),{{r|Valk|p=262}} which were displayed and inspected publicly as part of the wedding, including being transported in transparent trucks.{{r|Valk|p=81}}

By the 1970s, formal kimono formed the vast majority of kimono sales.{{r|Valk|p=132}} Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but also a perception of kimono knowledge, allowing them to dictate prices and heavily promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. The kimono industry peaked in 1975, with total sales of 2.8 trillion yen (~£18 billion). The sale of informal brand new kimono was largely neglected.{{r|Valk|p=135, 136}}

====Heisei period (1989–2019)====
The economic collapse of the 1990s bankrupted much of the kimono industry{{r|Valk|p=129}} and ended a number of expensive practices.{{r|Valk|p=98}} The rules for how to wear kimono lost their previous hold over the entire industry,{{r|Valk|p=36}} and formerly-expensive traditions such as bridal kimono trousseaus generally disappeared, and when still given, were much less extensive.{{r|Valk|p=98}} It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals.{{r|Valk|pp=95, 263}} Many women had dozens or even hundreds of kimono, mostly unworn, in their homes; a secondhand kimono, even if unworn, would sell for about 500 yen (less than £3.50;{{r|Valk|p=98}} about US$5), a few percent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this.{{r|Valk|p=98}}

In the early years of the 21st century, the cheaper and simpler {{transliteration|ja|yukata}} became popular with young people.{{r|Valk|p=37}} Around 2010, men began wearing kimono again in situations other than their own wedding,{{r|Valk|p=36, 159}} and kimono were again promoted and worn as everyday dress by a small minority.{{r|Valk}}

====Reiwa period (2019–present)====
[[File:Kimono and Trouser suit, Victoria and Albert Museum, Dundee.jpg|thumb|Kimono-inspired trouser suit, ''Kimono: Kyoto to Catwalk'' exhibition, Victoria and Albert Museum, Dundee (2024)]]

Today, the majority of people in Japan wear Western clothing as everyday attire, and are most likely to wear kimono either to formal occasions such as wedding ceremonies and funerals, or to summer events, where the standard kimono is the easy-to-wear, single-layer cotton {{transliteration|ja|yukata}}.

In 2019, the mayor of Kyoto announced that his staff were working to register "Kimono Culture" on [[UNESCO]]'s [[intangible cultural heritage]] list.<ref name="Guardian2019-07-01">{{Cite news|url=https://www.theguardian.com/lifeandstyle/2019/jul/01/our-traditional-garment-is-not-spandex-kim-kardashian-west-renames-brand-amid-outcry|title=#KimOhNo: Kim Kardashian West renames Kimono brand amid outcry|last=Ho|first=Vivian|date=2019-07-01|work=The Guardian|access-date=2019-07-02|issn=0261-3077}}</ref>

In 2020, the [[Victoria and Albert Museum|Victoria and Albert]] museum staged an exhibition called ''Kimono: Kyoto to Catwalk'', a "collection of around 300 garments, accessories, paintings, prints, photographs and film clips" relating to the history of the Kimono from the 17th century to the present. The final instalment of the exhibition's four-year international tour was at the [[V&A Dundee]] in 2024.<ref>{{Cite web |last=Buchanan |first=Rowan Hisayo |date=2020-03-06 |title=V&A Kimono Review – Sartorial Abundance and Sketchy History |url=https://www.frieze.com/article/va-kimono-review-sartorial-abundance-and-sketchy-history |access-date=2024-11-26 |website=Frieze |language=en}}</ref><ref>{{Cite news |last=Clapp |first=Susannah |date=2020-08-30 |title=Kimono: Kyoto to Catwalk review – the whole world up your sleeve |url=https://www.theguardian.com/artanddesign/2020/aug/30/kimono-kyoto-to-catwalk-review-v-and-a-london |access-date=2024-11-26 |work=The Observer |language=en-GB |issn=0029-7712}}</ref><ref>{{Cite web |title=Kimono: Kyoto to Catwalk {{!}} V&A Dundee |url=https://www.vam.ac.uk/dundee/whatson/exhibitions/kimono |access-date=2024-11-26 |website=Kimono: Kyoto to Catwalk {{!}} V&A Dundee |language=en}}</ref>