Editing Edo period (section)

=== Fashion ===
[[File:Khalili Collection Kimono 03.jpg|thumb|upright|Outer kimono for a young woman ({{lang|ja-Latn|[[uchikake]]}}), 1840–1870, [[Khalili Collection of Kimono]]]]
Clothing acquired a wide variety of designs and decorative techniques, especially for [[kimono]] worn by women.{{sfn|Iwao|2015|p=8}} The main consumers of kimono were the samurai who used lavish clothing and other material luxuries to signal their place at the top of the social order.{{sfn|Jackson|2015|p=20}} Driven by this [[demand]], the textile industry grew and used increasingly sophisticated methods of weaving, [[dyeing]], and [[embroidery]].{{sfn|Jackson|2015|p=20}} Over this period, women adopted brighter colours and bolder designs, whereas women's and men's kimono had been very similar.{{sfn|Jackson|2015|p=22}} The rise of a [[Bourgeoisie|merchant class]] fuelled more demand for elaborate costumes. While ordinary kimono would usually be created by women at home, luxurious silk kimono were designed and created by specialist artists who were usually men.{{sfn|Jackson|2015|p=24}}

{{Multiple image
| image1            = 壽字吉祥文蒔絵印籠 - Inrō with the Characters for Longevity and Good Fortune and the “Seven Lucky Treasures” on Checkerboard Ground.jpg
| caption1          = Inro and Netsuke, 18th century
| image2            = The Four Seasons in the South, by Utagawa Toyokuni, Japan, Edo period, 1700s AD, woodblock print on paper - Tokyo National Museum - Tokyo, Japan - DSC09277.jpg
| caption2          = Ladies fashion in 1700s by Utagawa Toyokuni
| align             = left
| width             = 140
}}

A kind of kimono specific to the military elite is the {{lang|ja-Latn|goshodoki}} or "palace court style", which would be worn in the residence of a military leader (a {{lang|ja-Latn|shōgun}} or {{lang|ja-Latn|daimyo}}). These would have landscape scenes, among which there are other motifs usually referencing classic literature.{{sfn|Jackson|2015|pp=35–44}} Samurai men would dress with a more understated design with geometrical designs concentrated around the waist.{{sfn|Jackson|2015|pp=76–78}} The {{lang|ja-Latn|yogi}}, or sleeping kimono, is a thickly wadded form of wearable bedding, usually with simple designs.{{sfn|Jackson|2015|pp=93–95}}

A style called {{lang|ja-Latn|tsuma moyō}} had rich decoration from the waist down only, and family emblems on the neck and shoulders. These would be worn by women of the merchant class.{{sfn|Jackson|2015|pp=46–51}} The kimono of merchant-class women were more subdued than those of the samurai, but still with bold colours and designs representing nature.{{sfn|Jackson|2015|p=54}}

Red was a popular colour for wealthy women, partly because of its cultural association with youth and passion, and partly because the dye{{snd}}derived from [[safflower]]<ref>{{Cite web|url=https://www.vam.ac.uk/articles/kimono|title=Kimono|website=Victoria and Albert Museum|language=en|access-date=2020-02-20}}</ref>{{snd}}was very expensive, so a bright red garment was an ostentatious display of wealth.{{sfn|Jackson|2015|p=63}} Indian fabrics, brought to Japan by [[Netherlands|Dutch]] importers, were received with enthusiasm and found many uses.{{sfn|Jackson|2015|p=80}} Japanese designers started printing designs that were influenced by the Indian patterns.{{sfn|Jackson|2015|pp=80–84}} Some garments used fabric imported from Britain or France. Ownership of these exotic textiles signified wealth and taste, but they were worn as undergarments where the designs would not be seen.{{sfn|Jackson|2015|p=87}}

[[Inro]] and [[netsuke]] became popular as accessories among men. Originally, inro was a portable case to put a seal or medicine, and netsuke was a fastener attached to the case, and both were practical tools. However, from the middle of the Edo period, products with high artistic value appeared and became popular as male accessories. Especially samurai and wealthy merchants competed to buy inro of high artistic value. At the end of the Edo period, the artistic value of inro further increased and it came to be regarded as an art collection.<ref name = "murata104">Masayuki Murata. ''明治工芸入門'' pp.104-106. Me no Me, 2017 {{ISBN|978-4907211110}}</ref><ref name = "saimitsu80">Yūji Yamashita. ''明治の細密工芸'' p.80-81. Heibonsha, 2014 {{ISBN|978-4582922172}}</ref>