Editing Kimono (section)

=== 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}}