A traditional wedding kimono with tsunokakushi (wedding headpiece)

A traditional red Uchikake kimono with cranes

The kimono (鐫�鐗�^?)^[1] is a Japanese traditional garment worn by men, women and children. The word "kimono", which literally means a "thing to wear" (ki "wear" and mono "thing"),^[2] has come to denote these full-length robes. The standard plural of the word kimono in English is kimonos,^[3] but the unmarked Japanese plural kimono is also sometimes used.

Kimono are T-shaped, straight-lined robes worn so that the hem falls to the ankle, with attached collars and long, wide sleeves. Kimono are wrapped around the body, always with the left side over the right (except when dressing the dead for burial.),^[4] and secured by a sash called an obi, which is tied at the back. Kimono are generally worn with traditional footwear (especially z艒ri or geta) and split-toe socks (tabi).^[5]

Today, kimono are most often worn by women, and on special occasions. Traditionally, unmarried women wore a style of kimono called furisode,^[5] with almost floor-length sleeves, on special occasions. A few older women and even fewer men still wear the kimono on a daily basis. Men wear the kimono most often at weddings, tea ceremonies, and other very special or very formal occasions. Professional sumo wrestlers are often seen in the kimono because they are required to wear traditional Japanese dress whenever appearing in public.^[6]

History[link]

As the kimono has another name, gofuku (鍛夋湇^?, literally "clothes of Wu (鍚�)"), the earliest kimonos were heavily influenced by traditional Han Chinese clothing, known today as hanfu (婕㈡湇^?, kanfuku in Japanese), through Japanese embassies to China which resulted in extensive Chinese culture adoptions by Japan, as early as the 5th century AD.^[5] It was during the 8th century, however, that Chinese fashions came into style among the Japanese, and the overlapping collar became particularly a women's fashion.^[5] During Japan's Heian period (794鈥�1192 AD), the kimono became increasingly stylized, though one still wore a half-apron, called a mo, over it.^[5] During the Muromachi age (1392鈥�1573 AD), the Kosode, a single kimono formerly considered underwear, began to be worn without the hakama (trousers, divided skirt) over it, and thus began to be held closed by an obi "belt".^[5] During the Edo period (1603鈥�1867 AD), the sleeves began to grow in length, especially among unmarried women, and the Obi became wider, with various styles of tying coming into fashion.^[5] Since then, the basic shape of both the men鈥檚 and women鈥檚 kimono has remained essentially unchanged. Kimonos made with exceptional skill from fine materials have been regarded as great works of art.^[5]

The formal kimono was replaced by the more convenient Western clothes and yukata as everyday wear. After an edict by Emperor Meiji,^[7] police, railroad men and teachers moved to Western clothes. The Western clothes became the army and school uniform for boys. After the 1923 Great Kant艒 earthquake, kimono wearers often became victims of robbery because they could not run very fast due to the restricting nature of the kimono on the body and geta slippers. The Tokyo Women's & Children's Wear Manufacturers' Association (鏉变含濠︿汉瀛愪緵鏈嶇祫鍚�) promoted Western clothes. Between 1920 and 1930 the sailor outfit replaced the undivided hakama in school uniforms for girls. The 1932 fire at Shirokiya's Nihonbashi store is said to have been the catalyst for the decline in kimonos as everyday wear. Kimono-clad Japanese women did not wear panties and several women refused to jump into safety nets because they were ashamed of being seen from below. (It is, however, suggested, that this is an urban myth.)^[8][9] The national uniform, Kokumin-fuku (鍥芥皯鏈�), a type of Western clothes, was mandated for males in 1940.^[10][11][12] Today most people wear Western clothes and wear the breezier and more comfortable yukata for special occasions.

Textiles and manufacture[link]

A maiko off-duty, dressed in kimono at Gion, Kyoto

Kimonos for men are available in various sizes and should fall approximately to the ankle without tucking. A woman's kimono has additional length to allow for the ohashori, the tuck that can be seen under the obi, which is used to adjust the kimono to the individual wearer. An ideally tailored kimono has sleeves that fall to the wrist when the arms are lowered.

Kimonos are traditionally made from a single bolt of fabric called a tan. Tan come in standard dimensions鈥攁bout 14 inches wide and 12陆 yards long^[5]鈥攁nd the entire bolt is used to make one kimono. The finished kimono consists of four main strips of fabric鈥攖wo panels covering the body and two panels forming the sleeves鈥攚ith additional smaller strips forming the narrow front panels and collar.^[5] Historically, kimonos were often taken apart for washing as separate panels and resewn by hand. Because the entire bolt remains in the finished garment without cutting, the kimono can be retailored easily to fit a different person.^[5]

The maximum width of the sleeve is dictated by the width of the fabric. The distance from the center of the spine to the end of the sleeve could not exceed twice the width of the fabric. Traditional kimono fabric was typically no more than 36 centimeters (14 inches) wide. Thus the distance from spine to wrist could not exceed a maximum of roughly 68 centimeters (27 inches). Modern kimono fabric is woven as wide as 42 centimeters (17 inches) to accommodate modern Japanese body sizes. Very tall or heavy people, such as sumo wrestlers, must have kimonos custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric.^[13]

Traditionally, kimonos are sewn by hand, but even machine-made kimonos require substantial hand-stitching. Kimono fabrics are also frequently hand made and hand decorated. Various techniques such as y奴zen dye resist are used for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a kimono are traditionally done with the y奴zen resist technique and a stencil. Over time there have been many variations in color, fabric and style, as well as accessories such as the obi.

The kimono and obi are traditionally made of silk, silk brocade, silk crepes (such as chirimen) and satin weaves (such as rinzu). Modern kimonos are also widely available in less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers. Silk is still considered the ideal fabric.

Modern styles of furisode

Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimonos have free-style designs dyed over the whole surface or along the hem.^[5] During the Heian period, kimonos were worn with up to a dozen or more colorful contrasting layers, with each combination of colors being a named pattern.^[5] Today, the kimono is normally worn with a single layer on top of one or more undergarments. The pattern of the kimono can also determine in which season it should be worn. For example, a pattern with butterflies or cherry blossoms would be worn in spring. Watery designs are common during the summer. A popular autumn motif is the russet leaf of the Japanese maple; for winter, designs may include bamboo, pine trees and plum blossoms.

A popular form of textile art in Japan is shibori (intricate tie dye), found on some of the more expensive kimonos and haori kimono jackets. Patterns are created by minutely binding the fabric and masking off areas, then dying it, usually done by hand. When the bindings are removed, an undyed pattern is revealed. Shibori work can be further enhanced with yuzen (hand applied) drawing or painting with textile dyes or with embroidery; it is then known as tsujigahana. Shibori textiles are very time consuming to produce and require great skill, so the textiles and garments created from them are very expensive and highly prized.

Old kimonos are often recycled in various ways: altered to make haori, hiyoku, or kimonos for children, used to patch similar kimono, used for making handbags and similar kimono accessories, and used to make covers, bags or cases for various implements, especially for sweet-picks used in tea ceremonies. Damaged kimonos can be disassembled and resewn to hide the soiled areas, and those with damage below the waistline can be worn under a hakama. Historically, skilled craftsmen laboriously picked the silk thread from old kimono and rewove it into a new textile in the width of a heko obi for men's kimono, using a recycling weaving method called saki-ori.

Parts[link]

Diagram of the kimono parts

Various terms refer to parts of a kimono, as listed below.

• D艒ura (鑳磋^?): upper lining on a woman's kimono.
• Eri (琛�^?): collar.
• Fuki: hem guard.
• Furi: sleeve below the armhole.
• Maemigoro (鍓嶈韩闋�^?): front main panel, excluding sleeves. The covering portion of the other side of the back, maemigoro is divided into "right maemigoro" and "left maemigoro".
• Miyatsukuchi: opening under the sleeve.
• Okumi (琛�^?): front inside panel situated on the front edge of the left and right, excluding the sleeve of a kimono. Until the collar, down to the bottom of the dress goes, up and down part of the strip of cloth. Have sewn the front body. It is also called "琚�".
• Sode (琚�^?): sleeve.^[5]
• Sodeguchi (琚栧彛^?): sleeve opening.
• Sodetsuke (琚栦粯^?): kimono armhole.
• Susomawashi (瑁惧洖銇�^?): lower lining.
• Tamoto (琚�^?): sleeve pouch.
• Tomoeri (鍏辫】^?): over-collar (collar protector).
• Uraeri (瑁忚^?): inner collar.
• Ushiromigoro (寰岃韩闋�^?): back main panel, excluding sleeves, covering the back portion. They are basically sewn back-centered and consist of "right ushiromigoro" and "left ushiromigoro", but for wool fabric, the ushiromigoro consists of one piece.

Cost[link]

A modern second hand kimono shop

A woman's kimono may easily exceed US$10,000;^[14] a complete kimono outfit, with kimono, undergarments, obi, ties, socks, sandals, and accessories, can exceed US$20,000. A single obi may cost several thousand dollars. However, most kimonos owned by kimono hobbyists or by practitioners of traditional arts are far less expensive. Enterprising people make their own kimono and undergarments by following a standard pattern, or by recycling older kimonos. Cheaper and machine-made fabrics can substitute for the traditional hand-dyed silk. There is also a thriving business in Japan for second-hand kimonos, which can cost as little as 楼500 (about $5). Women's obis, however, mostly remain an expensive item. Although simple patterned or plain colored ones can cost as little as 楼1,500 (about $15), even a used obi can cost hundreds of dollars, and experienced craftsmanship is required to make them. Men's obis, even those made from silk, tend to be much less expensive, because they are narrower, shorter and less decorative than those worn by women.

Styles[link]

Kimonos range from extremely formal to casual. The level of formality of women's kimono is determined mostly by the pattern of the fabric, and color. Young women's kimonos have longer sleeves, signifying that they are not married, and tend to be more elaborate than similarly formal older women's kimono.^[5] Men's kimonos are usually one basic shape and are mainly worn in subdued colors. Formality is also determined by the type and color of accessories, the fabric, and the number or absence of kamon (family crests), with five crests signifying extreme formality.^[5] Silk is the most desirable, and most formal, fabric. Kimonos made of fabrics such as cotton and polyester generally reflect a more casual style.

Women's kimonos[link]

Many modern Japanese women lack the skill to put on a kimono unaided: the typical woman's kimono outfit consists of twelve or more separate pieces that are worn, matched, and secured in prescribed ways, and the assistance of licensed professional kimono dressers may be required. Called upon mostly for special occasions, kimono dressers both work out of hair salons and make house calls.

Choosing an appropriate type of kimono requires knowledge of the garment's symbolism and subtle social messages, reflecting the woman's age, marital status, and the level of formality of the occasion.

[edit] Furisode

A young woman wearing a furisode kimono

(鎸): furisode literally translates as swinging sleeves鈥攖he sleeves of furisode average between 39 and 42 inches (1,100 mm) in length. Furisode are the most formal kimono for unmarried women, with colorful patterns that cover the entire garment. They are usually worn at coming-of-age ceremonies (seijin shiki) and by unmarried female relatives of the bride at weddings and wedding receptions.

[edit] H艒mongi

(瑷晱鐫�): literally translates as visiting wear. Characterized by patterns that flow over the shoulders, seams and sleeves, h艒mongi rank slightly higher than their close relative, the tsukesage. H艒mongi may be worn by both married and unmarried women; often friends of the bride will wear h艒mongi at weddings (except relatives) and receptions. They may also be worn to formal parties.

Pongee H艒mongi were made to promote kimono after WWII. Pongee is used for casual clothes, so they are not for formal occasions no matter how expensive they are.

[edit] Iromuji

(鑹茬劇鍦�): single-colored kimono that may be worn by married and unmarried women. They are mainly worn to tea ceremonies. The dyed silk may be figured (rinzu, similar to jacquard), but has no differently colored patterns.

[edit] Komon

(灏忕磱): "fine pattern". Kimono with a small, repeated pattern throughout the garment. This style is more casual and may be worn around town, or dressed up with a formal obi for a restaurant. Both married and unmarried women may wear komon.

Edo komon

(姹熸埜灏忕磱): is a type of komon characterized by tiny dots arranged in dense patterns that form larger designs. The Edo komon dyeing technique originated with the samurai class during the Edo period. A kimono with this type of pattern is of the same formality as an iromuji, and when decorated with kamon, may be worn as visiting wear (equivalent to a tsukesage or h艒mongi).

[edit] Mofuku

Mofuku is formal mourning dress for men or women. Both men and women wear kimono of plain black silk with five kamon over white undergarments and white tabi. For women, the obi and all accessories are also black. Men wear a subdued obi and black and white or black and gray striped hakama with black or white zori.

The completely black mourning ensemble is usually reserved for family and others who are close to the deceased.

[edit] Tomesode

Irotomesode

(鑹茬暀琚�): single-color kimono, patterned only below the waistline. Irotomesode are slightly less formal than kurotomesode, and are worn by married women, usually close relatives of the bride and groom at weddings. An irotomesode may have three or five kamon.

Kurotomesode

(榛掔暀琚�): a black kimono patterned only below the waistline, kurotomesode are the most formal kimono for married women. They are often worn by the mothers of the bride and groom at weddings. Kurotomesode usually have five kamon printed on the sleeves, chest and back of the kimono.

[edit] Tsukesage

(浠樸亼涓嬨亽): has more modest patterns that cover a smaller area鈥攎ainly below the waist鈥攖han the more formal h艒mongi. They may also be worn by married women.The differences from homongi is the size of the pattern, seam connection, and not same clothes at inside and outside at "hakke." As demitoilet, not used in important occasion, but light patterned homongi is more highly rated than classic patterned tsukesage. General tsukesage is often used for parties, not ceremonies.

[edit] Uchikake

Uchikake is a highly formal kimono worn only by a bride or at a stage performance. The Uchikake is often heavily brocaded and is supposed to be worn outside the actual kimono and obi, as a sort of coat. One therefore never ties the obi around the uchikake. It is supposed to trail along the floor, this is also why it is heavily padded along the hem. The uchikake of the bridal costume is either white or very colorful often with red as the base color.

[edit] Susohiki / Hikizuri

Women dressed as maiko (apprentice geisha), wearing specially tailored "maiko-style" furisode kimonos with tucks in sleeves and at shoulders

The susohiki is mostly worn by geisha or by stage performers of the traditional Japanese dance. It is quite long, compared to regular kimono, because the skirt is supposed to trail along the floor. Susohiki literally means "trail the skirt". Where a normal kimono for women is normally 1.5鈥�1.6 m (4.7鈥�5.2 ft) long, a susohiki can be up to 2 m (6.3 ft) long. This is also why geisha and maiko lift their kimono skirt when walking outside, also to show their beautiful underkimono or "nagajuban" (see below).^[15]

Men's kimonos[link]

Couple being married in traditional dress.

In contrast to women's kimono, men's kimono outfits are far simpler, typically consisting of five pieces, not including footwear.

Men's kimono sleeves are attached to the body of the kimono with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly unattached from the body of the kimono. Men's sleeves are less deep than women's kimono sleeves to accommodate the obi around the waist beneath them, whereas on a woman's kimono, the long, unattached bottom of the sleeve can hang over the obi without getting in the way.

Jin-Haori - Kimono tabards for armoured Samurai

In the modern era, the principal distinctions between men's kimono are in the fabric. The typical men's kimono is a subdued, dark color; black, dark blues, greens, and browns are common. Fabrics are usually matte. Some have a subtle pattern, and textured fabrics are common in more casual kimono. More casual kimono may be made in slightly brighter colors, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colors such as fuchsia.

The most formal style of kimono is plain black silk with five kamon on the chest, shoulders and back. Slightly less formal is the three-kamon kimono.

Accessories and related garments[link]

A traditional silk datejime with stiffer middle and softer ends

Women's straw z艒ri

Date eri or kasane eri

is a long rectangular piece made to resemble a folded kimono collar. It is a decorative accessory used in women's formal kimono styles between the collars of the nagajuban and the kimono to emulate the appearance of wearing an extra layer of kimono beneath.

Datejime or datemaki

(浼婇仈绶犮倎) is a wide undersash used to tie the nagajuban and the outer kimono and hold them in place.

Eri-sugata or kantan eri or date eri

(琛垮Э) is a detached collar that can be worn instead of a nagajuban in summer, when it can be too hot to comfortably wear a nagajuban. It replaces the nagajuban collar in supporting the kimono's collar.

Fundoshi

(瑜�) is the traditional Japanese undergarment (loin cloth) for adult males, made from a length of cotton.

Geta

(涓嬮) are wooden sandals worn by men and women with yukata. One unique style is worn solely by geisha.

Hakama

(琚�) is a divided (umanoribakama) or undivided skirt (andonbakama) which resembles a wide pair of trousers, traditionally worn by men but contemporarily also by women in less formal situations. It is also worn in certain martial arts such as aikido. A hakama typically is pleated and fastened by ribbons, tied around the waist over the obi. Men's hakama also have a koshi ita, which is a stiff or padded part in the lower back of the wearer. Hakama are worn in several budo arts such as aikido, kendo, iaid艒 and naginata. Hakama are often worn by women at college graduation ceremonies, and by Miko on shinto shrines. Depending on the pattern and material, hakama can range from very formal to visiting wear.

Hanten

(琚㈢簭) is the worker's version of the more formal haori. Often padded for warmth, as opposed to the somewhat lighter happi.

Haori

(缇界箶) is a hip- or thigh-length kimono-like jacket, which adds formality to an outfit. Haori were originally worn only by men, until it became a fashion for women in the Meiji period. They are now worn by both men and women. Men's haori are typically shorter than women's.

Haori-himo

(缇界箶绱�) is a tasseled, woven string fastener for haori. The most formal color is white.

Happi

(娉曡) is a type of haori traditionally worn by shop keepers and is now associated mostly with festivals.

Hiyoku

(銇层倛銇�) is a type of under-kimono, historically worn by women beneath the kimono. Today they are only worn on formal occasions such as weddings and other important social events. High class kimonos may have extra layers of lining to emulate the appearance of hiyoku worn beneath.

Juban

Hadajuban

(鑲岃ウ琚�) is a thin garment similar to an undershirt. It is worn under the nagajuban.^[16][17]

Nagajuban

(闀疯ウ琚�, or simply juban) is a kimono-shaped robe worn by both men and women beneath the main outer garment.^[18] Since silk kimono are delicate and difficult to clean, the nagajuban helps to keep the outer kimono clean by preventing contact with the wearer's skin. Only the collar edge of the nagajuban shows from beneath the outer kimono.^[19] Many nagajuban have removable collars, to allow them to be changed to match the outer garment, and to be easily washed without washing the entire garment. While the most formal type of nagajuban are white, they are often as beautifully ornate and patterned as the outer kimono. Since men's kimono are usually fairly subdued in pattern and color, the nagajuban allows for discreetly wearing very striking designs and colors.^[20]

Kanzashi

(绨�) are hair ornaments worn by women. Many different styles exist, including silk flowers, wooden combs, and jade hairpins.

Kimono slip

(鐫�鐗┿偣銉儍銉�^?, kimono surippu)^[21] The susoyoke and hadajuban combined into a one-piece garment.^[22][23]

Karihimo, koshihimo

(鑵扮磹) is a narrow sash used to aid in dressing up, often made of silk or wool. They are used to hold virtually anything in place during the process of dressing up, and can be used in many ways depending on what is worn. Some of the karihimos are removed after datejime or obi have been tied, while others remain worn beneath the layers of the dress. The karihimo that is worn around the hips to create the extra fold or ohashori in women's kimono is called koshihimo, literally "hip ribbon".

Netsuke

is an ornament worn suspended from the men's obi.

Obi

Obi (甯�) is the sash worn with kimono.

Samue

(浣滃嫏琛�) are the everyday clothes for a male Zen Buddhist monk, and the favored garment for shakuhachi players.

Susoyoke

(瑁鹃櫎銇�) is a thin half-slip-like piece of underwear worn by women under the nagajuban.^[16][24]

Tabi

(瓒宠) are ankle-high, divided-toe socks usually worn with z艒ri or geta. There also exist sturdier, boot-like jikatabi, which are used for example to fieldwork.

Waraji

(鑽夐瀷) are straw rope sandals which are mostly worn by monks.

Yukata

(娴磋。) is an unlined kimono-like garment for summer use, usually made of cotton, linen, or hemp. Yukata are strictly informal, most often worn to outdoor festivals, by men and women of all ages. They are also worn at onsen (hot spring) resorts, where they are often provided for the guests in the resort's own pattern.

Z艒ri

(鑽夊饱) are traditional sandals worn by both men and women, similar in design to flip-flops. Their formality ranges from strictly informal to fully formal. They are made of many materials, including cloth, leather, vinyl and woven grass, and can be highly decorated or very simple.

Layering[link]

In modern-day Japan the meanings of the layering of kimono and hiyoku are usually forgotten. Only maiko and geisha now use this layering technique for dances and subtle erotic suggestion, usually emphasising the back of the neck. Modern Japanese brides may also wear a traditional Shinto bridal kimono which is worn with a hiyoku.

Traditionally kimonos were worn with hiyoku or floating linings. Hiyoku can be a second kimono worn beneath the first and give the traditional layered look to the kimono. Often in modern kimonos the hiyoku is simply the name for the double sided lower-half of the kimono which may be exposed to other eyes depending on how the kimono is worn.

Old-fashioned kimono styles meant that hiyoku were entire under-kimono, however modern day layers are usually only partial, to give the impression of layering.

Care[link]

How to fold a kimono

In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing.^[5] This traditional washing method is called arai hari. Because the stitches must be taken out for washing, traditional kimonos need to be hand sewn. Arai hari is very expensive and difficult and is one of the causes of the declining popularity of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practiced, especially for high-end garments.

New, custom-made kimonos are generally delivered to a customer with long, loose basting stitches placed around the outside edges. These stitches are called shitsuke ito. They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment.

Like many other traditional Japanese garments, there are specific ways to fold kimonos. These methods help to preserve the garment and to keep it from creasing when stored. Kimonos are often stored wrapped in paper called tat艒shi.

Kimonos need to be aired out at least seasonally and before and after each time they are worn. Many people prefer to have their kimono dry cleaned. Although this can be extremely expensive, it is generally less expensive than arai hari but may be impossible for certain fabrics or dyes.

References[link]

Further reading[link]

• Milenovich, Sophie (2007). Kimonos. New York: Abrams. ISBN 978-0-8109-9450-8. 

External links[link]

Listen to this article (info/dl)

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Wikimedia Commons has media related to: kimono

Look up kimono in Wiktionary, the free dictionary.

• The Canadian Museum of Civilization - Landscape Kimonos of Itchiku Kubota
• Tokyo National Museum Look for "textiles" under "decorative arts".
• Glossary of Japanese Kimono Terms
• Japanese Kimono - Many photos
• Kyoto National Museum: Textiles
• The Costume Museum: Costume History in Japan
• Kimono Fraise; includes directions on how to put on a kimono
• Immortal Geisha Forums; Comprehensive Resource on Vintage and Modern Kimono Culture
• Love Kimono!; A lot of knowledge of kimono with pictures.
• Love Kimono; Range Of Kimonos Sold Across The Globe.
• Tsuruko Maiko Forums; Information and Discussions on Kimono
• How to wear a kimono, tie an obi, and use accessories
• Tokyo Senshoku Art Professional Training College

Craft Materials[link]

• "Kimono from the V&A Collection". Asia. Victoria and Albert Museum. http://www.vam.ac.uk/page/k/kimono/. Retrieved 2007-07-13. 
• "Fashioning Kimono: Dress in early 20th century Japan". Asia. Victoria and Albert Museum. http://www.vam.ac.uk/collections/asia/past_exhns/kimono/index.html. Retrieved 2007-06-16. 

v t e Japanese clothing Traditional clothing Kiahan (kyahan) Fundoshi Furisode Jinbei J奴nihitoe Kimono Hakama Samue Tomesode Yukata Uwagi Happi Sokutai Shitagi Hachimaki Belt/Sash Obi (sash) Uwa-obi Footwear Tabi Z艒ri Waraji Jika-tabi Geta Uwabaki Loose Socks

Afro Samurai (銈€儠銉偟銉犮儵銈�, Afuro Samurai^?), also written AFRO SAMURAI, is a Japanese seinen d艒jinshi manga series written and illustrated by manga artist Takashi Okazaki. It was originally serialized irregularly in the avant-garde d艒jinshi manga magazine Nou Nou Hau from September 1999 to May 2000. Inspired by Takashi Okazaki's love of soul and hip hop music and American media, Afro Samurai follows the life of Afro Samurai who witnessed his father (owner of the No. 1 headband) being killed by the hands of a gunslinger named Justice (owner of the No. 2 headband) while he was a child. As an adult, Afro sets off to avenge his father's death and kill Justice.

The Afro Samurai d艒jinshi was adapted into a 5-episode anime TV series by studio Gonzo in 2007. The same studio also went on to produce a made-for-TV movie sequel entitled Afro Samurai: Resurrection in 2009, which gained two Emmy nominations, for Outstanding Individual Achievement in Animation, which it won, and Outstanding Animated Program (For Programming One Hour or More). After the release of the anime series, Takashi Okazaki remade the original Afro Samurai d艒jinshi into a two-volume manga. To be only released in North America, Tor Books and Seven Seas Entertainment licensed the title and published it under their new Tor/Seven Seas imprint.

In addition to the success of the anime series, Afro Samurai has also been adapted into a video game and an upcoming live-action feature film. For the TV series and the film, two soundtracks by the RZA of Wu-Tang Clan have been released as well as a profile book in Japan.

Plot[link]

[edit] Afro Samurai

In a futuristic yet feudal Japan, it is said that the one who wields the Number 1 headband is the fiercest fighter in the world and shall possess godlike powers. The only way to obtain the Number 1 headband is to challenge and defeat him in combat. However, only the Number 2 can challenge the Number 1, while anyone can challenge the Number 2, which causes a constant struggle for the Number 2 headband.

Justice, the owner of the No. 2 headband, goes to fight the owner of the No. 1 headband, Afro's father. The two battle, ending with Justice decapitating Afro's father and claiming his headband. His head rolls in front of his son, Afro, as he sobs and vows revenge.

Now an adult, "Afro Samurai" is the current No. 2 and a master swordsman. He travels Japan trying to make his way to the mountain-top keep where Justice awaits. As he makes his way to Justice, he recalls his journey from a frightened young boy to a master samurai. Along the way, many people challenge Afro for his headband, including the "Empty Seven Clan" who send various agents, including a robotic Afro, to kill him throughout his travels. He is also being hunted by his vengeful childhood friend Jinno, who was long thought to be dead. It is revealed that Afro's childhood samurai master became the new No. 2 after Justice killed Afro's father. When Afro confronts his master, they are both attacked by assassins, leading to the death of everyone except Afro, Jinno, Atsura (Ukikio) and their master. Jinno begs Afro not to kill their own master, claiming he is selfish and he is to blame for the death of their friends. Afro defeats the master and claims the number 2 headband. Jinno, filled with rage and hatred for Afro, throws himself off a nearby cliff. Afro as an adult finally confronts Justice. Afro learns that there are other headbands in existence, ranging to an unspecified higher number, and sees that the corpses of those who wore them are skewered throughout the room where Justice awaits. Afro defeats Justice and takes the No. 1 headband, and the other headbands disappear.

Afro decides to live in the mountains once again. Jinno, adorned with every headband in existence, returns and confronts Afro for the No. 1 band and his revenge.

[edit] Afro Samurai: Resurrection

Afro refuses to wear the No. 1 headband as the rules require, and spends his days making wooden sculptures of people from his past instead of fighting. On a bridge, after fishing, a group of people challenge him, but he easily slays all of them. One dark and stormy night, Jinno (now mindlessly taking orders) and a mysterious woman named Sio attacks Afro. Jinno easily defeats him and takes the No. 1 headband for Sio and then robs his father's grave of his remains. Sio is revealed to be Jinno's sister. Sio tells Afro her plans to resurrect Afro's father, Rokutaro, so she can torture him as revenge against Afro for the lives he has destroyed, including her brother's and her own. Sio challenges Afro to find the No. 2 headband to earn the right to challenge her. Afro, determined to recover the No. 1 headband and his father's remains, sets off to find the No. 2 headband. At "Lady's Luck Town" in a stripper/sex club, finds brothers No. 1 (who is in a stand-up wheelchair and has a catheter) and 3 and has to play a dice game against Brother No. 3. No. 3 cheats and Afro finds out, threatening to kill him and eventually learns from No. 3 that the bearer of the No. 2 headband is a man named Shichigoro.

Afro, in search of Shichigoro, coincidentally kills the kidnapper of Schichigoro's son and prompts Shichigoro to buy him a drink. They eventually fight to the death with the No. 2 headband at stake, and upon victory, Afro continues on toward Sio. Shichigoro's son, who witnessed his father's death, sobs and then vows revenge over the dead body of his father, much like Afro and Justice. Along the way he is observed by three masked, android warriors from his past. The warriors are revealed to be a part of Sio's original plan to overwhelm Afro in the final battle, but apparently had decided to battle Afro early in an attempt to finish him off before Sio had to dirty her hands.

Afro battles and defeats the three while Sio attempts to resurrect a mind-controlled version of Afro's father. However, Rokutaro is revived before he is completely restored, leaving him merely a mindless, though apparently somewhat controllable, killing machine. Afro defeats the three and is soon confronted by Sio, Jinno, and his resurrected father. With Afro hesitant to fight his father, Rokutaro defeats and kills him (stops his heart from beating by strangling him). Jinno comes to Afro's aid, though pointless as Sio points out, in a sudden flash of selective memories of being a childhood friend and sparring partner with Afro. Landing only a few blows, Jinno is quickly killed by Rokutaro, who kills Sio in the same blow when she attempts to come to Jinno's aid. The cybernetic remains of Jinno give off an electrical surge, which, conducted through the spilled blood of Sio, restarts Afro's heart. Afro apparently defeats Rokotaro and emerges from the scene wearing the No. 1 headband.

Afro walks away from the battle, wearing the No. 1 headband and clutching the No. 2 headband in right hand. He comes across Shichigoro's orphaned son, who had been following him, and hands him the No. 2, telling him to challenge him when he's ready.

Production[link]

Takashi Okazaki started drawing African-American characters on items like Kleenex boxes when he was a teenager, inspired by his fondness for hip hop and soul music. He also drew ideas from American media and their depiction of Japanese culture.^[1] Takashi started combining elements of samurai into his work, eventually developing the design for Afro. Takashi Okazaki began writing the original d艒jinshi, then called Afro Samurai!, when he and his friends started independently publishing the art magazine Nou Nou Hau.^[2] The preparatory "issue 0" of Nou Nou Hau was released on November 1998 with Afro Samurai artwork featured on the cover.^[3] Takashi Okazaki wrote the entire manga in the English direction, with elements from English and Japanese comics. He also used Afro Samurai for a cat food advertisement in the last pages of his manga book.^[4]

In addition to the anime production, Takashi Okazaki re-made the d艒jinshi, with much better art skills.^[4] At the Japan Society from March 13 to June 14, 2009, original Afro Samurai d艒jinshi artwork (as used on issue 0 of Nou Nou Hau) was showcased at the KRAZY!: The Delirious World of Anime + Manga + Video Games exhibition.^[5]

Media[link]

Manga[link]

Written and illustrated by Takashi Okazaki, Afro Samurai was originally published in the self-funded Nou Nou Hau d艒jinshi magazine.^[2] First appearing in issue 0, the d艒jinshi version was first published from September 1999 to October 2000.^[3] After the release of the anime version, Takashi Okazaki recreated the original d艒jinshi.^[4] Although the recreation of the original manga was created in Japan, it was first published in the United States by Seven Seas Entertainment and Tor Books in two tank艒bon volumes.^[6] As a special supplement, thumb-nail sized clips of the original d艒jinshi were shown at the end of the first volume.^[7] The English release of the manga was Tor Books and Seven Seas' first publication under the newly formed Tor/Seven Seas imprint.^[6] The manga was also released in Italy through Panini Comics' manga publishing division Planet Manga, starting on April 9, 2009.^[8] The manga was released in one volume in Japan on December 18, 2009. The limited edition came with all the issues of the original d艒jinshi included in a separate volume.^[1]

Anime[link]

One of Takashi Okazaki's friends decided to make action figures based on the character, which were released in small amounts. After the action figures were created, a producer from the Japanese studio, Gonzo, happened to find them and thought of an animated TV project based on the series. The anime took three years to develop, and in the three years the studio also created a trailer, which happened to fall into the hands of Samuel L. Jackson.^[10] It was announced that the project would be a five-episode "creative collaboration" between Samuel L. Jackson, Takashi Okazaki, and Gonzo, with a music score by hip hop artist RZA from the rap group Wu-Tang Clan.^[11][12] In 2006, it was announced that Funimation Entertainment acquired the rights to the anime series which would premier on Spike TV (now simply known as "Spike") later that year, and that Samuel L. Jackson would voice Afro.^[13] Afro Samurai debuted on Spike TV, on January 4, 2007.^[14] The series' worldwide premier was on Spike TV's website where they streamed the first episode online. The anime was later released on Japanese television Thursday, May 3, 2007, in English with Japanese subtitles. The Japanese air was released completely uncut.^[15] On Friday, May 11, 2007 Funimation released the first Afro Samurai DVDs at Anime Central, at their own booth, the regular Afro Samurai: Spike Version and the uncut Afro Samurai: Director's Cut. Both DVDs were released to the public on May 22, 2007.^[16] On September 4, 2007, all five episodes of Afro Samurai were released on iTunes. To promote this, Funimation released eight custom designed iPods by Takashi Okazaki.^[17] In 2008, Funimation released the Afro Samurai anime series onto Xbox Live in high definition format and also debuted on Blu-ray Disc in that year.^[18][19] Also in 2008, Afro Samurai was shown at the German Film Festival in Germany.^[20]

Films[link]

In an Associated Press interview in 2007, Takashi Okazaki confirmed there would be a sequel to the anime series, and that it would also be shown on Spike TV.^[21] In 2008, the sequel was announced to be a TV movie titled Afro Samurai: Resurrection, and that actors Lucy Liu and Mark Hamill would join the voice acting cast.^[22] Hip hop artist RZA also came back to provide the soundtrack for the movie. Afro Samurai: Resurrection debuted on Spike TV on the night of January 25, 2009.^[23] On July 16, 2009, Afro Samurai: Resurrection was nominated for an Emmy in the "Outstanding Animated Program (for programming one hour or more)" category in the 61st Primetime Emmy Awards and the Creative Arts Emmy Awards. At the Emmy awards, Afro Samurai: Resurrection lost to Destination Imagination, a TV movie based on Foster's Home for Imaginary Friends.^[24][25] The art director of Afro Samurai: Resurrection, Shigemi Ikeda, won an Emmy for his work on Resurrection, which is the first ever awarded for work on a Japanese-animated production.^[26] Afro Samurai: Resurrection was the first Japanese anime to be nominated for and win an Emmy.^[25]

Late 2009 also saw the release of Afro Samurai: Complete Murder Sessions on Blu-Ray and DVD. A 4-disc collection of both Afro Samurai Director's Cut and Afro Samurai: Resurrection, together in one complete boxset.

Announced at the 2006 Comic-Con, a live action version of Afro Samurai was said to be in the making.^[27] On 2011-07-21, Gonzo K.K. and Indomina group announced Indomina group had obtained the rights to produce the film, with Samuel L. Jackson, Jasbinder Singh Mann (Indomina Group Vice Chairman and CEO), Shin Ishikawa (Gonzo Studios) as producers; Eli Selden of Anonymous Content as executive producer.^[28][29]

Video games[link]

In 2005, Gonzo had awarded Namco Bandai Games exclusive rights to publish to Afro Samurai video games, as announced that year.^[30] The debut trailer of the first game was released at the company's Editor's Day presentation.^[31] Afro Samurai was released for the Xbox 360 and PlayStation 3 on January 27, 2009.^[32][33]

Soundtracks[link]

Wu-Tang Clan member RZA produced the soundtrack for both the Afro Samurai TV series and the TV movie sequel Afro Samurai: Resurrection.^[12][23] The first soundtrack for the anime series, The RZA Presents: Afro Samurai: The Soundtrack was released on January 30, 2007 by Koch Records (now known as E1 Music).^[34] The second soundtrack for the TV movie, The RZA Presents: Afro Samurai: Resurrection: The Soundtrack was also released by Koch Records on January 27, 2009.^[35]

Crew[link]

• Samuel L. Jackson - Executive Producer
• Jamie Simone - Casting and Voice Director

Reception[link]

The Afro Samurai manga series has received generally positive reviews from critics. Scott Green, writer of the Anime AICN segment of Ain't It Cool News said that the manga "is a work of design" and that it "utilizes the medium to which it is applied as a platform rather than as an ends unto itself." Scott notes that Okazaki does not have a "head for manga as a storytelling form" and that the "manga labors to show off Okazaksi' [sic] design."^[36] Anime News Network reviewer, Carlo Santos stated about the anime that "like most typical action-adventures, the story starts out slow and only picks up toward the middle and end when the blades really start flying" and that "Afro Samurai is hardly a complex story" and that it only has "a handful of characters and a straightforward beat-the-next-guy plotline". Carlo Santos also noted that "the original Afro Samurai manga is pretty lousy" and that Takashi Okazaki often gets lost in "incomprehensible scribbles" and "style over substance."^[37] Volume 2 of Afro Samurai also charted 147 on ComiPress' "Top 250 Manga Volumes" of February 2009.^[38] The Blu-ray release of the anime series charted #16 on VideoScan's Blu-ray charts.^[19] Zac Bertschy of Anime News Nerwork stated about Afro Samurai: Resurrection that "it's a gorgeous film," with "incredible animation, spectacular action setpieces [sic] and a thumping score by The RZA". Zac noted that the plot is just "window dressing" and that if it's about anything it's about "cool".

Zac criticized that the film is just an excuse to string fight scenes together and that the farther it goes on it becomes clearer how "weak the writing is".^[39] Hyper commends the anime for its art, saying, "stylised poses and sharp, dynamic visuals have long been a trademark element of this series, and they hold true [in the anime]."^[40] In January 2009, IGN ranked Afro Samurai 90th on a list of the top 100 animated series, saying that the over-the-top violence and quirky story and characters made the show enjoyable ^[41]

References[link]

External links[link]

• Official website
• Official Afro Samurai: Resurrection website (Japanese)
• Official Gomanga page
• Afro Samurai (manga) at Anime News Network's Encyclopedia
• Afro Samurai (anime) at Anime News Network's Encyclopedia
• Afro Samurai: Resurrection (film) at Anime News Network's Encyclopedia
• Afro Samurai (film) at Anime News Network's Encyclopedia
• Afro Samurai at the Internet Movie Database
• Afro Samurai: Resurrection at Internet Movie Database