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‘Fashions have changed’， said the Japanese writer Ihara Saikaku in 1688. Certain shrewd Kyoto people have started to lavish every manner of magnificence on men’s and women’s clothes. By then， everyone in Japan was wearing a kimono. But it was the new， eye-catching， sumptuous ones wrapped around a flourishing breed of fashionistas that Saikaku was talking about. How to show off your wealth and status in Edo-era Japan？ Wear the latest kimono.
This was the starting point for the V&A’s exhibition Kimono： Kyoto to Catwalk， which opened， then hurriedly closed just days before the lockdown. Those of us lucky enough to catch it can tell you it would’ve been the museum’s summer blockbuster. A few tantalising images from the show are still on their website and the catalogue is available. Fawn over them as an antidote to your work-from-home jogging bottoms and hoodie.
The bolder the better for samurai. Their plush silk kimono—the oldest， and the first we come across in the show—are embroidered with elaborate and theatrical garden scenes， mountains， musical instruments， birds， insects and skulls. One vibrant kimono from around 1800 was dyed bright red with safflower. Another from around 1730 depicts a rural village surrounded by crisp snow and swathes of purple clouds. It was decorated using yūzen1： an innovative technique of rice paste lines， filled in with hand-painted dye. The effect is breathtaking.
Delicate patterns soon took over， as the newly-minted middle-class merchants found ways to get one up on the royals. Their styles might look humble and muted， but they were pricey to produce. Hanging in one corner of the exhibition is a feather-light summer kimono made out of grey gauze from 1850. Its only embellishments： open-weave chinks and a couple of pine trees and sand dunes， brushed on in barely-there sweeps.
Some trends were set by famous actors and high-ranking courtesans. When the actor Sanogawa Ichimatsu wore a black-and-white chequerboard obi2 tied around his kimono on stage in 1741， the audience rushed out of the theatre to buy one. In a hand-coloured wood-block print， dated a few years later， we see him glide out of an incense shop， his obi now paired with a chequered kimono.
Kimono could be playful and subversive， too. Embroidered on the shoulder blades and sleeves of one from 1750， which is scattered with gold， red， pink and cream maple leaves， are the words from a ninth-century poem by Bai Juyi. A popular fabric from around the same time features abstract Japanese characters and swirling symbols. Get a little closer and see the shapes spell the phrase ‘kamawanu3’—‘I don’t give a damn’. When Japan opened its borders in the late nineteenth century， most people put on western clothes so that they didn’t appear out of touch. Men wore tailored suits. Women wore their kimono—if they were still wearing them—with fur stoles， gilded clutch bags， elbow-length gloves. Europe and America， though， fell in love with forme Japonaise4. Kimono were exotic， almost liberating. Certainly no sign of a corset. We find a striking black-and-white striped coat designed in the 1920s by Emilie Fl?ge， Gustav Klimt’s life-long companion， all billowing， asymmetrical sleeves and loose draping. Elsewhere， Yves Saint Laurent’s strapless cocktail dress and matching bolero5 jacket from the 1950s， made of orange silk brocade stamped with gold and silver pine leaves. Its puffball， quilted overskirt was reminiscent of the duvet-like kimono worn during fierce Japanese winters. And in his sugary lilac two-piece ‘La-La-San’ （2007） for Christian Dior， John Galliano triumphantly updates the iconic New Look6 silhouette with details from eighteenth-century kimono： a delicate ribbon obi at the cinched waist， opalescent embroidery and beading， wide sleeves with origami cuffs.
Then comes the costumes. If there was ever any doubt about how versatile this garment can be， look no further. The final room bursts at the seams with Obi-Wan Kenobi’s camel-coloured kimono from Star Wars， and Madonna’s scarlet outfit by Jean Paul Gaultier for her music video ‘Nothing Really Matters’： a mini-dress silk kimono with matching shorts， platform boots and a PVC obi. Fantasize about shimmying around your living room in David Bowie’s white satin tour costume from the 1970s， adorned with creeping black-ink vines and calligraphy. A couple of clichéd curatorial choices—clusters of bamboo canes; a soundtrack of wind chimes and trickling water—occasionally distracts us from what’s going on. And every piece here， exquisite， enchanting， often surprising， deserves our attention. As the merchants put it 200 years ago with the word ‘iki7’： subtlety is more stylish than showiness.
1688年日本作家井原西鶴说道：“时尚变了。”一些敏锐的京都人开始在男女式服装上极尽华丽。那时日本人人都穿和服。但西鹤所说的是那种穿在兴起的时装达人身上、时新抢眼又奢华的和服。在江户时代的日本，如何炫耀财富地位？答案是穿最时新的和服。
这是维多利亚与阿尔伯特博物馆（V&A）“和服：从京都到T台”展览的开端，该展在封城前几天匆匆闭展。我们这些有幸看过的人可以告诉你，这本可以成为该博物馆的夏季轰动大展。在博物馆的网站上，仍可看到展览中的一些诱人图片，展览目录也可查到。欣赏它们，以摆脱居家办公穿慢跑裤与连帽衫的单调。
对于武士来说，色彩越艳丽越好。他们的豪华丝绸和服——最为古老，也是我们在展览中首先见到的，绣着精致而壮观的园林景色、山岭、乐器、飞禽、昆虫和颅骨。一件1800年左右的艳丽和服用红花染成了鲜红色。另一件1730年左右的和服，其上描绘了被皑皑白雪和片片紫云围绕的村庄，由友禅技法染制而成。友禅染是一种创新技术，使用米浆描线，在线条间手工染色，印染效果惊艳绝伦。 新晋的中产阶级商人找到了超越王室的方法，精致的图案很快占据上风。图案款式或许看起来低调、淡雅，制作成本却非常昂贵。悬挂在展厅一角的是一件1850年的夏季和服，用灰色薄纱制成，轻如羽毛，其上仅有的装饰为稀松的裂纹、几棵松树和几座沙丘，淡淡的若有若无。
有些潮流是由著名演员和高级交际花引领的。1741年，演员佐野川市松在舞台上穿了一件系着黑白棋盘格腰带的和服，随后观众出了剧院纷纷去购买同款。在一幅几年后的手绘木版画中，我们看到他从一家香坊自如走出，这会儿是腰带搭配方格和服。
和服也可以是俏皮及颠覆性的。一件1750年的和服，点缀着金色、红色、粉色及奶油色的枫叶，在肩胛处和袖子上绣着9世纪白居易的诗句。一件大约同期的流行和服面料上印著抽象日本文字和漩涡状图案。靠近些，就会看到这些形状拼出了かまわぬ的字样，意为“不在乎”。
19世纪末，日本打开国门时，为了不显得落伍，大多数人都穿西服。男士穿定制西装。女士穿和服——如果她们还穿的话——配皮草披肩、镀金手包、及肘手套。但欧洲和美国却爱上了日本的“和风”。和服具有异国情调，几乎没有束缚，显然没有紧身胸衣的痕迹。我们发现一件醒目的黑白条纹外套，由古斯塔夫·克里姆特的终身伴侣埃米莉·弗勒格于20世纪20年代设计。外套采用不对称泡泡袖，衣摆宽松垂坠。另一处陈列着伊夫·圣罗兰于20世纪50年代设计的无肩带礼服和配套波蕾若短上衣，由橙红色丝绸锦缎制成，印有金银松叶，其圆蘑菇状的绗缝罩裙让人联想到日本的寒冬里人们穿的羽绒被般的和服。在为克里斯汀·迪奥设计的甜美淡紫色两件套（取名为La-La-San，2007年设计）中，约翰·加利亚诺借用18世纪和服的设计细节，成功使得迪奥标志性的“新风貌”系列廓形更显时尚：精致束腰缎带，乳白色刺绣和串珠装饰，袖口翻折的宽袖。
然后是演出服。如果对和服的广泛用途有所怀疑，那就看看这个吧。最后的展室里摆满了和服，有《星球大战》中欧比旺·克诺比的驼色和服，还有让·保罗·戈尔捷为麦当娜的音乐视频《一切都无关紧要》设计的绯红色套装：丝绸和服式超短连衣裙及套装短裤，厚底靴和聚氯乙烯腰带。想象一下：穿着20世纪70年代大卫·鲍伊那件饰有墨色藤蔓和书法的白色绸缎巡回演出服，在自家客厅里晃来晃去。几处见惯了的策展装饰——几簇竹子、风铃音乐和涓涓流水——偶尔会分散我们的注意力。每一件展品都精致迷人，常常让人惊奇，值得我们关注。正如200年前江户商人用“粋”所表达的：含蓄比高调更时尚。
（译者为“《英语世界》杯”翻译大赛获奖者）
1日语“友禅（ゆうぜん）”的罗马字注音，是一种日本特有的印染技巧。传统友禅技艺大致分为以下几步：先在昂贵的绢织上初绘纹样轮廓，以易溶于水的青花色素作颜料，正式染色时不会留痕迹;在画好的纹样上，用米或阿拉伯树胶做成的糊状防染剂沿着轮廓描绘一遍，置糊的目的是为了在染色完成后，在图案的轮廓留有白线，勾画的线被称作“糸目”;然后再用刷笔蘸取染料给纹样染色，称作“色插”;进行腾蒸以固定色泽;再次用防染剂描绘覆盖住染好的纹样，进行整布染色;最后一道工序名为“友禅流”，即将布料置于川河之中任其漂流，以冲洗掉多余的防染剂和染料。 2日语“帯（おび）”的罗马字注音，意为“腰带，带子”。
3日语かまわぬ的罗马字注音，在日本古语里ぬ=ない，所以かまわぬ=かまわない（構わない），意为“没关系，不要紧，不在乎”。 4二者均是法语，forme意为“形式，方式”，Japonaise意为“日本的”。
5 bolero波蕾若外套（前胸敞开的女短上衣）。 6 1947年，克里斯汀·迪奥向媒体展示他的首个时装系列。前所未有的曼妙侧影、修长剪裁、独特款型、窈窕腰身、魔鬼般的性感胸线完全颠覆了二战后宽松粗犷的女性风格。《时尚芭莎》主编卡梅尔·斯诺（Carmel Snow）赞叹道：“您的长裙带来了新风貌。”（Your dresses have such a new look.）此后，这一系列便被称为“新风貌”（New Look），并一直沿用至今。
7日语“粋（いき）”的罗马字注音，指日本江户时期形成的一种美学。日本哲学研究者九鬼周造在其《「いき」の構造》（《粹的构造》）中有详细阐述。经历了几百年发展，日本“粋”文化很难以一言蔽之，可以理解为，人（其姿态举动）、环境、建筑、时尚、设计等都可以体现“粋”的意识，简单、恬淡、直观、精致、原始、低调、克制等都可以是“粋”的表现。
This was the starting point for the V&A’s exhibition Kimono： Kyoto to Catwalk， which opened， then hurriedly closed just days before the lockdown. Those of us lucky enough to catch it can tell you it would’ve been the museum’s summer blockbuster. A few tantalising images from the show are still on their website and the catalogue is available. Fawn over them as an antidote to your work-from-home jogging bottoms and hoodie.
The bolder the better for samurai. Their plush silk kimono—the oldest， and the first we come across in the show—are embroidered with elaborate and theatrical garden scenes， mountains， musical instruments， birds， insects and skulls. One vibrant kimono from around 1800 was dyed bright red with safflower. Another from around 1730 depicts a rural village surrounded by crisp snow and swathes of purple clouds. It was decorated using yūzen1： an innovative technique of rice paste lines， filled in with hand-painted dye. The effect is breathtaking.
Delicate patterns soon took over， as the newly-minted middle-class merchants found ways to get one up on the royals. Their styles might look humble and muted， but they were pricey to produce. Hanging in one corner of the exhibition is a feather-light summer kimono made out of grey gauze from 1850. Its only embellishments： open-weave chinks and a couple of pine trees and sand dunes， brushed on in barely-there sweeps.
Some trends were set by famous actors and high-ranking courtesans. When the actor Sanogawa Ichimatsu wore a black-and-white chequerboard obi2 tied around his kimono on stage in 1741， the audience rushed out of the theatre to buy one. In a hand-coloured wood-block print， dated a few years later， we see him glide out of an incense shop， his obi now paired with a chequered kimono.
Kimono could be playful and subversive， too. Embroidered on the shoulder blades and sleeves of one from 1750， which is scattered with gold， red， pink and cream maple leaves， are the words from a ninth-century poem by Bai Juyi. A popular fabric from around the same time features abstract Japanese characters and swirling symbols. Get a little closer and see the shapes spell the phrase ‘kamawanu3’—‘I don’t give a damn’. When Japan opened its borders in the late nineteenth century， most people put on western clothes so that they didn’t appear out of touch. Men wore tailored suits. Women wore their kimono—if they were still wearing them—with fur stoles， gilded clutch bags， elbow-length gloves. Europe and America， though， fell in love with forme Japonaise4. Kimono were exotic， almost liberating. Certainly no sign of a corset. We find a striking black-and-white striped coat designed in the 1920s by Emilie Fl?ge， Gustav Klimt’s life-long companion， all billowing， asymmetrical sleeves and loose draping. Elsewhere， Yves Saint Laurent’s strapless cocktail dress and matching bolero5 jacket from the 1950s， made of orange silk brocade stamped with gold and silver pine leaves. Its puffball， quilted overskirt was reminiscent of the duvet-like kimono worn during fierce Japanese winters. And in his sugary lilac two-piece ‘La-La-San’ （2007） for Christian Dior， John Galliano triumphantly updates the iconic New Look6 silhouette with details from eighteenth-century kimono： a delicate ribbon obi at the cinched waist， opalescent embroidery and beading， wide sleeves with origami cuffs.
Then comes the costumes. If there was ever any doubt about how versatile this garment can be， look no further. The final room bursts at the seams with Obi-Wan Kenobi’s camel-coloured kimono from Star Wars， and Madonna’s scarlet outfit by Jean Paul Gaultier for her music video ‘Nothing Really Matters’： a mini-dress silk kimono with matching shorts， platform boots and a PVC obi. Fantasize about shimmying around your living room in David Bowie’s white satin tour costume from the 1970s， adorned with creeping black-ink vines and calligraphy. A couple of clichéd curatorial choices—clusters of bamboo canes; a soundtrack of wind chimes and trickling water—occasionally distracts us from what’s going on. And every piece here， exquisite， enchanting， often surprising， deserves our attention. As the merchants put it 200 years ago with the word ‘iki7’： subtlety is more stylish than showiness.
1688年日本作家井原西鶴说道：“时尚变了。”一些敏锐的京都人开始在男女式服装上极尽华丽。那时日本人人都穿和服。但西鹤所说的是那种穿在兴起的时装达人身上、时新抢眼又奢华的和服。在江户时代的日本，如何炫耀财富地位？答案是穿最时新的和服。
这是维多利亚与阿尔伯特博物馆（V&A）“和服：从京都到T台”展览的开端，该展在封城前几天匆匆闭展。我们这些有幸看过的人可以告诉你，这本可以成为该博物馆的夏季轰动大展。在博物馆的网站上，仍可看到展览中的一些诱人图片，展览目录也可查到。欣赏它们，以摆脱居家办公穿慢跑裤与连帽衫的单调。
对于武士来说，色彩越艳丽越好。他们的豪华丝绸和服——最为古老，也是我们在展览中首先见到的，绣着精致而壮观的园林景色、山岭、乐器、飞禽、昆虫和颅骨。一件1800年左右的艳丽和服用红花染成了鲜红色。另一件1730年左右的和服，其上描绘了被皑皑白雪和片片紫云围绕的村庄，由友禅技法染制而成。友禅染是一种创新技术，使用米浆描线，在线条间手工染色，印染效果惊艳绝伦。 新晋的中产阶级商人找到了超越王室的方法，精致的图案很快占据上风。图案款式或许看起来低调、淡雅，制作成本却非常昂贵。悬挂在展厅一角的是一件1850年的夏季和服，用灰色薄纱制成，轻如羽毛，其上仅有的装饰为稀松的裂纹、几棵松树和几座沙丘，淡淡的若有若无。
有些潮流是由著名演员和高级交际花引领的。1741年，演员佐野川市松在舞台上穿了一件系着黑白棋盘格腰带的和服，随后观众出了剧院纷纷去购买同款。在一幅几年后的手绘木版画中，我们看到他从一家香坊自如走出，这会儿是腰带搭配方格和服。
和服也可以是俏皮及颠覆性的。一件1750年的和服，点缀着金色、红色、粉色及奶油色的枫叶，在肩胛处和袖子上绣着9世纪白居易的诗句。一件大约同期的流行和服面料上印著抽象日本文字和漩涡状图案。靠近些，就会看到这些形状拼出了かまわぬ的字样，意为“不在乎”。
19世纪末，日本打开国门时，为了不显得落伍，大多数人都穿西服。男士穿定制西装。女士穿和服——如果她们还穿的话——配皮草披肩、镀金手包、及肘手套。但欧洲和美国却爱上了日本的“和风”。和服具有异国情调，几乎没有束缚，显然没有紧身胸衣的痕迹。我们发现一件醒目的黑白条纹外套，由古斯塔夫·克里姆特的终身伴侣埃米莉·弗勒格于20世纪20年代设计。外套采用不对称泡泡袖，衣摆宽松垂坠。另一处陈列着伊夫·圣罗兰于20世纪50年代设计的无肩带礼服和配套波蕾若短上衣，由橙红色丝绸锦缎制成，印有金银松叶，其圆蘑菇状的绗缝罩裙让人联想到日本的寒冬里人们穿的羽绒被般的和服。在为克里斯汀·迪奥设计的甜美淡紫色两件套（取名为La-La-San，2007年设计）中，约翰·加利亚诺借用18世纪和服的设计细节，成功使得迪奥标志性的“新风貌”系列廓形更显时尚：精致束腰缎带，乳白色刺绣和串珠装饰，袖口翻折的宽袖。
然后是演出服。如果对和服的广泛用途有所怀疑，那就看看这个吧。最后的展室里摆满了和服，有《星球大战》中欧比旺·克诺比的驼色和服，还有让·保罗·戈尔捷为麦当娜的音乐视频《一切都无关紧要》设计的绯红色套装：丝绸和服式超短连衣裙及套装短裤，厚底靴和聚氯乙烯腰带。想象一下：穿着20世纪70年代大卫·鲍伊那件饰有墨色藤蔓和书法的白色绸缎巡回演出服，在自家客厅里晃来晃去。几处见惯了的策展装饰——几簇竹子、风铃音乐和涓涓流水——偶尔会分散我们的注意力。每一件展品都精致迷人，常常让人惊奇，值得我们关注。正如200年前江户商人用“粋”所表达的：含蓄比高调更时尚。
（译者为“《英语世界》杯”翻译大赛获奖者）
1日语“友禅（ゆうぜん）”的罗马字注音，是一种日本特有的印染技巧。传统友禅技艺大致分为以下几步：先在昂贵的绢织上初绘纹样轮廓，以易溶于水的青花色素作颜料，正式染色时不会留痕迹;在画好的纹样上，用米或阿拉伯树胶做成的糊状防染剂沿着轮廓描绘一遍，置糊的目的是为了在染色完成后，在图案的轮廓留有白线，勾画的线被称作“糸目”;然后再用刷笔蘸取染料给纹样染色，称作“色插”;进行腾蒸以固定色泽;再次用防染剂描绘覆盖住染好的纹样，进行整布染色;最后一道工序名为“友禅流”，即将布料置于川河之中任其漂流，以冲洗掉多余的防染剂和染料。 2日语“帯（おび）”的罗马字注音，意为“腰带，带子”。
3日语かまわぬ的罗马字注音，在日本古语里ぬ=ない，所以かまわぬ=かまわない（構わない），意为“没关系，不要紧，不在乎”。 4二者均是法语，forme意为“形式，方式”，Japonaise意为“日本的”。
5 bolero波蕾若外套（前胸敞开的女短上衣）。 6 1947年，克里斯汀·迪奥向媒体展示他的首个时装系列。前所未有的曼妙侧影、修长剪裁、独特款型、窈窕腰身、魔鬼般的性感胸线完全颠覆了二战后宽松粗犷的女性风格。《时尚芭莎》主编卡梅尔·斯诺（Carmel Snow）赞叹道：“您的长裙带来了新风貌。”（Your dresses have such a new look.）此后，这一系列便被称为“新风貌”（New Look），并一直沿用至今。
7日语“粋（いき）”的罗马字注音，指日本江户时期形成的一种美学。日本哲学研究者九鬼周造在其《「いき」の構造》（《粹的构造》）中有详细阐述。经历了几百年发展，日本“粋”文化很难以一言蔽之，可以理解为，人（其姿态举动）、环境、建筑、时尚、设计等都可以体现“粋”的意识，简单、恬淡、直观、精致、原始、低调、克制等都可以是“粋”的表现。