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Eastern lore, Western allure
By Mimi Avins (Times)
Updated: 2005-12-09 10:24
A kimono might seem to be a simple garment, 8 yards of fabric that's wrapped
around the body. But Atwood discovered it could take a lifetime to really become
knowledgeable about the intricacies of the kimono. "What creates value are all
the layers of technique involved in the fabric," she says. "A high-end kimono
has hand painting and shibori, a very specific dyeing technique, as well as hand
embroidery and a hand-woven obi. In Japan, it takes about a year to make one."
With a crew of 30 and embroiderers working in three countries, Atwood had to
figure out ways to fast-track kimono production, creating traditional effects
with modern methods. She worked on "Memoirs of a Geisha" for nine months and had
to dress six central female characters and as many as 200 extras some days. She
also created wardrobes for the men in the story. Some antique kimonos were
rented from collectors in Japan, a number of others were constructed from
vintage cloth, and classic patterns were reproduced on new materials. Motifs
recur 錕斤拷 goldfish, hummingbirds, chrysanthemum, dogwood, wisteria, snowflakes and
waves 錕斤拷 although some are worn only during certain seasons.
Atwood thinks audiences will respond to the femininity of the costumes and
the beauty of the fabrics used, but she acknowledges that what the Japanese
consider sexy is different from the Western ideal. "The whole idea is to have
mystery," she says. "It's all about hidden treasures."
With kimonos wrapped high and tight, even a glimpse of wrist bone can be
enticing. Sayuri, the lead character, wears a warm, golden kimono embroidered
with maple leaves for a pivotal encounter with the great love of her life. The
neckline dips gracefully away from the back of her neck, revealing a smooth,
serene expanse of flesh between the shoulder blades, an underexposed area
fashion designers may be inspired to highlight in future collections.
The silhouette of a kimono fastened with a thick obi is barrel-like; it pads
and obscures the body. Atwood altered the costumes slightly to create a shape
more palatable to modern audiences. "We wanted to see a shoulder, to have the
illusion of a waist and have a sense of breasts beneath the kimono," she says.
"We were trying to honor the form but make it more accessible, so we made the
obi fit tight against the body to sort of glam it up."
In a story rich with drama, history and romance, there must be room for a
judicious dose of Hollywood glamour.
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