Why are kimonos so expensive?

A question I frequently receive is “Why are Kimonos so expensive?” One day I tried to ask my Japanese students the same question in kimono class, and one of the students replied, “Because they are hand-sewn.”

At least he thought about the answer, and the answer he gave is not entirely wrong. In most cases kimonos are sewn by hand. However, sewing a kimono takes only one day, or maybe two days, of a whole process that can take more than a year!

(You can watch the video of this post or continue reading below)

We start with the thread

The world of kimono silk is divided into two main sections, dyed kimono and woven kimono. Obviously all kimono are woven and dyed, but the order in which this process is done makes a big difference in the formality of the kimono.

Dyed kimono have a pattern painted on long pieces of white cloth, and woven kimono are made from fabric made from pre-dyed yarn. So dyed kimonos are painted last, and woven kimonos are woven last.

The dyed kimono has a design on the white fabric. The kimono can be flat, in all, have a design that is constantly repeated or have a single drawing painted or even embroidered, but the important point is that this is done on white cloth. Dyed kimonos are more formal than woven kimonos.

Most of the silk is imported from China and Brazil, as there are few places in Japan where sericulture is still practiced. It is an industry that is dying as it requires intense work and is usually poorly paid. In the 1920s, more than 2 million families were involved in silk production, and its low pay was a major part of the success of Japanese silk worldwide.

Imported silk is spun, purified, and sericin, a protein created by silkworms, is removed. The Tango area in Kyoto is famous for silk production, but there are other recognized areas such as Yamaga and Hamamatsu.

Fabrics are made in uniform sizes to make kimonos, with some extra long for long-sleeved kimonos, and some a little wider for men. Some smaller and thinner ones are made for underwear.

Artisans and their special equipment for textile manufacturing

The fabrics can have a satin-like finish, rinzu, or have less shine with a rubier texture, chirimen. The fabrics can be flat or have a type of design or pattern already from their weaving.

Jacquard looms were brought to Japan from France during the Meiji period, where designs were determined by a series of cards with holes in them. Thousands of cards are needed for the production of a kimono. This system has been largely superseded by computers, but some artisans still use Meiji period weaving.

Once the pieces of white cloth are finished, they are sent to the distributors, tonya, and from there they go to the dyeing workshops or manufacturers, shikaya. The shikaya organize the production of kimonos on request.

A shikaya will act as an intermediary in the process, sending the fabric to the workshop where it will be dyed, then ironed, embroidered, etc. The number of shikaya has been shrinking.

From the local distributor, it goes to the regional one. Distributors used to bring the fabrics to be dyed, and from there they would take them themselves to department stores or kimono shops, but this system has been changing recently. Distributors don’t want to risk buying a lot of fabric that they can’t sell later, so dyeing artisans are forced to buy fabric to sell after this process.

What is required to dye the fabric

The dyeing process is complex and exciting. It does not allow the slightest error. When manual printing is done on the kimono, it must be perfect so that the pattern can be repeated throughout the fabric. A rice paste is also applied, which must have the perfect consistency, and this can depend on humidity and temperature.

Once the paste is applied and dry, the paint is applied with small brushes. The process is repeated several times to ensure a good color. This process may take several weeks to complete.

The fabric is put into a machine that applies steam and the paste is removed. From there, a process of several steam applications follows so that it reaches its perfect size and smoothness.

Shibori production requires initial stitching and covering parts to resist dyeing, sometimes covered with polythene or placed between wooden plates, or sewn together firmly. From there they will be dipped in paint, sometimes with some parts painted by hand. The covered or sewn parts must be separated again very carefully. This process is often repeated with various colors.

The realization of the yuzen is complex. In Kyoto, the artisans work usually work a particular part of the process, applying the paste, drawing patterns, applying the color, etc. In Tokyo, the Yuzen tend to work alone and must take charge of the entire process. The design is first made on paper, then the kimono is lightly sewn. The design is transferred to the fabric with a special paint and then outlined by hand.

During the following weeks the color is applied to the designs. Then comes the steam process. In the end, these kimono are usually adorned with gold lines, embroidery, etc.

The complex fabric for the casual kimono

Although some steps in the process of making a dyed kimono are amazing, the production of casual knitted kimono can be even more amazing.

On some occasions, the process starts from the particular plant to make a particular thread or painting. In the case of silk, it usually means spinning the silk by hand directly from the boiling cocoons.

Sometimes the silk thread is removed directly from the cocoon by hand. This usually means wetting your finger with saliva and pulling gently while twisting the thread. It can also mean spinning by hand from crushed wet cocoons. In any case, it is a time-consuming process.

Sometimes the dyeing is carried out even with the cocoons, but usually it is when it is already in the form of thread. If there is a design to be painted, each thread must be dyed in the correct part to match the design.

After repeating the dyeing process, for each color, in the correct place, it is time to form the fabric. This is done on a hand loom, and can take up to a year, depending on the design.

It is very important that the process is carried out thoroughly, always maintaining the same tension in the threads so that the design is perfect.

Sewing the Kimono

The final process for both types of kimono is to sew it carefully by hand.

Both types of kimono are usually handcrafted with great care by several artisans working on a single kimono. This work can take anywhere from months to a full year.

Most of the people involved in its manufacture receive low pay. On some occasions, part of the process is done with machines, which reduces the cost considerably, putting them on a par with “brand” clothing.

in sales matters

As I mentioned previously, part of the high cost of the kimono is due to the distribution system. As the process goes from distributors to distributors, to artisans, etc. once it arrives at the store, the price has increased considerably.

A simplistic solution would be to remove distributors in the process, who take part of the profits, but the problem is not so simple. A small kimono shop is not able to sell enough kimono of a particular type to order from the artisans. Only a distributor can afford to buy several of the same type, since they will be sent to different points of sale.

Similarly, the shikaya who directs the orders of customers, be they stores or individuals, has an important, although not so obvious, role in the process.

The Internet has increased the opportunities for artisans to communicate directly with customers, which will help them reduce costs and offer a more personalized result for the customer. But it is not yet possible to make direct sales in other channels.