Michael Sittenfeld

The title is something of a misnomer, as all but one of the kimono in this book come from the mid- to late Edo period. Furthermore, "kimono" is used here as a catch-all term encompasing nuihaku, happi, chouken, and surihaku as well as traditional kimono. Finally, the majority of the book deals almost exclusively Noh theatrical costumes, as opposed to everyday clothing. This is certainly an interesting subject, but the information is not presented in the most logical or progressive of fashions, making prior knowledge of the subject helpful. The final chapters on sericulture in Utamaro's woodblock prints and Edo-era kimono fashion books are far more accessible. My biggest complaint is that there are an astounding number of unforgivable errors (misspellings of play titles, misattribution of artwork, and inconsistent and outdated romanization) for a publication of the Chicago Museum of Art. The 32 color plates (and numerous black and white illustrations), however, justify owning this book for anyone interested in its subjects.… (más)