• Address: 103, Shichi-jo, Goshonouchi Minamimachi, Shimogyo-ku, Kyoto, Japan
• Phone: +81 075 321 9221, +81 075 321 8011
• E-mail: [email protected]
• Website: www.kci.or.jp
• Working hours: 8: 00-17: 00 daily
• Opening year: 1974

Is one of the four best fashion museums in the world. It would be wrong to call it just a museum - it is a real research center where not only garments are collected, but also fashion trends and the influence of various historical processes on them are studied.

It was opened in 1974 and during this time not only managed to collect an extensive collection of historical and modern costumes, but also became one of the most significant of its kind. None of the world's historical costume exhibitions are complete without exhibits from a museum in Kyoto.

The history of the museum

The idea to create a fashion museum came from the vice president of the Kyoto Chamber of Commerce and the director of the company that produces the most popular brand of lingerie in Japan - Wacoal. The impetus was the exhibition "Inventive clothes: 1909-1939", which the Metropolitan Museum brought to Kyoto.

Museum exposition

It was originally planned that the exposition of the museum will be dedicated to Western European historical costumes. However, later the collection expanded. Today it contains more than 12 thousand items of clothing, both western and eastern, both old and modern, as well as an extensive collection of lingerie, accessories and more than 176 thousand various documents that tell how certain trends in fashion or some specific items.

Most of the exhibit is made up of vintage Western-style women's clothing. In 1998, an addition appeared - two rooms in which, in the context of the "Tale of Genji", the clothes and household items of the Heian nobility are presented. Furniture, character figures and clothing are reproduced at a scale of 1: 4, and part of one room at a scale of 1: 1. Here you can see the outfits that were intended for a particular season, as well as the accessories that rely on them.

The oldest exhibit in the museum - a metal corset with an embroidered bodice - dates back to the 17th century. The newest ones appear constantly, since most of the world's leading fashion houses, including Christian Dior, Chanel, Louis Vuitton, regularly present their new or iconic models.

How to visit the museum?

The museum is open from Monday to Saturday from 9:00 to 17:00. It is closed on national holidays. In addition, from 1.06 to 30.06 and from 1.12 to 6.01 it carries out maintenance.

A visit to the museum will cost 500 yen (about US $ 4.40). Children's ticket costs 200 yen (about 1.80 USD). Getting to the museum is very easy: it is three minutes from the Nishi-Honganji-mae bus stop. From the station, you can also take one of the local trains, get off at Nishioji Station and from there you can walk to the museum in about 3 minutes.

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In the Moscow Kremlin Museums a magnificent exhibition has opened.
For the first time in Russia, in the One-Pillar Chamber of the Patriarchal Palace and in the exhibition hall of the Assumption Belfry, a collection of women's clothing from European high fashion houses of the Art Deco era (fr. Art déco, literally "decorative art") from the collection of the Kyoto Institute of Costume (Japan), as well as jewelry 1910-1930s prominent jewelery houses Cartier and Van Cleef & Arpels, together with original sketches and photographs from archives.
One of the most beautiful periods will appear before you in all its splendor and charm. Magnificent fabrics, intricate draperies, chic embroidery, trains and tassels, delicate lace. And what decorations! And all this is subtle, gentle, feminine! And it is simply impossible not to take advantage of the unique opportunity to see all this beauty.

Coat. Paul Poiret. France, spring 1923.
Silk jacquard with floral pattern, satin, gold lace; weaving weaving.

Art Deco became fashionable thanks to Paul Poiret, one of the most influential Parisian couturiers of the early 20th century. Showcasing the unique talent of Paul Poiret, the coat shown above is characterized by a striking combination of vibrant colors and textures: purple satin shining through holes in lace woven from thick gold thread, and red damask with an Art Deco pattern. The innovative cut, characteristic of all Poiret's work, is also present in this model. The back and sides of the coat are cut from a single piece of red silk, without side seams, and to facilitate the connection of the bodice with the fashionable wide dolman sleeves, decorated with lace inserts, there are slits at the waist level on the sides.

This coat provides an insight into how the couturier was breaking the boundaries between art and fashion.

Collection of the Kyoto Costume Institute.

Another talented couturier who was born in Spain but settled in Italy is Mariano Fortuny, who was also a lighting director, architect, set designer and a great connoisseur of antiquities, created a pleated silk Delphos dress, which resembled a chiton. The source of inspiration for his creation was the ancient Greek bronze statue of the Delphic Charioteer. Thanks to the smallest folds that retained their shape along the entire surface of the fabric, the dress gently enveloped the body, making the woman feel comfortable in it and could move easily.

"Delphos" dress. Mariano Fortuny. France, circa 1910.
Silk satin, cord, glass beads; weaving, pleating, stencil painting.
Collection of the Kyoto Costume Institute.

Interestingly, Fortuny discovered the pleating method by accident. On June 10, 1910, he patented this method in France. And then, on November 4 of the same year, he received a patent for a product that became known as the Delphos dress. The patent clearly stated the motivation of the author: "This invention is a type of clothing based on antique, but its design has such a shape and construction that it is easy and comfortable to wear." This was actually the case. Since this dress was one-piece and did not require buttons and hooks, the woman could put it on without assistance. Recall that this is 1910, when wealthy ladies dress with the help of maids not out of personal whim, but because most dresses simply cannot be put on and buttoned on their own.

Travel bag "Millefiori". Van Cleef & Arpels. Paris, 1928.
White and yellow gold, platinum, red, green and black enamel, red jasper, diamonds, diamonds. 4.2x9.3x1.3.
Collection Van Cleef & Arpels.

The exposition of the exhibition shows how the era unites different types of decorative arts. For the first time, clothes and jewelry as a single ensemble were presented at the initiative of Louis Cartier and Jeanne Lanvin in the Elegance pavilion at an exhibition in 1925 in Paris, which later gave its name to the Art Deco style. The Kremlin museums have chosen the same way of display: elegant costumes are complemented by exquisite and luxurious jewelry by the jewelry houses of Cartier and Van Cleef & Arpels.

Bracelet. Cartier. New York, 1925.
Platinum, 8-cut brilliant-cut diamonds (Old English or "single" cut) and brilliant cut
emerald and ruby \u200b\u200bcabochons, onyx.
Cartier collection.

In general, Art Deco jewelry is surprisingly light, delicate and graceful. Moreover, they are also light in the truest sense of the word. At the very beginning of the 20th century, Cartier could demonstrate the company's innovations: a wide range of artistic techniques and masterly technical perfection of platinum products. Talking about his experience of working with this metal in 1927 in the magazine Internetional Jeweler, Louis Cartier stated: “Thick frames of gold and silver and heavy weaves, known for a long time, were like armor in jewelry. The use of platinum, platinum lace, an innovation introduced us, revolutionized; but using a thin, light metal as a base for precious stones was not easy. We were able to adapt this metal for our purposes only after studying the mechanism of the springs and clutches that support the sleeping car. However, we overcame this difficulty. even got solid platinum by adding nickel and iridium to the metal ends. Platinum will remain our favorite metal until we find another, even lighter, but equal in all other qualities. "

Collection of the Kyoto Costume Institute.

Art Deco favored smooth surfaces of metal, glass, porcelain, leather, polished wood, ivory. Invented in 1855, celluloid was readily used to imitate bone, tortoiseshell or to create a mother-of-pearl effect. An illustrative example of this kind is wooden heels dating from 1925, called "precious heels". They have a graceful curved shape and are stable with a height of 5 centimeters and a circumference of their base of 8 centimeters. Their multi-colored coverings are made of artificial plastic and then painstakingly decorated by hand with rhinestones or metal beads, creating geometric patterns typical of the Art Deco period.

Heels for ladies' shoes. France, circa 1925
Wood, bakelite, celluloid, rhinestones, metal beads; wood carving, inlay.
Collection of the Kyoto Costume Institute.

In the 1920s. Women's skirts in the West became shorter, opening the lower leg for the first time, so shoes became an important part of the fashion image. Shoes were believed to be "as much a barometer of taste as jewelry." In Paris, shoe makers called bottiers created luxurious shoes.

Heels for ladies' shoes. France, circa 1925
Wood, bakelite, celluloid, rhinestones, metal beads; wood carving, inlay.
Collection of the Kyoto Costume Institute.

These heel designs were used to order evening shoes. In the 1920s, it was fashionable to decorate evening shoes not entirely, but partially, for example, a strap and a heel or a toe and a heel, highlighting them with the color or texture of the material. Art Deco aesthetics, subtly combining contrasting colors and textures, was thus extended to footwear. The popularity of decorative heels continued until the 1930s, when evening dresses became long again.
Fashion is a mirror of our society. This phrase can be viewed as the credo of the Kyoto Costume Institute, founded in 1978 and has amassed an amazing collection over almost forty years of its existence.
The combination of dresses and jewelry will allow visitors to the exhibition to reconstruct in all its splendor the special, inimitable Art Deco style, which served as the beginning of the avant-garde design trend, which determined the development of haute couture and art in general up to the present time. The Art Deco style, which has proven its undying appeal, remains today the most expressive means of the embodiment of elegance and the demonstration of luxury. From this perspective, this topic has never been presented at exhibitions in Russia before. Therefore, do not hesitate for a long time, come and enjoy the amazing beauty of one of the most beautiful fashion eras.

The article was written using materials provided in the catalog "Elegance and Luxury of Art Deco" issued for this exhibition. The catalog can be purchased in the shops of the Moscow Kremlin Museums. Price - 2500 rubles.

Address: The Moscow Kremlin. The one-pillar chamber of the Patriarch's Palace and the Exhibition Hall of the Assumption Belfry.
Working hours: from 10 to 17, ticket office from 9:30 to 16:30
Day off - Thursday.
Ticket price: RUB 500 There are benefits.
All the details .

Collection of the Kyoto Costume Institute. Part 1: 1720-1770

The Kyoto Costume Institute was established in 1978 after the first full-scale
high fashion exhibitions in Japan "Creative clothes 1909 - 1939", expositions,
compiled at the Metropolitan Museum of Art in New York. Impressed by
results of the exhibition, President of the corporation "Wacoal" (manufacturer of underwear
in Japan) Koi-chi Tsukamoto, as well as vice president of the Chamber of Commerce and Industry
Kyoto responded to the proposal to establish an institution in Japan where
systematize the achievements of Western fashion, conduct research and
exhibit toilet items. According to the Japanese regulation
government agency for cultural affairs, Mr. Tsukamoto founded it in
april 1978.

Clothing is an integral part of our life, and it changes with
history and society. Paying the most attention to Western-style women's clothing,
The Kyoto Costume Institute (KCI) systematically collects and
preserves outstanding examples of Western clothing from different centuries, as well as documents
and other things related to this area of \u200b\u200bstudy. Studying the culture of clothing,
The Institute conducts interesting research in the field of sociology, which helps
to understand how changes in the life of society affect fashion in general. Understanding all
the importance of such work, Yoshitaka Tsukamoto, current president of Wacoal Corporation
and the chairman of the KCI, follows the example of his father and provides the Institute
comprehensive help. Since the first days of its existence, KCI has been doing everything
possible to replenish its high quality collection, which helps
form thematic exhibitions that introduce the viewer not only to the costume, but also
with the history of different countries.

KCI boasts the widest selection of historical costumes, lingerie,
footwear and fashion accessories dating from the 18th century to the present.
Starting with rare treasures like the 17th century iron corset with embroidered
bodice, and ending with the work of modern designers such as Yves Saint Laurent and
Calvin Klein, the collection provides a broad overview of the evolution of women's fashion.

Early 18th century, England

This doll dates back to the early 18th century. And although she has the proportions of an adult
women, but her dress is that of a young girl. Ribbons and fabric picks on
back were needed to help a child who was just learning to walk. The same
rebounds and ribbons have become commonplace for teenage girls' dresses. In the 18th century there were
dolls for children, and there were dolls - "transmissions" of fashion. Before fashion magazines came along
dolls, dressed in the latest fashion, were sent from Paris with royal ships
to transmit the latest fashion trends throughout Europe.

oK. 1720, France

"Dress-flounce" (robe volante) comes from the attire negligee (negligee (obsolete) -
homely, unassuming, somewhat sloppy clothes) that was worn during
the last years of the reign of Louis XIV (1638-1715). Dress used
popular as formal wear in the early 18th century. Big shuttlecock
sleeves fell from the shoulders, softly "spreading" over the skirt of the dress and was the main
detail that characterizes the style of the dress. And although the corset was always laced up tight,
the flowing soft sleeve and folds of the fabric made the dress cozy, creating
impressions of ease and comfort.

oK. 1740-1750, England

The fabric of the dress, decorated with a floral pattern and shimmering thanks to
silver thread, called Spitalfields silk. Contrast
between blue silk taffeta and silver thread creates a harmonious stunning
beauty. A feature of this dress - or Mantua - is the long
plume. On both sides, the top skirt was picked up at the hips, along with a train,
which, by the way, was worn in different versions. The train was worn either loose,
to show off its long and luxurious, or (as in the photo) folded over the skirt.
Mantua was fashionable from the 1670s to the early 18th century, but in England at his
continued to be worn until the end of the 18th century. This outfit belonged to the Fursdon family of
Devon (southwest England).

oK. 1760, France

"Dress in the French manner" ("robe? La fran? Aise"). Mid woman dress
18th century is characterized by soft, pastel colors and varied
artistic decorations - ribbons, lace and artificial flowers.
Especially laces created using the finest handmade techniques,
most of all decorated the outfits of the ladies of that time. Lace was everywhere - on the necklines,
bodices, sleeves, hats, gloves, and gave the dresses an even more luxurious
view. Lace production held a special place in various regions of Italy,
France, Belgium, and these different types of lace were named after their place
production.

oK. 1760, England

"Dress in the French manner" ("robe? La fran? Aise"). Dress from gorgeous
silk taffeta and Spitalfields silk. Three kinds of gold
threads and 11 threads of colored silk weaved floral ornament on white brocade
canvas. Gold and silver threads added sparkle to the dress. Stunning design
fabric shows the height of the mid-18th Spitalfield silk making technique
centuries. This method of making silk fabric was developed in the 1700s.
in Spitalfield (in the East End, London). Mid 1800s, high quality
fabrics could compete with the well-known fabrics of Lyon (France). Queen
Charlotte (1744-1818), wife of King George III of England, willingly wore a dress
from Spitalfield silk to encourage ("advertise") this kind of fabric.

oK. 1760, England

Typical for the 18th century "dress in the French manner" ("robe? La fran? Aise").
Note the golden-yellow contrasting with the black lace. IN
at the very beginning of Christian culture, yellow was considered the color of heretics. But in
China, yellow was the color of the Emperor, and commoners were forbidden to wear this
color on pain of death. In the 18th century, everything Chinese was in vogue.
awakening a new interest in yellow and made it very popular with
fashionistas of that time. Also in this outfit we see a fish ((fr.fichu) - thin
a triangular or diagonally folded square scarf made of lightweight fabric (muslin,
cambric) or lace covering the neck and décolleté). This item appeared in
the clothes of French women of the lower and middle strata of society in the 17th century. Fichu
covered the plunging neckline popular at that time on a lady's dress, warming and
ensuring the decency of the appearance. However, often the ladies used the fish so that
the handkerchief was more likely to reveal or profitably exaggerate women's charms than
hid them).

oK. 1760, France

Classic women's dress from the Rococo period. Rococo style originated in France in
the first half of the 18th century (during the regency of Philip of Orleans), as
continuation of the baroque style. Rococo is characterized by sophistication,
great decorative load, graceful ornamental rhythm, great
attention to personal comfort. Outfits of this period were made of luxurious silk
fabrics that were produced in Lyon (France). Dresses, in addition to artfully
embroidered fabrics, decorated with lace, ribbons, artificial flowers,
making outfits overly luxurious and rich.

oK. 1765, France

This dress is created using the most sophisticated and delightful techniques of the Rococo era. the cloth
with such a blurry pattern was called "chin?? la branche" (approximate translation - "Chinese
technique "). The essence of this technology was as follows: after the first
the process of weaving the warp, which serves to connect the threads and avoid their displacement
on a printing table, colors are manually applied to them. After the process of applying all
colors on the base of the fabric, it is again placed on the loom and woven
finally. A distinctive feature of these fabrics is that the colors and shapes
picture remain blurry, indistinct. This technique was extremely time consuming,
and fabrics with such patterns were made exclusively in Lyon (France).
Usually, delicate materials such as silk taffeta were woven this way. FROM
the middle of the 18th century, it was very fashionable to have expensive outfits made in "Chinese"
technique. The blooms of these fabrics were deliciously soft pastel colors. Madam
Pompadour, by the way, was crazy about outfits in "Chinese technique", for which this
the style is also nicknamed "Taffeta Pompadour".

oK. 1770, France

The bodice of the dress in the "comp? Res" style consists of two valves (left and
right), fastened with buttons. With the introduction of this style, a tight bodice,
which women constantly wore was no longer necessary. Starting from this
period, women's dress becomes more calm and comfortable, and the style
gaining immense popularity after tight uncomfortable corsets.

oK. 1770, England

This Spitalfield silk dress exhibits a high level of textile
technology achieved in the middle of the 18th century. In this yellow dress you got hooked
chinese and Greek motives popular at the time. "Chinese" style encouraged
people to foreign countries, and their exotic beauties found their reflection
in the fashion of the West. Meanwhile, excavations of the ancient Roman city, begun in 1738
Herculaneum made popular the ancient Roman and ancient Greek
motives.

oK. 1775, France

This dress showcases the amazing possibilities of hand embroidery. The outfit conquers
exquisite monochrome fabric, numerous decorations created only
needle and thread. Traditional French sewing techniques are used here: "bouillonn?"
in which the fabric is gathered in large folds to add volume; "boutis"
was to fill with cotton the space between two quilted layers
fabrics; "tuyaut?" - when the fabric is rolled into a tube to create such waves.
All this, together with delicate jewelry and silver thread, conveys an exquisite
sophistication of the rococo style.

oK. 1770-1775, France

This sophisticated rococo dress combines subtlety and beauty,
sophistication and wealth. The combination of colors and stripes is one of the most popular motives
that time. And this trend towards "light image" is gaining more and more interest.
in this period of the 18th century.

oK. 1770, France

Flounces, fringes, chenille, ribbons, artificial flowers and lace - all this
necessary decorations for dresses in the style of rococo. And although this dress is all
these decorations seem to be excessive, they get along well and complement each other.
The fabric of the dress - silk brocade - comes from Lyon, a famous center for quality and
18th century design. The passementerie technique, in which flowers are woven on fabric,
originated in France in 1653 and reached its peak by the 18th century.

oK. 1775, France

This dress is crafted from a delightful "canel?" Fabric, embellished with an intricate
floral decorations and pieces of fur. In the manufacture of such fabric is used
chenille, silk threads, satin and twisted yarns. This dress is Madame Oberkampf (whose
husband created a modern printing plant in the suburbs of Paris - Jouy-en-Josas)
dressed for an audience with Queen Marie Antoinette in 1775.