The Kimono Gallery

Kumamoto Castle, Japan

Photography by Maeshin Photo

A replica of the Jo-an, a historic 17th-century Japanese teahouse designated as a National Treasure of Japan.

“Shirabyoshi” Dancer Ando Hirochika II 1870s–1880s One of a pair of hanging scrolls (right); ink and color on paper William Sturgis Bigelow Collection at MFA

Suntory Museum of Art “Connecting Beauty. Opening Beauty. 19th century Bingata textile details from Ryukyu, Japan

Atsume Stardust, the Gemini meteor shower at Lake Shikotsu. kikuo_f_photography @mendy_hokkaido

This mid-twentieth-century Japanese silk textile detail features an all-over, masterfully executed shibori (resist-dyeing) pattern.

Photo by @sbymsz Hairdressing @kamiyuiumeko

This kinsha silk girl's kimono has a rich purple ground, serving as a dramatic backdrop for an abundance of seasonal imagery including chrysanthemums, maple leaves, flowing water patterns (seigaiha). Early Showa period (1926-1940), Japan

Cluster Amaryllis - Hidaka, Saitama, Japan

Shinto Priest’s headdress Kanmuri | Galerie Flak

Standing at the entrance to Watanabe Sake Brewery (Watanabe Shuzōten), maker of the renowned Hōrai sake, situated in Hida-Furukawa (Hida City), Gifu Prefecture, Japan.

Geisha in a Rickshaw c.1900, Japan

Rashomon" 1950 … Toshiro Mifune and Machiko Kyo … Director Akira Kurosawa

“Woman Playing Battledore and Shuttlecock at New Year”. Ukiyo-e woodblock print. About 1740’s, Japan, by artist Okumura Masanobu.

The mossy stone steps and torii gate of Kamo Shrine (Kamo Jinja) located in the cedar forests of Keihoku, Ukyo-ku, Kyoto.

This textile detail features a vibrant Japanese kimono panel crafted during the Taishō period (1912–1926) on a luminous turquoise-blue rinzu (silk damask) ground.

This woodblock print, designed circa the 1840s, is a celebrated masterpiece of visual parody and culinary theater by the legendary late-Edo ukiyo-e giant Utagawa Kuniyoshi (1798–1861).

This 1950s meisen silk kimono features scattered triangular forms in vivid colors—red, yellow, green, and orange—set against a stark black background, with each triangle containing intricate internal details.

Dating predominantly to the Edo period (1603–1867), highly decorative pierced arrowheads like this piece represent a peak manifestation of samurai martial refinement and monozukuri (craftsmanship excellence).

Magazine cover Illustration. 1936, Japan.

Japanese actress Masako Natsume (1957–1985)

Captured by Austrian photographer Patrick Vierthaler, this serene winter image depicts the snowy grounds of Matsugasaki Daikokuten (Myōen-ji Temple) in Sakyō Ward, northeastern Kyoto.

Mount Haguro, Yamagata, Japan

September 2020: Aoi-tayuu, of Suehiroya okiya, and her kamuro enjoying the garden at the Kyomachi Rakutabi during a photo session.

Vincent van Gogh, like many other late nineteenth century artists, was a great admirer of Japanese prints. He produced his own versions of a few of them in oils, such as his Flowering Plum Tree, based on a Hiroshige design. Flowering Plum Tree, by Vincent van Gogh. Oil on canvas, 1887.

Vincent van Gogh, like many other late nineteenth century artists, was a great admirer of Japanese prints. He produced his own versions of a few of them in oils, such as his Flowering Plum Tree, based on a Hiroshige design. Top image: Kameido Plum Garden, by Andō Hiroshige. Woodblock print, 1857.

Haode Temple, Setagaya Ward, Tokyo. Photography by Katsu

Another (6 of 6) high-concept kimono robe designed by the visionary Japanese designer Eiko Ishioka, for the movie Chushingura (1997).

Another (5 of 6) high-concept kimono robe designed by the visionary Japanese designer Eiko Ishioka, for the movie Chushingura (1997).

Another (4 of 6) high-concept kimono robe designed by the visionary Japanese designer Eiko Ishioka, for the movie Chushingura (1997).

Another (3 of 6) high-concept kimono robe designed by the visionary Japanese designer Eiko Ishioka, for the movie Chushingura (1997).

Another (2 of 6) high-concept kimono robe designed by the visionary Japanese designer Eiko Ishioka, for the movie Chushingura (1997).

This striking theatrical costume photograph displays a dramatic, high-concept kimono robe designed by the visionary Japanese designer Eiko Ishioka, for the movie Chushingura (1997).

Captured by Japanese photographer Juri Ishiwata for her photobook Whisper of the Snow (Yuki no Sasayaki), this stark, grainy monochrome photograph presents a quiet winter landscape at the edge of a snow-covered agricultural field.

This meisen silk kimono displays a striking pattern of stylized chrysanthemum (kiku) flowers rendered in bold red and cream against a dark background. Early Showa period (1926-1940), Japan

This mystical shrine called Aritagawa-cho known as the crude shrine. Lost in the mountains of Wakayama prefecture, Japan. This shrine is 989 years old.

"Village in Shugakuin" , created in 1918 by Japanese artist Hayami Gyoshū.

“Narihira” Dancer Ando Hirochika II 1870s–1880s One of a pair of hanging scrolls (left); ink and color on paper William Sturgis Bigelow Collection

Wiki: Abura-sumashi (油すまし?, “Oil Presser”) is a creature from the folklore of Amakusa in Kumamoto prefecture, Japan

Serialized by Mademoiselle Yulia, who is active as a DJ / kimono stylist.

This image depicts the scenic open-air museum village of Saiko Iyashi-no-Sato Nenba, located on the western shores of Lake Saiko near Mount Fuji in Yamanashi Prefecture, Japan.

Running across the street on a rainy day in the Gion district of Kyoto, Japan. Photography by George Barker

This silk kimono showcases a magnificent display of flying cranes rendered through stencil technique, creating a pattern that embodies both the spiritual significance and aesthetic beauty central to Japanese culture.

Two young foxes in Hokkaido, Japan. Photography by Yasuhiko Yoshihiro

Amida Nyorai sitting statue. Asuka-ji temple, Nara, Japan

A traditional Japanese tea room (chashitsu) arranged for a classic Japanese tea ceremony (Chanoyu).

Kimono arabesque @KarakusaKimono 207-1 Nakanocho, Higashiyama-ku, Kyoto

This vibrant haoei panel originates from Japan’s early Showa period (1926–1940) and is a scholarly example of the bold, graphic meisen silks that defined the pre-war era's "Modern Girl" aesthetic.