Photo/Illutration Majolica Omeshi, a type of kimono with an exotic design, caused a sensation in the 1960s. (Emi Tadama)

Once dismissed as outdated and having little value, kimono from the postwar era are now being re-evaluated for their rich design, cultural significance and historical context.

At the forefront of this movement is Akiko Matsumae, representative director of the Showa Kimono Aikokai (Showa kimono society). She is adamant that the overlooked garments from the second half of the Showa Era (1926-1989) deserve to be seen in a fresh light.

While pre-war kimono often carry the antique label and are cherished for their rarity, many postwar pieces have long been forgotten at the back of wardrobes or sold cheaply.

Matsumae is challenging that perception, arguing that the very characteristics of the 1950s to 1980s-–mass production, innovation and evolving fashion–-make kimono from that period especially compelling.

“People think these kimono are worthless just because they were mass-produced,” Matsumae explains. “But that’s exactly what makes them interesting. The competition among artisans and the burst of creative design during that period gave rise to an incredible variety of styles.”

One standout example is the Majolica Omeshi, a distinctive woven kimono that emerged in 1959 in Tokamachi, a renowned hub of kimono production in Niigata Prefecture.

Inspired by European Majolica ceramics, the fabric incorporated glittering threads and tropical motifs through machine weaving, appealing to young women for its vibrant, exotic look. It was often worn as a party dress, blending Western and Japanese aesthetics.

Another postwar sensation was the Kuroebaori of the 1960s and ’70s, dubbed the “PTA look.”

Mothers attending school events could slip this stylish black jacket over more colorful kimono of their youth, instantly creating an appropriate and sophisticated appearance.

These garments also helped revitalize local economies. Both the Majolica Omeshi and the Kuroebaori contributed significantly to production in Tokamachi during the late Showa period.

As the overall popularity of kimono as everyday clothing declined, producers and retailers kept making innovations to keep the industry alive, resulting in a uniquely vibrant period in Japan’s textile history.

Based in Kyoto, Matsumae’s group has zeroed in on kimono from the 1950s to the 1980s.

The members are not merely cataloging the garments’ aesthetic appeal. Rather, their goal is to document this aspect of cultural history by examining the social background, market trends and production systems of the time. Through this approach, they aim to place kimono within an industrial and economic context.

“Showa was a rare and remarkable era in which ordinary people could wear silk garments,” Matsumae said. “We are exploring the social background against which kimono regained significance after losing its role as casual wear.”

The group plans to continue documenting stories across the country, interviewing producers, retailers and consumers to capture a broader picture of how these textiles bridged tradition and modernity in one of Japan’s most dynamic eras.

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