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Influential Women: Sada Yacco x Cyclicity

On the advent of the twentieth century, an exquisitely talented Japanese geisha arrived in the U.S. and took the West by storm. Traveling on to Europe, she was destined to leave her mark on each city and every heart fortunate enough to be graced by her presence. Japan, and its enchanting representative, had arrived.

Sada Yacco by Alfredo Müller, 1899-1900

Sadayakko Kawakami (commonly known as Sada Yacco) was born on July 18, 1871, the youngest of 12 children. At the early age of four, she was sent to work in the Hamada geisha house, located in the Yoshicho district of Tokyo. Three years later, her father died and the proprietress of the Hamada house adopted Sada as her heir.

She debuted at the age of 12 as an o-shaku (an apprentice geisha), and received her first geisha name. She was given the name Ko-yakko, or Little Yakko. She was sent to a Shinto priest to learn how to read and write, which was revolutionary at the time because women’s education was only just beginning. She took secret lessons in judo and learned how to ride horses and play billiards.

In 1886, her mizuage was sold to Prime Minister Ito Hirobumi at the age of 15. Her coming-of-age ceremony gave her the name Yakko, and the prestige of her patron increased her popularity at teahouses. He remained her patron, and she his mistress, for three years.

She discovered a passion for acting through the entertainment world of the geisha. Geisha performed music and dance of the same genre as kabuki, including dance solos from kabuki plays—but only for private and exclusive customers. Yakko much preferred the exciting male roles in these performances, with their dramatic posing and fight scenes, over the coy women’s parts.

Yakko married an actor named Otojiro Kawakami in October 1893. She had met him during a private performance by his troupe for the prime minister and a select few geisha. His flamboyant and powerful personality attracted her to him instantly. Their shared love for the stage could also have played an important factor in their mutual attraction.

In 1899, at the turn of the century, they set out with a theater troupe for San Francisco, where Yakko was promoted as the starlet of the troupe. She was given the stage name “Sadayakko” and debuted on May 25th. Her dance was bewitching and so skillful that she ignited a storm of applause. 

Sada Yakko circa 1910s

Her dance wowed audiences immediately and her debut was a great success. She became an icon—the entrancing Yakko, the most celebrated geisha in Japan and a woman who bewitched Westerners without the ability to speak a word of their language.

Their first tour was across the United States from June 1899 to April 1900. It crossed the Atlantic and continued on to Europe from May 1900 to November 1901. They departed for their second tour in April 1901 and toured around Europe until July 1902.

Once arriving in America, Sada Yakko and her troupe quickly found success. After winning the respect and recognition of superstar Isadora Duncan, another celebrity, American Loïe Fuller elevated her status even further. Thanks to him, the doors of the theatre in Paris were opened to her, and he even acted as an interpreter in her interviews with foreign magazines. In 1900, Sada Yakko performed The Geisha and the Knight in Paris as part of the Exposition Universelle and became an overnight success. It was the first time that a Japanese theatre troupe had appeared in France, and they were so triumphant that Sada Yakko was even invited to host a garden party at the Élysée Palace—the official residence of the French president. 

Sada Yakko as Musume Dojoji, 1907

Her success continued the entire time she was abroad. Pablo Picasso sketched her; Debussy was inspired by her when composing music. Her arrival in Paris coincided with the Japonisme movement, which she contributed to as an idol and muse for French creatives. Guerlain created a perfume in her honor named “Yacco.”

Sketch of Sada Yakko by Picasso

An interest in kimono accompanied the sweeping wave of Japonisme, and Sada Yacco became the face of it in Paris. An elegant shop called Au Mikado bought the right to use “Yacco” as a brand name. Here, they sold the “Yacco” Guerlain perfume, “Yacco” skin cream, and even “Yacco” candy. But the most popular item was the “Kimono Sada Yacco.” Before the release of Au Mikado’s “Kimono Sada Yacco,” the only women who could afford (Westernized) kimono were the wealthy because of its lavish expense. However, with the introduction of “Kimono Sada Yacco,” ordinary women could afford the look too. The garments sold for a mere 12 to 18 francs. Now everyone could enjoy the exotic lifestyle of Sada Yakko!

An advertisement for “Kimono Sada Yacco”

After returning home to Japan from Paris, Yakko opened her own acting school for women in Tokyo. Applicants were to be aged between 16 and 25, educated to at least the junior high school level, and have two guarantors who were Tokyo homeowners. They were to be educated in history, script writing, traditional and modern acting skills, Japanese and Western dancing, and musical instruments such as the flute, shoulder drum, shamisen, and koto. The course would be two years and wouldn’t cost a yen, but students were expected to perform at the Imperial Theater as part of their practical training. Anyone who left before the two years were up would be charged for the tuition costs that had been waived. Out of 100 applicants, Yakko selected 15 students, and the school opened on September 15, 1908.

Less than a year after Otojiro’s death, perhaps around April 1912, Yakko rekindled her relationship with the married businessman, Momosuke Fukuzawa. They had known each other since childhood and were both in need of some love and support. Although it was not uncommon for married men to seek out mistresses, it was typically done in secret. This, however, was not the case with Yakko and Momosuke. They lived together, traveled together, and flirted with each other so openly that they caused a public scandal. Despite the critics, they both continued to support each other’s careers—Yakko was now starring in acting roles of her own choosing and Momosuke was pursuing several business ventures.

In September 1917, Sadayakko announced her retirement, with her last performance being the lead in the opera, Aida. When Sada retired, she gave up her stage name and geisha name. In 1933, Momosuke was in poor health and they decided that he should move back to his house and wife in Shibuya, and they ended their relationship. They held a solemn ceremony to mark the end—they’d been together for over 20 years. She survived the war, but soon after Japan surrendered, Sada discovered that she had cancer of the liver, which had spread to her throat and tongue. She died on December 7, 1946 at the age of 75.

Sada Yacco was a pioneer of her time, her culture, and her gender. She influenced an entire fashion movement in Paris, and traces of that influence remain today in the form of contemporary Western fashion companies selling “kimono” that resemble more of a duster or long open cardigan. The remaining kimono-inspired fashion of contemporary time is Sada’s cyclicity.

Sada Yakko reading

Sources: “Sada Yacco”; “The Story of Sada Yacco, the Japanese Geisha who Bewitched Europe”; “How Japan’s Most Prominent Geisha Was The Original Beauty Influencer”

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Japonisme in Fashion x Cyclicity

Note: I originally wrote this for my company’s blog, ChuMedia Hub.

In 1853, Commodore Matthew Perry and his famous black ships arrived in Japan and kicked off the beginning of Western trade. Although Japan was forcefully reopened to the West after having been closed for over 200 years, there is some debate as to whether or not this was ultimately a good thing for Japan. But in this article, we are merely tracing the consequences of its opening and the creation of “Japonisme” in the West.

The French term “Japonisme” emerged to describe the powerful fascination with Japanese art and design that occurred in the West during the late 19th century. Japan was reintroduced to the world, and the world was loving it. The term also refers to the works created by Western artists and designers who were inspired by Japan. While the phenomenon is present in a range of art movements, it is most closely associated with Impressionism, as the Impressionists were influenced by the subject matter, composition, and perspective of Japanese ukiyo-e prints.

Image via artelino

Claude Monet was particularly inspired by Japonisme and had amassed quite the large collection of ukiyo-e prints during his lifetime. I’ve had the privilege to visit his home in Giverny and saw his impressive collection hanging up on the walls of his old home. 

In tune with the popular theme of Japonisme, Monet painted a striking portrait of his first wife Camille in Japanese costume. Camille is wearing a padded and heavily decorated red kimono, standing on a tatami-inspired mat, in front of a wall decorated by Japanese fans. Being a natural brunette, she is shown wearing a blonde wig—perhaps to emphasize the contrast of her as a European woman over the Japanese environment she’s been placed in. The painting evokes a kind of performative appropriation of Japanese culture, rather than an authentic Japanese climate.

La Japonaise by Claude Monet, 1876

One of my favorite painters, Vincent Van Gogh, was also influenced by, and collected, Japanese ukiyo-e prints. In 1887 he produced the work “The Courtesan (after Eisen)”, which was based on the woodcut print of the artist Kesai Eisen. The image had been reproduced on the cover of Paris illustré in 1886. Van Gogh enlarged the figure and used bright colors and bold outlines, in imitation of the ukiyo-e woodcut style. 

The Courtesan (after Eisen) by Vincent Van Gogh, 1887

During the seclusion of the Edo period, the Japanese maintained a strict trade policy with the Dutch through the Dutch East India Company in Nagasaki. In the late sixteenth century, the director of the company and his companions received a “shogun’s gown” as a gift from the shogun. The robe was padded with silk wadding, generous in cut, made of exquisite materials, and very comfortable to wear. The Dutch took these home to Holland, where they became prized as “Japonse rok” (Japanese dressing gowns). They became very popular, appearing in portraits of the time and were even manufactured in other countries.

Image via Huis Van Gjin

Even with the Japonse rok and the opening of Western trade, it was the advent of international expositions in the mid-nineteenth century that thrust Japan into the spotlight. Many Europeans and Americans first saw Japanese artwork and design at the 1862 International Exhibition in London, 1867 in Paris, and 1876 in Philadelphia. Shops selling Japanese wares sprung up in Paris and London during the 1860s and became gathering places for artists and art dealers. Artists began incorporating these “exotic objects” in their paintings, with kimono making its way to the forefront of popularity.

In 1867, the year of the exposition universelle in Paris, Japonisme made its debut in fashion magazines. The October edition of the Journal des demoiselles contained an illustration of clothes labelled “Japanese style”. The June 1 issue of Petit Courrier des dames mentioned “dresses of Japanese silk” purchased by Empress Eugénie, which may have been Japanese kimono. Dresses fashioned from pieces of kimono or made of kimono material began appearing in England and France in the 1860s and 1870s.

Chinese and Japanese Exhibits at 1867 World’s Fair in Paris

Japanese Satsuma Pavilion at the French expo 1867

The most popular item of dress exported to the West was a modified version of the kimono worn as a dressing gown. Kimono had graduated from an exotic Japanese object to a fashionable at-home dress. Western women saw liberation and ease, as well as exoticism, in kimono garments, which consequently saw them adopting them as dressing gowns. Beginning in the 1880s, women’s magazines like Harper’s Bazaar were promoting “Japanese matinees” and dressing gowns of Japanese silk from Liberty and Company of London. It was only until the turn of the century when the word “kimono” came into use.

La parisienne japonaise by Alfred Stevens, 1872

A large contributing factor to the late nineteenth century’s momentum of the kimono was the performing arts. Opera and theater were popular in France, with Japan being quite a popular theme for the stage. In 1885, the Mikado, a performance in which Japanese dress plays a significant role, premiered in London. Through this medium, the knowledge of Japanese kimono gradually spread.

Mikado by Raphael Kirchner, 1900

In 1900, Sada Yacco, the famous Japanese actress, performed in Paris and bewitched the city. Paris was entranced with both her beauty and her skill in wearing kimono, a skill that came naturally to her because of her previous life as a former geisha. She became a sensation and inspiration to many people of influence in the arts—Picasso even sketched her!

Sada Yacco by Pablo Picasso, 1901

Sada Yacco became the star of Paris—the boutique Au Mikado began selling “Kimono Sada Yacco”, and in 1903, every issue of Femina contained an advertisement for them. From around 1905, Le Figaro-Madame often carried advertisements from the House of Babani for “robes japonaises”, Japanese-style garments or dressing gowns. These items were considered the newest addition to an upper-class lady’s peignoir selection and the House of Babani became very successful by selling them.

In 1907, Sada Yacco visited Paris for a second time, and consequently influenced and expanded the role of kimono in the Paris fashion world even further. Her return prompted the emergence of nukiemon (the revealing of the nape of the neck). It soon became the fashionable way to wear kimono. In Paris, kimono were worn as unbelted, sweeping outer robes, similar to the ones seen in ukiyo-e prints. The mikaeri bijin pose (a beautiful woman looking back over her shoulder) became a popular motif found in the pages of fashion magazines.

Beauty Looking Back by Hishikawa Moronobu, 17th century

Charles Frederick Worth, an English couturier and fashion designer, was one of the influential forces in fashion drawn to Japonisme. Beginning in the late 1880s, he started incorporating various elements into his creations through a painterly approach to pattern design, embroidered Japanese motifs, and asymmetrical placement of these motifs. Before Worth, the father of haute couture, asymmetry was rarely found in Western clothes. However, Worth’s fabulous asymmetrical dress changed that.

Beginning in 1890, the Japanese motifs typically favored by the West were chrysanthemums, flowing water, flowers, birds, waves, and various grasses. Chrysanthemums were especially popular, and until the 1920s, they appeared over and over in fashion as a symbol of Japan. Similar, perhaps, to Hokusai’s “Great Wave” iconography, which developed into an emblem of Japan in contemporary times.

Opera Cape by House of Worth, 1899

Ball gown by House of Worth, 1889

Side view of ball gown

Evening dress by House of Worth, 1889

Coat by House of Worth, 1898

Evening dress by House of Worth, 1898-1900

Up until the appearance of Paul Poiret on the Paris fashion scene, Japonisme in fashion was limited to Japanese-style motifs and silk weaving techniques, while the clothes themselves remained Western in shape and form. In 1903, Poiret began to create clothes inspired by the cut, look, and drapery-like quality of a kimono. This inspired a new concept of clothing that emphasized the shoulders, not the waist, and incorporated loosely-cut sleeves and crossed bodices into evening dresses. Evening coats began to swathe the body like comfy cocoons, with their loose-fitting silhouettes and straight cuts. Say goodbye to the corset! Goodbye, corset.

Embed from Getty Images

Embed from Getty Images

Madeleine Vionnet, a French fashion designer and couturier, is remembered for liberating  women’s bodies through her clothes (alongside Coco Chanel). Vive la libération! She was inspired by the straight form of Japanese kimono and began creating dresses that were focused on a kimono’s structure in the late 1910s. She abandoned the traditional practice of tailoring body-fitted pieces from numerous and complex pattern pieces and embarked upon a more minimalist approach. She minimized the cutting of fabric and relied on surface ornamentation by manipulating the fabric itself. Vionnet created clothes that flowed over the body from pieces cut along straight lines. She is known for pioneering the idea of the bias cut, which was partly based on the rectangular cut of the kimono. Bias cut fabric stretches as it hangs and clings to the body, draping beautifully, and creating an ethereal rippling effect as the wearer moves.

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Embed from Getty Images

Because pioneering designers like Poiret and Vionnet incorporated the straight cut construction of the kimono into their designs, 1920s fashion was increasingly marked by the popular cylindrical dresses we are familiar with today. These silhouettes have come to define this decade for us through film, television, and other costume-related media. Ideas of volume and three-dimensionality were brought to the forefront of dressmaking, as a freer range of form became all the rage. I was surprised myself to find this connection between the iconic kimono and the iconic “flapper” dresses of the 1920s. Another surprising connection is the scale pattern, or seigaiha (blue ocean waves), pattern that was widely used as a popular motif of the Art Deco school. 

https://www.tumblr.com/defunctfashion/177286672381/gustave-beer-c-1919-through-the

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The influence of Japonisme and other “exotic” cultures began to wane in the late 1930s. American and European designers began to create modern versions of historical Western dress that dominated the fashion scene through the 1950s. The revival of familiar historical styles offered up an escape from the stress of the Great Depression and the impending sense of doom with the growing power of nationalism in Europe. Japonisme was abandoned.

Embed from Getty Images

Embed from Getty Images

Embed from Getty Images

Today, although Japonisme has retired from its previous larger-than-life presence, the influence of Japanese design and aesthetics continues on in the fashion industry. Fashion greats like Issey Miyake, Rei Kawakubo, Yohji Yamamoto, Kenzo Takada, and Hanae Mori still define the fashion landscape today. Whether it be Kawakubo’s consistent defiance of dress stereotypes, or Miyake’s famous pleats collection, it is certain that Japan has more than made its mark on the fashion world. Why else would Kim Kardashian have tried (and failed) to trademark the word “kimono” for herself?

Embed from Getty Images

Embed from Getty Images

Embed from Getty Images

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Embed from Getty Images

Sources: “Japonisme”; “Japonism in Fashion”; Brooklyn Museum “Japonism in Fashion”; “How the Kimono has influenced the World of Fashion”; “Japonism’s Influence in Fashion & Art”; Google Arts & Culture “Japonism in Fashion”; “Japonisme”; “Japonism: A Rich History of Artistic Inspiration”; “How Japanese Art Influenced and Inspired European Impressionist Artists”; “7 Things you Need to Know about Japonisme”; 

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Japanese Beauty Standards x Cyclicity

Note: I originally wrote this for my company’s blog, ChuMedia Hub.

What comes to mind when you first think of Japanese beauty? A classic image of a woman with black hair, white skin, and red lips? The traditional color palette—black, white, and red. 

The Japanese have an old saying, “a fair complexion hides seven flaws,” which has remained relevant throughout their history, all the way up to today. The same beauty standards from the past find themselves still relevant today, but with a contemporary twist. Whitening products line beauty stores in Japan, with the promise of lightening and whitening one’s skin. I’ve noticed that big global brands like Chanel tote whitening products for their Asian market as well. When I went to purchase more perfume at a Chanel boutique, I was gifted samples from their whitening product line. I ended up giving them to a Japanese friend of mine. I have sensitive skin and I’m not sure how my skin would react to products like that. I also don’t care about having white skin; my skin is already pretty white.

While many traditional Japanese beauty standards have withstood the test of time, there are also those that didn’t. Let’s take a look.

White Skin

White skin is a Japanese beauty standard that has remained prevalent throughout most of Japan’s history and continues to dominate the landscape today. During the Nara period (710-794), women would apply a white powder to their face called oshiroi, which continued into the Heian period (794-1185) as a symbol of beauty. However, only noble Heian women had access to cosmetics, so anyone who was not an aristocrat was excluded from this practice and status symbol. References to the striking beauty of white skin can be found in the diary of Lady Murasaki and the Tale of Genji.

During the Edo period (1603-1868), the culture of white skin was extended to commoners, but an emphasis was put on a more natural look. A beauty manual titled “Miyako fūzoku kewaiden” (A Handbook of Cosmetics in the Capital) was published in 1813 and remained the go-to reference item on beauty through the next century. This handbook contained a range of skincare techniques for making the skin beautiful and white. These techniques ranged from facial cleansing, herbal treatments for acne, facial packs made from lead oxide, rice bran as a facial exfoliant, and even the use of collagen as a facial pack. 

The natural look that women in the Edo period tried to achieve was more of a polished and translucent white skin tone. Every day, a great deal of time was spent on applying makeup and cosmetics that accentuated the natural beauty of the skin. The handbook described how oshiroi should be repeatedly applied and removed by rubbing the cheeks with a towel to make the skin resemble porcelain. Some women would even apply white powder to their ears and neck as well, intentionally leaving some areas untouched to create a contrast between the white makeup and naked, natural skin.

Wearing makeup was considered good etiquette and women were expected to be made up from the early morning until late at night, including bath time. Applying makeup was considered a private act, not to be seen by others. This may be the reason why it is rare to see Japanese women putting on makeup in public, contrary to their Western counterparts.

As Westernization hit Japan via the Meiji era (1868-1912) and the country was thrust into the modern world, heavily powdered white faces fell out of fashion. Western cultural influences were introduced and swept the nation clean. However, kabuki performers and geisha still wear this traditional white makeup today, so it has not gone extinct.

Image by Nicole Ene via Pixabay

Blackened Teeth

Ohaguro, the traditional blackening of the teeth, can be traced as far back as the Kofun period (300-538). However, it was the Heian period that saw it become more widespread amongst the aristocracy and introduced as a coming of age ritual among girls and boys. During the Edo period, ohaguro became common practice amongst married women, unmarried women over 18, geisha, and courtesans. In order to blacken the teeth, a dye made out of iron filings, vinegar, and plant tannins was applied to the teeth almost every day.

But why did women dye their teeth black? It may seem strange hearing about this today, but back then it was thought to complement the white makeup women wore. Simultaneously, it acted as a way to conceal bad and yellow teeth, especially since a white face inevitably made the teeth appear yellower. Ohaguro was actually good for the teeth as well—the mixture helped to protect against cavities, tooth decay, and other dental conditions.

Black was also an important color in the Japanese expression of beauty and elegance. It was associated with a Japanese woman’s distinctive black hair and stained black teeth. Teeth that were black as night was a popular beauty ideal until the 19th century. In 1870, the practice of blackened teeth was banned among the nobility, but continued to be followed by other non-noble social classes until the early Shōwa period. 

Many Westerners who visited Japan saw ohaguro as a repugnant Japanese custom that disfigured women by making them intentionally unattractive. It didn’t follow the standard Western beauty practices, so of course they didn’t understand.

Image via The Irish News

Floor-Length Hair

Hair was the most important feature of a woman’s physical beauty during the Heian period. As long as it was long and glossy, she was considered beautiful. The longer the hair, the more beautiful the woman. This period saw Japanese beauty standards break free from the influence of China to create a more distinct aesthetic of their own. This included floor-length hair, white powdered faces, and the blackening of teeth. It is believed that this long, flowing hair trend was a form of rebellion against the shorter hairstyles and buns that were popular in China at that time. 

The noble women of the court would have their hair parted down the center, falling straight down their back; barely any styling technique was used. Aside from keeping hair long, it was just as important to take good care of it. Rice water, camellia oil, and sanekazura extract were used to keep hair glossy. Washing and combing the hair was an all-day affair that required the attention of many servants. The longest hair ever recorded was around seven meters. No wonder so many attendants were needed!

Image via Life in Heian Japan and Medieval Europe

Shaved Eyebrows

Shaved eyebrows was another Japanese beauty standard that was practiced throughout history. Starting in the Nara period and ending in the Edo period, women would engage in hikimayu—a makeup practice that involved removing one’s natural eyebrows and then painting them back on. This practice was closely associated with oshiroi because removing natural eyebrows made it easier to apply the white powder.

In the Nara period, women would paint the brows in arc shapes. In the Heian period, eyebrows were painted high up on the forehead as ovals or smudges. Because of the sleek and long hairstyle of that period, the forehead appeared too prominent. Thus, the eyebrows were repainted higher up on the forehead to help balance out the face.

During the Edo period, hikimayu was only done by married women after the birth of their first child. They would then either repaint the brows at the original location or leave them bare. With the aggressive entrance of Western influence thrust upon Japan during the Meiji era, hikimayu began to die out. It can be seen today most commonly through the Heian-style masks used in Noh theater.

Nara period eyebrows

Image via grape

Heian period eyebrows

Caption: Noh Mask of a Young Woman by Ogura Sōei. 

Image via artsmia.org

Red Rosebud Lips

Everybody loves a red lip, and the Japanese are no exception. However, it was small lips that were traditionally considered a standard of beauty. Japanese women would apply beni to their lips, a red color pigment made from safflower, and paint inside their lip line to make their pucker look like a bright red flower bud. 

During the Edo period, a new trend was taking shape amongst the ladies of Osaka, Kyoto, and Edo. Women were dressing up to go out to kabuki performances, nature-viewing parties, or other events, and began wearing the clothes of kabuki actors and beautiful courtesans. Flowery, eye-catching styles became fashionable. Rouge and red lipstick were used to accent ears, lips, and the outer corners of the eyes. Red, white, and black were the only colors used in makeup during that time and can still be seen today in the faces of geisha and kabuki actors. Yet, the Meiji era again saw the disappearance of the red rosebud lip trend and introduced a full palette of makeup hues to the vanities of Japanese women.

Today, the best models for the small rosebud lips of the past are geisha.

Image via Peter Brown’s Australian & Asian Palaeoanthropology

Western Influences and 20th Century Practices

The beginning of the 20th century saw an emergence of quick application and convenient makeup practices. This was in direct correlation with the advancement of women in both society and the workplace. Foundation, face powder, and lipsticks were being sold in a wider variety of hues, while emulsions and skincare products started appearing on the market as the Western industry’s influence began to permeate the Japanese market. The end of World War II especially saw a heavy influence on Japanese aesthetics with the influx of the American mass media market.

The postwar period and the 1960s saw Western styles of makeup gaining popularity—eye shadow, oil-based foundations, mascara, false eyelashes, and other products began lining Japan’s shop shelves. The spread of color televisions in the 1960s were a surprising influence on this trend—the films shown at movie houses usually had a pinkish overtone, which saw a growth in popularity of pink makeup. 

The 1970s and 1980s, however, marked a move away from Western culture as more women began proudly embracing their identity as Japanese. Yamaguchi Sayoko, a Japanese model who was the first Asian model to grace the Parisian runways, served as an inspiration of Japanese beauty as an international icon. While her black straight hair and almond-shaped eyes inspired a kind of orientalism in the West, it also helped inspire young women back home. During the 1960s, almost 50% of models used in Japanese advertising were non-Asian—even Shiseido used exclusively half-Japanese models until 1973, when they signed Yamaguchi. With her exploding popularity in the fashion and beauty world, Yamaguchi helped to build a new appreciation of modern Japanese beauty.

Image via Wooly

Contemporary Practices

Although the heavy face powder look of Japan’s previous eras has passed, beautiful white skin is still a crucial beauty standard today. A great importance is placed on skincare and whitening products, while the leading cosmetology advancements in scar tissue reduction techniques can be directly linked to the classic Japanese ideal of unblemished skin.

Japan is now one of the worldwide market leaders for beauty products and cosmetics. Japanese products are highly coveted by individuals all over the world, as seen by the sweeping J-beauty trend. Sheet masks, serums, and skincare galore! People are rushing for the chance to unlock the secrets to achieving beautiful Japanese skin.

Image via Honeycombers

Sources: “Cultural History of Cosmetics”; “Ancient Japanese Beauty Standards You Probably Didn’t Know”; “The Fair Face of Japanese Beauty”; “Red Lips, White Face: The Cultural History of Japanese Beauty”; “A Japanese Beauty Tip Book Published 200 Years Ago”; “The Japanese Model Who Transformed Fashion’s Beauty Norms”.

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Sunnies x Cyclicity

“Sunglasses are like eye shadow: They make everything look younger and pretty.” – Karl Lagerfeld

“Sunglasses” by Ramesh ram. CC BY 2.0

I love sunglasses; they create a unique barrier from the sun and have the power to transform someone. They provide me with a way to pull together an outfit, a way to hide from the public, and a way of protecting my eyes from the sun. The only thing I don’t like about sunglasses is how I have to put my contacts in, in order to put my sunglasses on – it’s a hassle, trust me. But it’s always worth it.

The origins of sunglasses can be traced back to prehistoric times – when the Inuit peoples wore flattened walrus ivory glasses and peered through narrow slits to block the harmful reflected rays of the sun.

“Inuit sunglasses” by Michael Clark. CC BY-NC-ND 2.0

 

Meanwhile, our ancient ancestors in China and Rome were also rocking the earliest forms of sunglasses. The Roman Emperor Nero would watch gladiator fights through polished light green emerald gems held up to his eyes. It is possible that he used the emerald because its green color filtered the sunlight.

“Emerald” by the paleobear. CC BY 2.0

 

In 12th century China, sunglasses were made out of lenses that were flat panes of smoky quartz. Although they offered no corrective powers nor protection from harmful UV rays, they did protect the eyes from glare. These sunglasses were used by the Judges in the Courts of China to hide their facial expressions when interrogating witnesses.

The beginning of sunglasses as we know them are the work of an English optician named James Ayscough. In the mid 18th century, Ayscough began experimenting with blue and green tinted lenses as a means to correct optical impairments.

“Eyeglasses”, courtesy of Arlington House, The Robert E. Lee Memorial.

 

In the 19th century, tinted sunglasses were a commonly prescribed item for syphilis. One of the symptoms of the disease was sensitivity to light.

The early 20th century saw the use of sunglasses become much more widespread, especially among movie stars. It is believed that Hollywood stars wore sunglasses as both a way to avoid recognition by fans and to conceal their red eyes which resulted from the powerful arc lamps used on set at that time.

Inexpensive mass production of sunglasses started in 1929 with the man Sam Foster. He sold his sunglasses, on the beaches of Atlantic City under the name Foster Grant from a Woolworth on the Boardwalk, which were made to protect people’s eyes from the sun.

In 1937, Ray Ban created anti-glare aviator style sunglasses using polarization. These Ray-Ban Aviators played a significant role during WWII and soon became popular with celebrities and the public after being used by pilots in wartime.

“World War II aviator”, by Alex Lindeman. CC BY 2.0

 

The cat eye style reigned over the 50s, most notably with Marilyn Monroe and Audrey Hepburn. The trend became a part of one of Hepburn’s most iconic looks: as Holly Golightly from Breakfast at Tiffany’s.

“Audrey Hepburn, ‘Breakfast at Tiffany’s’ (1961)”, by Classic Film. CC BY-NC 2.0

 

The 60s saw huge, bug-eyed sunglasses in both circle and square shapes emerge with the tie-dye, flared jeans, and mod patterns of that decade. Jackie O. was a big fan.

“Sunglasses”, by RV1864. CC BY-NC-ND 2.0

 

The laid-back flower child vibe of the 70s produced all different kinds of sunglasses that were in style – big, plastic, wire, and even rimless frames.

“1971 Summer Fashion Ad, Cool-Ray Polaroid Sunglasses with Pretty Brunette, ‘Glare-Killers’”, by Classic Film. CC BY-NC 2.0

 

The eccentricity of the 80s allowed men and women to get even louder with their style and accompanying sunglasses in colorful, plastic frames.

“Firm those horrible buttocks while dancing on hits such as: ‘Baby i’m not sleeping with your cellulite tonight’ and ‘Shake that big booty’!”, by deleted.scenes. CC BY-NC-ND 2.0

 

The 90s were filled with tiny, wired frames seen on celebrities like Britney Spears and the stars of 90s sitcoms like Friends.

 

This past summer the big sunglasses trend was focused on color reflecting lenses, like the pair my friend Angela is wearing below.

Sunglasses now come in so many different shapes, styles, and colors that it is no wonder it has become a multi-million dollar industry! While the trends are always fun to follow, I much prefer a solid pair of sunglasses that complements my features and protects my eyes from the sun. A good pair of sunnies always has a transformative effect!

 

Sources: Cally Blackman, 100 Years of Fashion (2012); “Fashion Archives: A Look at the History of Sunglasses”; “Origins and History of Sunglasses”; “The Dark History of Sunglasses”; “Stay Shady: The History of Sunglasses”; “The Evolution of Sunglasses”.

 

Check out some of my favorite sunglasses looks below!

Photo credit: @somedudenameddevs

Photo credit: Lauren Khalfayan

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Jumpsuits & Rompers x Cyclicity

Jumpsuits and rompers (or “playsuits” as the British call them) are a trend that I love to “romp” around in! (Puns for life) Although very similar in style, each has its own individual history – I’ve just decided to cover them together this week because they’ve become so synonymous with each other in contemporary times.

I love me a good jumpsuit – something about the whole look really appeals to me. I actually prefer them to rompers, but I think that has to do more with my preference of wearing pants over shorts. I believe that a good jumpsuit can make anyone look classy, stylish, and elegant, as well as provide a great and more noticeable alternative to a nice dress.

 

The jumpsuit, an all-in-one body garment, was invented in the early 20th century. It was originally used in the military for pilots and parachutists. During World War II, women started wearing utilitarian jumpsuits to work in the factories. In the US, women often wore the now-iconic look of jumpsuits with their hair pinned up under a scarf tied about their head into a turban. Does this remind you of anything? Perhaps Rosie the Riveter? Rosie became a symbol of patriotism used to encourage women to take on wartime jobs.

“Rosie-the-riveter” by SBT4NOW. CC BY-SA 2.0

 

In Britain, the “siren suit” was also born out of wartime necessity. Siren suits (to be worn when the sirens sounded) were one-piece jumpsuits that could be worn over pajamas or nightgowns and zipped up the front. They provided protection from the dirt of the wartime air raid shelters during the Blitz. They also solved the problems of warmth and modesty that were encountered during nighttime air raids. The women’s version was available with fashionable features such as bell bottomed legs, puffed shoulders, and a fitted hood. Pockets were included as well!

“Siren suit: women’s civilian”, courtesy of the IWM.

 

After the war ended, jumpsuits lost popularity until the ‘60s and ‘70s when designers seized the opportunity to add a luxe spin to the one-piece. Floral and paisley designs became especially popular with the hippies of this era. Eventually, like most trends, jumpsuits went out of style in the ‘80s but have now come back in full swing – looks like jumpsuits have become quite cyclical, eh?

“1967 Beauty Ad, Posner’s Bergamot Instant Hair Conditioner, with Floral Jumpsuit Offer” by Classic Film. CC BY-NC 2.0

“1970 Fashion Ad, Vicky Vaughn Jumpsuits & Pantdressing Fashions, Models at Seashore” by Classic Film. CC BY-NC 2.0

 

Rompers/playsuits were originally introduced for children’s wear in the early 20th century. They were popular as playwear for younger children because their light and loose fitting construction made them ideal for movement.

“Romper” by cascade_lily. CC BY 2.0

 

Meanwhile, teens and grown women in the 1940s and ‘50s began wearing playsuits outdoors – either at the beach, as sportswear, or just as casualwear. They continued their popularity through the ‘60s, ‘70s, and ‘80s and then resurged again in the late 2000’s. I guess the ‘90s weren’t a fan of the one-piece. Their popularity has not seemed to wane since their re-emergence, as the romper/playsuit has a similar cyclicity to the jumpsuit.

“Un futuro incierto…” by Ubé. CC BY-NC-ND 2.0

“1960s playsuit” by Bess Georgette. CC BY-SA 2.0

 

There’s one last thing I’d like to leave you with, my dear readers, and that is this: the “male romper” is stupid and it is not a thing.

Sources: Jonathan Walford, Forties Fashion: From Siren Suits to the New Look (2008); Alex Newman and Zakee Shariff, Fashion A-Z: An Illustrated Dictionary (2009); Akiko Fukai (ed.), Fashion: A History from the 18th to the 20th Century (2015); Imperial War Museum; “Stockings & siren suits: 1930s women’s fashion”; “Your Cute, Summer Onesie Has An Apocalyptic Origin Story”; “1940s Playsuits, Rompers & Shorts – History and Photos”; “Jumpsuits & Rompers: A Brief History”.

Check out some of my favorite jumpsuit and romper looks below!

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Pretty in Pink x Cyclicity

“Pink. The sweetest of all colors. Every woman should have something pink in her wardrobe. It is the color of happiness and of femininity.

I like it for blouses and scarves; I like it for a young girl’s frock; it can be charming for suits and coats; and it is wonderful for evening frocks.” -Christian Dior

Pink is one of my absolute favorite colors; it creates a bright and engaging aesthetic that immediately brings me joy. Thus, I think it should come as no surprise, that the rose gold hue of “millennial pink” has become one of my favorite fashion trends.

Photos courtesy of Tawni Eakman Photography and Fitcode

 

The color pink has been around since ancient times, but it was not a prominent feature in clothing until the Rococo Period of the 18th century. Pink had found its golden age in the new and fashionable Rococo trend of pastel colors, which swiftly swept through all the courts of Europe.

As you can see in these paintings by the famous Rococo painter Jean-Antoine Watteau, pink was a gender neutral color enjoyed by both the sexes.

“The Scale of Love (detail) Jean-Antoine Watteau, 1715-1718” by dvdbramhall. CC BY-NC-ND 2.0

“Pastoral Gathering by Jean-Antoine Watteau” by mookiefl. CC BY-NC 2.0

 

Pink remained a pale pastel color until the 20th century, when famed designer Elsa Schiaparelli transformed the color into a brighter, bolder, and more assertive hue. As one of the leading fashion designers of the 1930s (and a rival to my beloved Coco Chanel), Schiaparelli embraced the new developments in the arts and technology and worked closely with Dadaist and Surrealist artists like Dalí and Cocteau. In 1931 she created a new bold and intense shade of pink named “Shocking Pink,” which takes its name from the perfume she launched called “Shocking.”

“Elsa Schiaparelli” by rocor. CC BY-NC 2.0

“Vogue on Elsa Schiaparelli” by Roxanne.pl. CC BY-SA 2.0

 

In the early decades of its fashion history, pink had defied a general gender assignment. It wasn’t until the 1950s that pink became strongly associated with girls and femininity. I believe the reasoning behind this follows the general trend of that postwar decade that saw the emergence of Dior’s New Look – a profound need for a transition from the more masculine wartime styles to an ultrafeminine and romantic silhouette. The 1950s was a decade that called out for a strict adherence to traditional gender roles – the women were to be women and the men to be men!  (Thank goodness I wasn’t alive then!)

“Bettina Graziani, Christian Dior 1950” by fervent-adepte-de-la-mode. CC BY-NC 2.0

“1950s Christian Dior floral gowns” by Bess Georgette. CC BY-SA 2.0

 

Now – back to pink! The turmoil of the 1960s and 70s and the questioning of traditional gender roles saw a large rejection of the color pink for more unisex and masculine styles. Fortunately for all of us (because who could live in a world where people didn’t dress in pink!?) the 1980s saw a resurgence of pink – especially that brilliant hot pink and “shocking pink” shades that I love!

“I Want Candy!” by Charles Rodstrom. CC BY-NC-ND 2.0

 

Little girls were no longer the only ones wearing pink. In 1992, the pink ribbon became the official symbol of Breast Cancer Awareness Month. The 1990s and 2000s brought about a new appropriation of pink as strong, fierce, and powerful. I know that I definitely feel my most fierce and powerful when I’m wearing pink!

 

Sources: Christian Dior, The Little Dictionary of Fashion (1954); Eva Heller Psychologie de la couleur, effets et symboliques (2009); Akiko Fukai (ed.), Fashion: A History from the 18th to the 20th Century (2015); Bonnie English, A Cultural History of Fashion In The 20th and 21st Centuries (2013); Anna Broadway, “Pink Wasn’t Always Girly” (2013).

 

Check out some of my favorite pink looks below!






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Discovering the simplicity of Fashion History’s cyclicity

Welcome to Cyclicity – where the cyclical nature of both fashion and history meet!

As a historian I have always maintained the notion that history is cyclical. As my interest in fashion has grown, I’ve noticed that fashion is cyclical as well.

Lately, it seems like the majority of fashion trends are some kind of homage to the past – with the ’90s inspiring a surge in chokers, slip dresses, and overalls, while the more recent trend of maximalism borrows the large statement ruffles, sleeves, and colors of the ’80s.

This blog is dedicated to the theme of fashion history’s cyclicity, as it explores the history of today’s current fashion trends.

I invite you to join me and delve behind the velvet curtain of fashion to discover the history living inside its inspiration.