In Japanese culture, the sunflower is associated with the sun, warmth, and most significantly, hope. And this is the story of how sunflowers became the symbol of hope, faith and recovery. As a motif, they are associated with August, though as a maiko kanzashi theme they are rare.
They first arrived in the country in the 17th century, during Japan’s Edo period (1603-1868), and originally met with an unenthusiastic reception. Taste at that time small, elegant items, and the big, bright sunflower felt showy and overwhelming.
Photo by Susanne Jutzeler, suju-foto on Pexels.com
The sunflower’s popularity grew over time, and in 1666 it was even featured in Nakamura Tekisai’s first Japanese illustrated encyclopedia. The Kinmo Zui (訓蒙図彙) was designed to teach children the names and pronunciation of animals, plants, peoples, clothing and places. Surprisingly though, it gained popularity among adults too, which may have helped the sunflower.
Tekisai NAKAMURA, 1666, Public domain, via Wikimedia Commons
But it was only in more recent history that sunflowers became the symbol of hope and renewal. After the tragic atomic bombings, all the crops failed in the affected areas. Only the sunflower continued to thrive in the nuclear wasteland and even grew afresh. Research showed later that sunflowers absorb high concentrations of radiation. As a result, they contributed to making the areas of the atomic blasts habitable again. They helped to contain the effects of the Fukushima disaster too.
The 12-month set is finally complete! It took me a while to decide on the motifs (my lack of decisiveness is probably my greatest flaw~!) and it took ages to make the whole set.
The whole project started out as a way to use some cute pre-cut chirimen I received as a gift last year. As I went along with the motifs, looking for ways to use it all up, I wanted to keep one of each motif for reference. As the collection grew, I ended up with ordering a special box, and making inserts.
The choice of motifs is a personal one, but I hope it makes sense ♡ Read all about he here:
January – Pine
It had been difficult to choose just one motif for January. January kanzashi change from year to year, rarely repeating. They have one thing in common, though; they are symbols which are supposed to bring good luck and prosperity. Amongst those are cranes, sparrows, fans, battledore and shochikubai, Three Friends of Winter, a combination of pine (longevity), plum (renewal and vitality) and bamboo (strength and prosperity).
For the 12 Monts hairpin set, I chose pine because, in Japan, pine is a highly symbolic tree. Pine trees stand for longevity and good fortune because it retains its leaves throughout the winter. Pine is also a potent symbol in Shinto, according to which branches of pine trees are used by kami to come to earth and interact with the mortal realm. In Noh theatre, pine trees as a way to depict the bond between kami and man.
February – Plum Blossom
Plum blossom is the queen of February kanzashi among maiko. They come in all shapes and sizes, from clusters of tiny blossoms worn by junior maikos to multi-layered single flowers on senior maiko. Plum blossoms bloom amid winter, and thus represent hope, courage, and vitality. They remind us that strength can bloom in adversity.
March – Daffodil
March in Japan sees the awakening of nature. We start to see colour in Maiko’s kanzashi. The most popular motif is canola flowers, nanohana, but there are also not less beautiful daffodils and narcissus. In Japan, they symbolise joy and mirth, and in hanakotoba (the language of the flowers), daffodils mean respect. So while the canola is a more popular motif, the yellow daffodil is a much more symbolic flower.
April – Cherry Blossom
Sakura, the cherry blossom, are a national symbol related to Japanese culture. Everyone can immediately recognise their distinctive heart-shaped petals. Books can be written about sakura and its contradictory symbolism. The delicate blossoms symbolise both life and death as the blooming of cherry blossoms hails the coming of spring, but at the same time, their short lifespan is a reminder that life is fleeting.
May – Iris
Irises in Japan are linked to samurai because of their long, slender sword-shaped leaves. Their bloom is said to mark the start of summer. Irises were traditionally believed to hold protective powers and fend off evil spirits and were put in the baths of boys on Boy’s Day. Purple iris specifically communicates knowledge and dignity and we can all agree that it’s a perfect choice for May.
June – Hydrangea
Nothing says “June” in Japan like hydrangea. June starts the rain season, traditionally called minazuki, “the month of water”, or “tsuyu or “plum rain,”.
Hydrangea kanzashi are usually in cool shades of blue, purple and pink and their shiny silver centres make us feel the coolness of the rainy season and sparkling droplets of water on fresh green leaves.
July – Clematis
June is traditionally the month of celebrations, so motifs on kanzashi are usually associated with festivals. Fireworks, fans and dragonflies in pastels and silver come in all shapes and sizes. One of the rare exeptions is clematis. Maiko wear them in June and July. They are usually in pastel shades of purple, blue or pink, occasionally white, so colours which evoke the feeling of coolness. I decided to make clematis a July motif for this set because it doesn’t get the attention it deserves, and in white as this is the colour I’ve seen most often.
August – Morning Glory
The morning glory is a symbol of summer. Asagao, as it is called in Japanese, is a popular summer motif on summer kimono, yukata and accessories, like fans. The flower has its’ own festival, the Morning Glory Festival of Iriya. Held each year from 6 to 8 July is one of the most popular events of the summer. They come in shakes of pink, purple and blue, but in my opinion blue is the most iconic of all.
September – Chinese Bellflower
A star-shaped blossom, the bellflower is the symbol of perfection. The five points of the five petals symbolize the five elements of the Tao – wood, water, fire, earth, and air. Beautiful as both single flowers and bouquets of tiny blossoms, it is often pictured with flowering clover and autumn grasses.
October – Chrysanthemum
The chrysanthemum represents longevity, rejuvenation and nobility in Japan, and it’s no wonder the Emperor chose it as his personal symbol. It is also the harbinger of autumn, harvest and goodwill. Because of its auspicious meaning, the chrysanthemum frequently appears on porcelain and kimonos. It is also featured on Japan’s 50 yen coin.
November – Mampe Leaf
Maple leaves are by far my favourite. Less popular than sakura or even chrysanthemums, the maple leaf is a beautiful farewell to fall. The Japanese maple tree is a significant tree and means calm, endurance and peace. Many people in Japan also enjoy the autumn version of hanami, called momijigari.
December – Tsubaki
The most popular kanzashi motif for December are lucky symbols, like gold coins, bamboo, pine, maneki neko (the lucky cat), dice and more. Camellia as a December motif is not really traditional, as maiko wear them in February or sometime in March. I love camellias too much not to include one and took an artistic liberty. Camellias are called the Roses of Winter, and particularly hardy varieties can decorate even frosty gardens. The flowering period extends from September to May, so it may be a stretch, but it’s such an elegant flower I could not resist.
One day I asked myself “If there was a maiko from Poland what would she wear as kanzashi?”.
And this is how this maiko-inspired kanzashi came to be! I asked Mary from Geisha-kai the same question, and she suggested the forget-me-not flowers as a base. I initially wanted to make two cut-paper roosters, a popular motif in traditional Polish folk art, but decided a stork would be more elegant.
As the design goes, the first that came to my mind are poppies (poppies are on the way as another project soon, though!). I have decided to make the forget-me-not first. I wanted to make something using traditional materials and techniques. I hand-dyed the silk. I used rice glue and this time I had the board and a bamboo spatula, which I got as a gift some time ago. I forgot how fun rice glue is! This technique is wonderfully frustrating at times, but it’s very rewarding and produces beautiful results.
I toyed with the idea of a stork and a sun (which came out looking like a golden moon), two storks, but in the end, I decided the base bouquet was busy enough and kept one. Maybe twin storks next time?
If you could have your own national maiko kanzashi from your own country what would it be [and yes, I am shamelessly fishing for inspiration and ideas]!
The first maiko kanzashi of 2023 is here! One of the most unique designs of the Komaya okiya, it was worn by maiko Toshinaho of the Komaya house in Miyagawacho a little over a year ago. According to Mary from the GeishaKai blog Komaya is one of the best houses in the whole city. She has had the pleasure of meeting Toshinaho, and you can read about Toshinaho and Mary’s experience of meeting her HERE.
I wanted to start my new journey into maiko kanzashi with something relatively simple but striking. My choice of this piece was a quick one. I fell in love with the design when I saw it on Instagram (see the original photo HERE – image by HicoCD).
The kanzashi is relatively simplistic, with few elements. This meant I could not get away even with small errors. Usually, in a large, busy work I can get away with a few crooked petals or a drop of glue which isn’t where it’s supposed to be. Not in this case! The small number of elements meant I had to get everything perfect. The leaves are made with two tones of green silk, and for the flowers I used a soft yellow-orange silk with silver thread woven into it. While not in the original design, I found this silk not only the perfect colour but the silver complimenting the silver wires of the leaves. I’ve also made the decorative wires from scratch using silver Nishijin embroidery thread.
You probably wonder at this point why I haven’t told you the motif of the kaznashi. The answer is I’m still a bit conflicted as to what it represents, though I have a very good guess. According to Missmyloko’s blog, it’s hollyhock – see her post about it. While she is very knowledgeable about geiko-related topics, I’m not sure I can agree with her on that one particular design identification. The size, shape and colour of the flowers represented on the kanzashi didn’t strike me as typical hollyhock. Hollyhock does have a very similar leaf shape, but the positioning of the flowers, their shape and colour and the style of the stamen are very different from hollyhock.
According to MissMyloko, the kanzashi represents the Tokugawa family crest. The wirework is almost identical to the mon. Yet, after a little digging, I found out that the plant we see represented in the Tokugawa mon is not hollyhock, but aoi which belongs to the birthwort family and translates as “wild ginger” – Asarum. Asarum doesn’t have small orange flowers, as you can see in the photo below.
Under the original photo, one of the commenters suggested the kanzashi represents a species of violet, Viola pubescens. After looking at some photos of this adorable little flower, I agree it fits the kanzashi very well. The leaves are the right shape, and the small yellow flowers with five petals are a better match than hollyhock or aoi.
Another candidate is marsh-marigold or ryukinka (scientific name: Caltha palustris var. Nipponica). Thank you to Kruliczyca_bloguje for the suggestion! Ryukinka flowers between April and August which would align with when Toshinaho wore it. The size and shape of the flowers fit too! I believe this is an excellent candidate for the identity of the Komaya Kanzashi. See for yourself!
“The case of the satin ribbon flowers” is what I call the general idea that flowers made of satin ribbon are the same as tsumami zaiku kanzashi. Each time someone comes to my stall and says, “Oh! Satin ribbon flowers, my /insert a family member here/ makes these!” my friends can easily spot a singular smile that says more than a thousand words. The person who said that hit the soft spot, and I’m digging a grave in my head. Or at least a rant is on the way. These days I usually take a deep breath and let it go, but people ask me why I care so much. Why does it matter?
The answer is long and perhaps deserves a book ot its own, because it touches a delicate topic: traditional arts in the modern world. Let me sum it up in the shortest possible way.
Firstly, the world is changing every day, and traditional arts and crafts have a hard time. Teaching about these crafts is crucial for their understanding, appreciation, and as a result, their survival.
Secondly, I find that treating tsumami zaiku as flowers made of ribbon is limiting. The name “ribbon flowers” puts tsumami zaiku in a tiny box and implies only one style (flowers) and only one material (satin ribbon) are possible or even appropriate. The form of the item and the material is secondary to the technique. Of course, the better the materials, the better the result, but it’s the technique that matters most.
Thirdly, I think that accepting this craft as part of a culture is essential. I believe calling a 300-years-old craft “satin ribbon flowers” takes away from its history and role in Japanese culture. I feel it being highjacked and remade with no understanding of its roots. Each tradition must evolve to survive, and so must tsumami zaiku. Nonetheless, it should develop respecting its origins, when a crafty Japanese lord used rice glue, chopsticks and his wife’s old silk kimono to create a unique gift for his emperor.
And one last thing: people ask me is whether I dislike people who use ribbon in their work. The answer is plain and simple “no”. Indeed, I’m not too fond of satin ribbon as a material to work with; I could write a book about why I don’t use it (don’t challenge me, because I actually might). But the choice is a personal one, and disliking anyone because of the material they use would be just as ridiculous as disliking a painter because they use oil paints and not watercolours.
So, I hope now you guys understand my feelings about the whole Satin Ribbon Case. It’s not really about the satin ribbon even, but people’s attitude of oversimplifying this unique craft and sticking unnecessary labels on it.
When the crafty Japanese lord created this art, he had rice glue, chopsticks and his wife’s old kimono. Those three elements are the heart and soul of tsumami zaiku. And of course, modern tools and materials tend to change the details of how tsumami zaiku, but in the end, it is where the craft began. We all know we can learn from history, as well as remember it. Tsumami kanzashi is not an exeption.
When starting your kanzashi adventure it’s good to have good tools on hand. Poor quality tools might not only help, but make your new hobby a nightmare. There is nothing more frustrating than side-cutters that don’t cut properly, scissors which don’t cut away loose threads or tweezers that snag your precious silk.
Pliers
You can get away with having just one two tools, pliers of any shape, and tweezers, but having a number of them is simply helpful and will make it easier to work. Here’s the list of the ones I use:
Chain nose pliers, which are a multi-purpose tool and most basic one. They are useful for gripping and tucking wire ends and reaching small spaces, they can also be used for opening and closing jump rings.
Bent chain nose pliers are ideal for getting into areas that are harder to reach, as well as for bending wire.
Flat nose pliers are ideal for gripping wire and rings, creating angular bends and flattening and straightening metal as well as closing pinch ends.
Nylon jaw flat nose pliers are essential when working with soft and color-coted metals, as it will not damage the item. They also straighten wire pretty well.
Round nose pliers are a brilliant tool for rounded bends and coils in wire and makes loops for eye pins, jump rings and clasps.
Side cutters for trimming or cutting any soft wire.
The set I got myself somewhere along the way, the Beadsmith Fashion Color Plier Set, has all of the above plus two pairs of tweezers. Regular tweezers, which work fine for kanzashi-making, and split ring tweezers which come in useful when holding and opening split rings.
Not all are absolutely neccessary. Chain nose and Round nose pliers and a pair of Side cutters will work for start if you are on a tight budget.
Tweezers
Tweezers are another story. While I use the ones included in the sets on occassion, I usually prefer another type. I personally recommend using stainless steel ones, with a coated grip. And, surpsingly, the ones that have been the best up till now, are eyelash extension tweezers. Yes, you read correct, eyelash extension tweezers. Why those? Tips are particularly important because silk needs to slide off them easily, and they should be as straight and sharp as possible for small details. Eyelash tweezers are used for picking, selecting, separating eyelashes so they really do need to be best of the best and very precise.
I use a brand names ProjectLashes, available in Poland, but any good quality tweezers for professionals will be just as good. There is a variety of them online from fairly cheap ones on Aliexpress, to brand specialist stores. Just look for Tweezers For Eyelash Extensions and find the ones within your budget. Mine cost around 10$ and they are very comfortable to use, and since it’s a popular type you won’t have trouble getting them on Ebay, Amazon, or a local site that specialises in beauty products. Even Aliexpress has some really good choice.
ProjectLashes CARAMEL tweezers
A word of advice: don’t buy the X-type tweezers as your first. They are sometimes referred to as ‘reverse action tweezers’ and require the user to squeeze in order to open the jaw of the tweezers. They act different and using them for tsumami is tricky. Not impossible, but tricky, and they usually don’t have the nice pointed tips.
A VETUS pair of tweezers.
Scissors
Scissors are of course a must-have, both regular scossors, embroidery scissors but consider investing in a pair of really good thread snips or Japanese traditional shears. Thread clips differ from regular ones, and are extremely useful. They don’t require you to put fingers into holes, so they are perfect for quick snaps.
Cohana Shozaburo Thread Clips Made with Iga Braids
Japanese scissors are the best, but quite expensive. Kai or Clover have really nice quality, but Fiskars work too. The only most important thing is to have separate scissors for paper and for textiles, as paper makes scissors dull.
Have at least 3 pairs of differet sizes – though I actually have many more 😉
Kimono are one of the most iconic national garments. Their simplicity of pattern and variety of colours are incredibly alluring. Kimono are both a piece of everyday clothing and a collector’s item.
If you decided to become a kitsuke (the art of kimono dressing) adept you want to own kimono in your collection. You scour the internet for your first kimono. You learn about patterns, and sizes. You admire motifs painstakingly dyed on the luxurious silk. At first, you are probably lured towards the impressive long-sleeved furisode, the unmarried women’s visiting wear, or the black tomesode with patterns on the hem. You think that is THE kimono.
But let me stop you for a second there. And for the record, no, I’m not stopping you from getting that coveted garment. I’m rather suggesting you might want to get it AND look for another one, less flashy, but more practical. “Practical kimono” you ask? Is that even a thing?
Yes! Some kimono are more and some are less practical, more and less complicated to wear. Those houmongi, furisode and tomesode are impressive, beautiful and eye-catching but they might not be the best choice to start your kimono dressing journey. Why exactly? Because they are complicated to dress and require many, often expensive, accessories.
Usually, the best first choice is a yukata, the cotton festival wear meant for summer. They require the least dressing accessories (I often will refer to them as komono) and are relatively easy to take care of. But almost every kimono enthusiast will reach a point where they want a kimono, a luscious silk garment with beautiful patterns and flowing sleeves.
Tomesode kimono are often bought because they seem simple. In reality they are formal wear and require a formal set of accessories to match.
By all means, get those tomesode, houmongi and furisode – you will need and want them one day. But consider starting your kitsuke journey with a plain, simple komon – the Japanese equivalent to a day dress.
Komon (meaning “small pattern”) are worn for casual situations like shopping, visits to friend’s houses, trips. A repetitive design is the main characteristics of the komon kimono, though the designs can be big or small, dyed, stencilled, woven, printed. They can be floral, striped, spotted, abstract – there is something for everyone. They come in all sorts of fabrics, from silk to wool, to synthetic. They range from demure one-coloured garments to vividly dyed pieces of art. They are an absolute basic in your kimono wardrobe, as they can be easily dressed up or down with proper accessories.
A silk bingata (stencil resist dyeing technique from Okinawa) is all but boring.
You can have a synthetic budget-wise komon or an expensive piece by a fine artisan. They are like t-shirts. You can get one in a pack of three at the supermarket, or visit a designer label store.
Silk sumer kimono with a very subtle pattern.
Komon are very often synthetic too if you are afraid of ruining your beautiful silk garment. Washing-machine friendly komon kimono are great if you think you might want to clean if at home (not recommended in case of silk ones). The option of throwing it in the washing machine or dry-cleaning it takes my mind off watching my every step and makes me enjoy wearing kimono more.
A synthetic unlined komon.
Komon kimono also do not require a formal obi, and you can safely wear a nice hanhaba (half-width obi) casual belt. Even with the simplest nagoya obi or a casual fukuro obi you still need extra accessories to tie the basic otaiko knot. Choosing a simpler obi requires fewer accessories, time and practice to enjoy kitsuke.
So, if you feel like starting your kimono wardrobe, I’d recommend looking for a synthetic komon (lined or unlined, it depends on your preference and climate you live in). Komon kimono come in European-friendly sizes much more often than regular kimono, are easier on your wallet (you can save up to splurge on that glorious houmongi later!), are easier to care for, and they require fewer accessories.
Here’s a whole playlist of hanhaba obi by Youandi from Chayatsuji Kimono
Tying a simple hanhaba obi knot
And a Formality video on komon with a very informal obi
Tsumami kanzashi has been a significant part of my life for over a decade. I started small, with old shorts and handkerchiefs cut into squares with paper scissors and a half-used tube of glue on hand.
I took me several years to learn how to prepare fabrics, silk, linen and cotton, cut them properly and which glues work best. I went through countless sites, books and tutorials to get an idea of the best method (best for me, as approaches differ).
The beginnings of your new hobby don’t have to be so rough as mine were. In this article series, I hope to guide you through some of the most popular issues and questions that occur when people try this technique for the first time.
One source claimls that during the Heian period (794-1185) both men and women wore blossoming branches of trees on their hair at ritual events or festivals. It was called “kazashi”, which meant wearing flowers in hair. Some believe that this phrase turned into the word “kanzashi”.
Kitagawa Utamaro: Geisha of the West District Art Institute of Chicago
The kanji symbol that signifies kanzashi (簪) comes from China, but hair accessories as we know them today were not very popular in the earliest days of the Japanese court. The reason behind it were the hairstyles worn by court ladies at the time: long, straight hair tied in ponytails.
Kubuki actor Bandō Tamasaburō V dressed as a woman from the Heian period in Japan (794 to 1185)
As hairstyles changed though from long straight hair to more elaborate updoes, women began adorning them with hair more, as the shape of the hairstyled allowed it. Hair accessories became important fashion accessories in Japan.
Geisha in Kyoto, Japan, 1960. Photo by John Launois (1929-2002), National Geographic
The date the craft of tsumami zaiku was invented is said to be 1785, when a Japanese lord called Yasuteru created a gift for the emperor Gomomozono, a decorative insent ball covered with various silk flowers: peony, cherry blossoms, plum, autumn leaves, tachibana, chrysanthemums and azalea.
The story goes that ladies of the court took a liking to the new style, and started making them into hair accessories themselves.
The story of Lord Yasuteru is quoted in a book “Women’s Art And Crafts of Tsumami-zaiku“, 1914 written by Fusajiro Yoshioka from the will of his predecessor Onari Yoshioka.
Onari Yoshioka taught at number of girls’ schools and he strongly felt the need for handicraft to be part of women’s education. He ran classes at his home and worked to develop tsumami zaiku. Onari Yoshioka unfortunately died of an illness, and Fusajiro Yoshioka inherited his will, and left it as a book.
Today, this is the main source about the traditional tsumami zaiku.
Today kanzashi enjoys a revival and it not only a hobby but a national craft. It is worn by traditional entertainers like dancers and geisha, as well as women interested in the art of kitsuke (dressing kimono).
It is also a wonderful attraction, and you can either enjoy a one-time lesson or a three-day course to get to know this amazing craft.
How did everything start? Like in why did you begin to create Kanzashi and how long did it take until you started Wisteria Gardens?
– Nicole Gocci
A long time ago, in another life, I didn’t have access to sites like Ichiroya, eBay or Etsy even, but I wanted a kimono badly. So, I thought sewing one would be the best thing and started researching the proper measurements and styles. Instead of learning how to sew a kimono though, I stumbled upon kanzashi tutorials. I thought they were pretty, tried it and got hooked. I bought my first kimono later, but tsumami zaiku became my greatest love.
One of the many kimono in my current collection
Becoming a craftsperson helped me through some difficult times, like when I got my diagnosis of Hashimoto (which, BTW, I still think a bit ironic). Hashimoto doesn’t affect me as severely as many other people, so I’m lucky in that respect, but I do have mood swings and feel down when my hormone levels are changing. Creating beautiful items, seeing others enjoy what I do helps.
I established Wisteria Gardens as a site fairly quickly, though I can’t exactly remember when I started using this name. “Arleen” was the name I used on my Deviantart page. I set up my Facebook page around 2011, so it must have been around that time when I started using the name Wisteria Gardens Studio. I was in love with wisteria trees in the Ashikaga Flower Park in Tochigi, Japan. I believed naming my site after a 140-year-old tree would be a good omen and it was. Though I’d probably set for something less complicated and shorter today, still, I’ve decided against changing it and rebranding. People now know me as “Wisteria Gardens” and “Wisteria Gardens” I shall remain.
The largest and oldest in Japan, the tree is the main attraction at the Asikaga Flower Park (photo by Takahiro Urano )
Wisteria Gardens Studio logo inspired by Japnese family crests
I didn’t use a wisteria flower as a logo until late 2014, though. Before I tried using a crane, and later a coloured version of a Japanese Kamon, a family crest, but after I officially registered as a company in 2015 I really felt it wouldn’t be right. I wasn’t part of the family after all. My current logo, a beautiful wisteria Kamon was explicitly made for me by the Three Magpies Studio and was inspired by the Japanese family crests, but it’s my own. I didn’t want to use a living family’s Kamon anymore out of respect for their history and traditions.
Oldest surviving photo of a kanzashi I made in 2008.
On the side note, the oldest photos of finished items come from January 2008, and it’s a couple of hair accessories, like a small pin and simple comb. I don’t have those items anymore, but they show how much I improved. Also, it’s been full 12 years now! How time flies.
The design of January kanzashi differs from year to year. Quite often it features an auspicious Japanese New Year theme, called Sho-chiku-bai. It is a combination of pine bamboo, and plum blossoms. Most popular colors are green, red and white and this combination is usually associated with celebrations – notice the similar color combination in Christmas decorations.
In Japan green signifies eternal life (notice that pine and bamboo, two always-green plants, both lively even in Japanese harsh winter), Red is considered a life-giving color. White is firstly associated with death, true, not a very cheerful color, but it is also associated with purification. Undyed linen white robes are worn by pilgrims for rituals of purification. Priests also wear white robes, to signify their purity. In the traditional Japanese religion of Shinto, an area of white gravel or stones marks a sacred place. So white is not only associated with death in Japan, but alike in Western traditions, also with purity and calmness.
Most design are based on the Sho-chiku-bai, or plum three auspicious motifs commonly believed to bring good luck and also referred to as the Three Friends of Winter, which represent good fortune. Together, they stand for the scholarly ideals of pure spirit (plum), longevity (pine) and flexibility (bamboo). Shochikubai is actually the Chinese reading of the Kanji characters 松竹梅. In Japanese, they are read matsu (pine), take (bamboo) and ume (plum).
Last but not least, there is the lucky arrow, called hamaya. sacred arrow from a shinto shrine. This lucky charm is said to dispel evil spirits and invite good fortune.Hagoita (battledores) are a lucky charms. They used to be just tools for playing a game called hanetsuki, but like horsehoes, they also became lucky charms. They are traditionally given as New Year’s gifts to girls. Hagoita is usually decorated with silks and decorations represent geisha, actors and even anime characters. They are decorated using the art of “oshie“. The old year’s paddles are supposed to be burned at the end of the year.
Last but not least, there is the lucky arrow, called hamaya, sacred arrow from a shinto shrine. This lucky charm is said to dispel evil spirits and invite good fortune.
Quite often, especially in case of younger maiko, the basic design consists of a base of January-blooming flowers called winter chrysanthemum, Chinese asters or annual asters. They aren’t really asters but a species called Callistephus. These cute little flowers are often mistaken for asters or tiny mums. They come in a gorgeous array of colors, including pinks, purples, reds, and whites
Usually the base of maiko kanzashi consist of flowers in two colors, most often white and another color: pink, red or less often, purple. Callistephus has been the base for January kanzashi since 2008, when only the secondary motifs changed. In 2008 for example, ume was the base and white Callistephus was only an additional motif next to hagoita.The design, through generally similar in looks, change their motifs, and from 2007 there were no two identical designs whatsoever, differing in details. The designs were generally as follows:
2015 – hagoita with additional gold and silver metal flowers over asters
2014 – sensu fans in gold and silver decorated with plum and bamboo over aster
2013 – plum blossom and nanten (called sacred bamboo) over asters2014 – sensu fans in gold and silver decorated with plum and bamboo over aster
2012 – pine and pine needles over asters
2011 – hagoita and lucky arrows over asters
2010 – sparrow and bamboo , or cranes and pine needles over asters
2009 – pine needle and bamboo over asters
2008 – pine and bamboo over winter chrysanthemum
2007 – hagoita over plum blossom
Cranes are lucky motifs, just as pine is and though they are spotted on January kanzashi, they are mostly used in another form though, on other occasions not connected with winter. Sakkou would be one of them. Just before a maiko graduates and becomes a geiko she has her hair styled in a special arrangement called “sakkou” (先笄) and she wears kanzashi depicting auspicious motifs. In the district of Pontocho such kanzashi are also used on Mizedashi day, which is presenting a new maiko to the district society. Those kanzashi are rare and usually custom-made for each maiko. Cranes are often made as big, single birds in white silk. Silver and gold wire ones over a green background of pine are also quite popular, but there are significantly different from typical January motifs. Next to lucky charms and flowers there are also animal motifs: sparrows and cranes being most popular. Cranes are usually sakkou or mizedashi motifs, but in 2010 kanzashi with sparrows were seen in almost all geisha districts in Kyoto and for example maiko Ichimomo from Kamishichiken had lovely cranes. Cranes had also been seen as small origami figures, thought it’s rather rare.
During New Year celebrations also geisha wear kanzashi, though smaller ones, featuring an ear of rice with a plum blossom and a paper pigeon, paired with a small bamboo kanzashi with an animal of the current year’s Chinese zodiac. Painting the eyes on the pigeon on New Year is told to bring good luck too!
January kanzashi for maiko tend to change with trends and we see more and more usual kanzashi. Such a kanzashi was presented to us in 2014 and it featured a sensu (folding) fan with bright green and gold pine. Usually fans aren’t seen during New Year. Sensu are a July motif, while uchiwa (round fans) are mostly July. 2014 was different though. The gold and silver sensu fans were put over a classic aster background, either pink and white or red and white. They were decorated with tiny plum and bamboo. Quite an unusual motif for winter.
Generally kanzashi in January are meant to be not only decorations, but lucky charms, which are supposed to bring good luck and ensure health and prosperity for the coming year.
fortune.Hagoita (battledores) are a lucky charms. They used to be just tools for playing a game called hanetsuki, but like horsehoes, they also became lucky charms. They are traditionally given as New Year’s gifts to girls. Hagoita is usually decorated with silks and decorations represent geisha, actors and even anime characters. They are decorated using the art of “oshie“. The old year’s paddles are supposed to be burned at the end of the year.
Wisteria Gardens 