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- Even if she couldn�t afford it, she would always travel first class as it be would an embarrassment for her to be seen in economy class.
The single greatest expense of the geisha�s budget was her kimono wardrobe. When she began her geisha career, she was obliged to purchase at least ten kimonos and this would put her deep in debt. Geisha would throw away worn or stained kimonos and purchase new ones, so kimonos continued to be a burden on her budget throughout her career. Since the geisha would never be seen not wearing a kimono, she needed a large number of them. She had to have a number of styles, designs and colours, which she would wear during the various seasons. Through her art of dress selection she sought to harmonize herself with her surroundings. She had to have the right kimono for the right place, the right season and the right occasion. If an evening event or party went on too late, she would change into another kimono. From the late 18th century to the early 20th centuiy, the geisha became chic, avant-garde and the fashion trend-setters. Her gorgeous costumes and her elegant mannerisms exuded a sense of style [iki). Geisha would often vie with each other for originality and novelty of display. They knew how to parade their kimono with a flash of �pale� at the sleeve and below the hem of the kimono, a collar pulled down, a train on the ground, and the skirt of her kimono gracefully held in the left hand. There was no mistake that this was no ordinary woman when she walked in the street. The geisha were literally the celebrities or supermodels of their time, and the primary arbiters or vanguards of kimono fashion. The geisha became an emblem of Japan and the idealized concept of femininity.
Other major costs to the geisha were incurred with their hairstyling and makeup. The wig or wigs she owned were elaborate items made by wig makers. Designed and made to suit the shape of her head, the geisha went through several fittings, and, after about two weeks, it would be ready. The wigs were also combed and reset once a month and great care was taken to ensure that not a single hair was out of place. The shape of the wigs, which have been compared to the leaf of the gingko tree (icho), appear like a undulating landscape with hills and valleys and once the tortoise shell comb and coral hairpin were added to anchor the coiffure it was like looking at a magnificent sculpture. Originally wigs were made from Japanese hair but in more modern times the hair was imported from China and sometimes yak hair was added for volume. The glossy hair was sticky with wax or oil and built on a framework of duralumin (a sort of aluminium) lined with netting. The hair was sectioned, dressed with cam�lia nut oil and smoothed out over a head shaped pedestal. When not in use, the wig would be kept in a wig box. Underneath the wig, the geisha�s own hair was plastered down with tight bandages. The geisha had a special intimate relationship with her wig maker as she would see him often to get the wig reset. She would give him tips and joke with him. A wig maker could reset a wig in about twenty minutes.
The white face colour has been a traditional symbol of beauty in Japan for centuries, dating back to the Heian period (794-1185). The geisha�s face makeup includes a powdered white foundation with a slight accent at the eyes and starkly painted red lips, and for extra sensual appeal, a red streak could be painted at the nape of the neck, on an unpainted area. In earlier times, the original old type of chalky make-up (oshiroi) was lead-based and those who used it habitually caused premature aging or even death. Modern day white make up is non-toxic and comes from rice husks and convolvulas seeds. Crushed safflower petals are sometimes used to rouge the cheeks.
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