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A modern tsumami kanzashi set of the type worn by maiko (apprentice geisha) for the month of January

Kanzashi (簪) are hair ornaments used in traditional Japanese hairstyles. The term kanzashi refers to a wide variety of accessories, including long, rigid hairpins, barrettes, fabric flowers and fabric hair ties.

In the English-speaking world, the term kanzashi is typically used to refer to hair ornaments made from layers of folded cloth used to form flowers (tsumami kanzashi), or the technique of folding used to make the flowers.

History

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Kanzashi were first used in Japan during the Jōmon period. During that time, the wearing of a single thin rod or stick was considered to hold powers to ward off evil spirits, with people wearing them in their hair for protective purposes.[citation needed] The Jōmon period also saw the introduction of hair combs.

During the Nara period, a variety of Chinese cultural aspects and items were brought to Japan through mutual trade and envoys. The items brought back from China included Chinese hairpins (zan, 簪; written with the same Chinese character as kanzashi), amongst other hair ornaments such as Chinese combs.[1]

During the Heian period, hairstyles shifted from being worn up to being worn long, and tied back relatively low. During this time period, the term kanzashi began to be used as a general term for any hair ornament, including combs and hairpins.

During the Azuchi-Momoyama period, hairstyles changed from the taregami (垂髪, "hair hanging down") style, to the wider variety of styles worn up – predecessors of modern nihongami styles, which made more use of hair ornaments.

Kanzashi came into wider use during the Edo period, when hairstyles became larger and more complicated, using a larger number of ornaments. Artisans began to produce more finely crafted products, including some hair ornaments that could be used as defensive weapons.[citation needed] During the latter part of the Edo period, the craftsmanship of kanzashi is considered to have reached a high point, with a number of styles and designs created, many of which persist to the modern day.

Modern day

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In the present day, traditional Japanese hairstyles are not commonly worn, typically being worn only by geisha, maiko, sumo wrestlers, brides, modern tayū and oiran re-enactors, with both geisha, brides, tayū and oiran, and some apprentice geisha in some regions of Japan, using pre-styled wigs instead of their own hair.

As such, few people wear kanzashi with traditional hairstyles. However, kanzashi can be, and still are, worn with everyday hairstyles as simple hair accessories; there are a number of varieties and styles of wearing kanzashi, with modern varieties worn as hairclips both common and popular. In 1982, tsumami kanzashi were officially designated as a traditional Japanese handcraft in the Tokyo region.[2]

Craftsmanship

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Professional kanzashi craftspeople typically undergo a five- to 10-year traditional apprenticeship to learn the trade. Similarly to the combs used to create nihongami hairstyles,[3] only a small number of traditionally-trained kanzashi craftspeople are left practising the trade within Japan; from 2002 to 2010, their estimated number in the country decreased from 15 to five.[4][5]

However, the tsumami kanzashi technique of petal-folded fabric kanzashi has become a popular craft amongst hobbyists, with a number of books, kits and lessons available on the subject, from sources such as the Tsumami Kanzashi Museum in Shinjuku. Some hobbyists have bypassed the traditional apprenticeship system to establish themselves as independent artisans of tsumami kanzashi in Japan.[6]

Types

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Kanzashi are fabricated from a wide range of materials, such as lacquered wood, gold and silver plated metal, tortoiseshell, silk, and recently, plastic. Early plastic kanzashi made out of materials such as bakelite are considered to be highly valued as collectables.

There are a number of basic kanzashi styles, with the wear of each typically and traditionally following seasonal arrangements; however, in the present day, the use of seasonal kanzashi is observed only by geisha, their apprentices, tayū, oiran re-enactors and in the costumes for kabuki plays. The use of kanzashi to finely indicate age and status is a tradition also only held by geisha and maiko.

For maiko, the size, shape, variety and number of kanzashi can indicate seniority and the stage of apprenticeship, used in tangent with a number of different hairstyles throughout the apprenticeship. Though geisha also wear seasonal kanzashi, this is typically confined to a change in the colour of tama kanzashi.

Basic styles

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Despite seasonal and (in the instance of bridalwear) occasional variation, most kanzashi that are not considered to be tsumami kanzashi fall into one of a number of basic shapes and appearances.

Name Photo Description Details
Bira-bira kanzashi (びらびら簪, "fluttering" or "dangling kanzashi")
Two-pronged kanzashi with a rounded plate at the tip. Metal strips are attached to its edge by small rings that move independently of the main hairpin. Some bira-bira feature bells or long chains of additional silk flowers known as shidare, and most have a mon (crest) stamped on the flattened end.
Ōgi bira kanzashi (扇びら簪, "fluttering fan kanzashi", also known as "princess style")
Fan-shaped bira-bira, stamped with the mon of the wearer. Ōgi bira are typically worn by maiko.
Kogai (笄, "sword")
Two-piece stick-shaped kanzashi featuring a design on each end, which tend to be wider than the centre. Kogai resemble sheathed swords, with one end being removable in order for it to be placed in the hairstyle. Kogai are commonly made of tortoiseshell, lacquered wood, ceramics or metal, and are often sold as a set with an accompanying kushi comb.
Kushi (櫛)
Comb-shaped kanzashi, typically rounded or rectangular, and made of similar materials to kogai kanzashi. Kushi may be inlaid with mother of pearl or gilded, with most of the design placed on the wide "handle" portion, though sometimes extending down into the teeth of the comb itself. Kushi are usually placed at the front of the bun in traditional Japanese hairstyles. They commonly come in matching sets with kogai.
Hanagushi (花櫛, "flower comb")
Kushi decorated with folded silk flowers (tsumami kanzashi). Hanagushi are popular as an informal kanzashi variety.
Tama kanzashi (玉簪, "ball kanzashi")
Single-pronged hairpin style kanzashi decorated with a single coloured bead on the end. Tama kanzashi are commonly made of semi-precious stones such as jade or coral, or may be made of shibori-dyed fabric. Traditionally, red tama kanzashi were worn in the winter months, and green tama kanzashi were worn in summer.
Hirauchi kanzashi (平打簪)
Two-pronged kanzashi with a rounded, flattened end, worn as a hairpin in the back of a traditional hairstyle. Commonly made of wood, resin or metal, hirauchi are commonly decorated with lacquer, gilded, inlaid with precious metals, or – in the case of metal hirauchi – have a filigree-style carved design.
Kanoko (鹿の子, "fawn spots")
Brightly-coloured fabric ties, sometimes padded, made of unpressed kanoko shibori-dyed fabric. Kanoko are usually tied around portions of the bun at the back of a traditional hairstyle. Kanoko are often pink or red. Non-shibori varieties using chirimen crepe are also seen.

Other styles

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A number of other styles of kanzashi also exist, though these are typically only worn for specific, uncommon hairstyles, such as by maiko in certain geisha districts or by characters in some kabuki plays.

Name Photo Description Details
Bonten (梵天)(Direct translation: Brahma)
Bonten seen on the right side of the bun in this katsuyama hairstyle
 Large, silver wire flower hairpins, typically featuring a larger flower in the centre, worn either side of the mage (bun) on certain hairstyles. Bonten kanzashi are typically only worn with the katsuyama (勝山) and fukiwa (吹輪) hairstyles.
Miokuri (見送り)
Strip-like metal hair ornaments seen at the back of some hairstyles, hanging down from the central bun. Both maiko, tayū and oiran re-enactors wear miokuri, with the miokuri of courtesans being longer and curled up at the end. Miokuri are usually plain red or silver, though some may feature designs.
Tachibana kanzashi (橘簪)
Tachibana kanzashi seen on the right-hand side of this maiko's hairstyle
 Small, hairpin style kanzashi intended to literally represent the ripe and unripened fruits of the tachibana orange tree. The leaves of tachibana kanzashi are usually silver, with the oranges themselves made of jade and coral. For maiko, the placement of the tachibana kanzashi indicates seniority.
Chirimen tegara (金紗手柄), also known as chirimen tegarami or simply tegara
Chirimen tegara decorated with silver foil flowers
 A triangular, folded piece of crepe fabric pinned into the back of certain hairstyles. For maiko, the colour of the fabric indicates seniority.
Kanoko dome (鹿の子留め)
Short, heavily-decorated hairpins with a large, rounded decoration on the end. Typically decorated with gold, silver, tortoiseshell, jade, coral and other semi-precious stones, kanoko dome are worn at the back of some hairstyles featuring a bun, with the kanoko dome placed in the bun's centre.
Maezashi (まえざし) – also known as bira dome
A small, circular green maezashi kanzashi seen here on the left-hand side of this maiko's hairstyle
 Small hairpins with one small motif or decoration (such as a fan or flower) worn just above the ōgi bira, again typically only by maiko. Maezashi are usually chosen by the wearer out of personal taste.

Tsumami kanzashi

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A December kanzashi featuring two blank maneki nameplates
A display showing the seasonal hana kanzashi worn by maiko, from January to the New Year

Tsumami kanzashi – literally meaning "pinched kanzashi" – are traditional kanzashi made of squares of dyed or printed silk, folded into a number of shapes to represent flowers, plants and animals.

Each square is folded multiple times with the aid of tweezers and glued onto a base using rice glue. A finished tsumami kanzashi piece may contain anything from five to 75 squares of silk or more. Tsumami kanzashi pieces are intended to closely represent the plant or animal they depict; tsumami kanzashi depicting flowers are known as hana kanzashi (literally meaning "flower kanzashi").

Hana kanzashi are usually made from a cluster of tsumami kanzashi flowers, and may include bira-bira-style strips of metal or long streamers of petals dangling from the main kanzashi piece. Maiko are well-known for wearing hana kanzashi that are typically larger than average.

Generally, hana kanzashi are worn in pairs, one on either side of the head, often with a complementary kushi. The flowers are glued to backings of metal or cardboard that are attached to a wire and are bunched together to make bouquets and other arrangements. Additional detailing of stamens is created by the use of mizuhiki, a strong, thin twine made from washi paper, often coloured and used for decorative works.

Geisha, and especially maiko, wear different hana kanzashi for each month of the year.

Seasonal tsumami kanzashi motifs

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Hana kanzashi are highly seasonal, though typically the only people in Japan who follow the seasons closely enough to register seasonal changes are geisha and their apprentices. Since maiko wear more elaborate kanzashi than their senior geisha, seasonal changes are even more important for them.

  • January – The design of January kanzashi usually has an auspicious New Years' theme. Shōchikubai is a popular choice – a combination of pine (shō), bamboo (chiku) and plum blossoms (bai) in green, red and white. Other popular motifs are sparrows (suzume), spinning tops and battledore paddles (hagoita).
  • February – Usually trailing deep pink or red plum blossoms, said to symbolise young love and the approach of spring. Another less common theme is the pinwheel and the flowerball (kusudama) that is worn for Setsubun.
  • March – Trailing yellow and white rapeseed flowers (nanohana) and butterflies, as well as peach blossoms (momo), narcissus (suisen), camellia (tsubaki) and peonies (botan). A rare kanzashi featuring dolls that are used to celebrate the Hina Matsuri (Girl's Day Festival) can also be seen during this month.
  • April – Trailing soft pink cherry blossoms (sakura) mixed with butterflies and bonbori lanterns, signalling the approach of summer. Cherry blossom viewing at this time of year is a major cultural event in Japan. Kanzashi consisting of a single silver (or sometimes gold) butterfly (cho) made of mizuhiki cord are common.
  • May – Trailing purple wisteria (fuji) and flag irises (ayame), usually in blue or pink. Irises denote the height of spring while wisteria is a flower often associated with the Imperial Court (wisteria viewing parties have been celebrated by Japanese nobles since the Heian period).
  • June – Trailing green willow (yanagi) leaves with carnations/pinks (nadeshiko), or less commonly hydrangea (ajisai) flowers. This month is the rainy season in Japan, and therefore willow (a water-loving tree) and blue hydrangeas are appropriate.
  • July – Kanzashi featuring a display of fans (usually round uchiwa fans, but occasionally folding sensu fans) are featured. The fans refer to the Gion Festival which takes place at this time. The motifs featured on a maiko's fan kanzashi vary each year, in line with the festival. There are common themes such as dragonflies and lines denoting swirling water. Other kanzashi worn during July are fireworks kanzashi and dewdrops on grass (tsuyushiba).
  • August – Large morning glory (asagao) or susuki grass. The susuki grass appears as a starburst of spines made of silvered paper. Senior maiko wear white-backed silver petals and junior maiko wear pink-backed silver petals.
  • September – Japanese bellflower (kikyō). The purple tones are traditionally associated with autumn. Often these will be mixed with bush clover.
  • October – Chrysanthemum (kiku). These are well loved in Japan and are a symbol of the Imperial Family. Senior maiko will wear one large flower while junior maiko will wear a cluster of small flowers. Typical colours include pink, white, red, yellow, and purple.
  • November – Trailing autumnal leaves that are usually composed of the very popular Japanese maple. Maple viewing is the autumnal equivalent of cherry blossom viewing in Japan. Ginkgo and liquidambar leaves are also seen.
  • December – The Japanese make mochi at this time of year, and often decorate trees with them to represent white flowers. It is thought to be good luck to wear kanzashi featuring mochibana, or rice-cake flowers. December kanzashi also feature two maneki, name plates used by kabuki actors, which are initially blank. Traditionally, maiko visit the Minamiza Theatre and ask two of their favourite kabuki actors to autograph them with their kabuki nom de plume. Kanzashi for senior maiko feature green bamboo leaves while junior maiko have a colourful assortment of lucky charms.
  • New Year – At this time of year all maiko and geisha wear un-husked ears of rice in their hairstyles (maiko wear it on the right while geisha wear it on the left). These kanzashi also feature eyeless white doves. The maiko and geisha fill in one eye and ask somebody they like to draw the other for good luck in the coming year.

See also

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Kanzashi

View on Grokipedia
from Grokipedia
Kanzashi (簪) are traditional Japanese hair ornaments designed to adorn and secure elaborate hairstyles, particularly those worn by women with during festivals, ceremonies, and rites of passage such as New Year's celebrations, , and Coming-of-Age Day. These accessories, which originated as simple functional pins in prehistoric times, evolved into intricate decorative pieces believed to possess protective qualities against evil spirits in ancient . The earliest known kanzashi date back to the Final (ca. 1000–300 BCE), where they were crafted from materials like bone, antlers, or stone to hold hair in place and possibly serve ritualistic purposes in societies. By the (1615–1868), kanzashi had become widely popular as ornamental hairpins, reflecting social status and seasonal themes, with widespread use in urban centers like (modern-day ). Notable types include tsumami-kanzashi, which feature silk fabric (such as glossy habutae) pinched and folded into lifelike flowers or birds using techniques like marutsumami (round pinching for soft forms) and kakutsumami (angular pinching for bold shapes), often mounted on wooden bases made from boxwood or . Another prominent variety is hana kanzashi (flower kanzashi), characterized by seasonal floral motifs that change monthly—such as cherry blossoms in or chrysanthemums in January—commonly worn by (apprentice ) in Kyoto's geisha districts to signify their training stage and participation in cultural events like dance performances. Beyond their aesthetic role, kanzashi hold deep cultural significance, symbolizing elegance and tradition while enhancing the overall harmony of traditional attire; they were historically produced in specialized workshops and even served as popular souvenirs in . Today, these ornaments continue to be crafted using time-honored methods, recognized as traditional crafts, and are displayed in museums to preserve Japan's artisanal heritage.

History

Origins and Early Development

The earliest kanzashi date back to the Final (ca. 1000–300 BCE), where they were crafted from materials like bone, antlers, or stone as simple pins or sticks to hold hair in place, possibly serving ritualistic and protective purposes against evil spirits in societies. Kanzashi developed further during the (710–794), influenced by Chinese ornaments introduced through trade and diplomatic exchanges, adapting foreign zan (hairpins) into more elegant Japanese forms. By the (794–1185), noblewomen wore long, unbound hairstyles known as taregami, with kanzashi and combs (kushi) used sparingly—primarily made from wood or metal—to secure hair for special occasions or form small topknots. In coming-of-age ceremonies (genpuku or shokei gishiki) for girls aged 12–16, hair was tied (kami age) and adorned with kanzashi alongside decorative tablets (hitai) and combs, marking the transition to adulthood. This period laid the groundwork for further complexity in later centuries, as societal shifts began to diversify hairpin designs beyond court exclusivity.

Edo Period Evolution

During the Edo period (1603–1868), kanzashi underwent significant transformation as hairstyles evolved into more elaborate nihongami configurations, driving a commercial expansion in production centered in Edo (modern Tokyo). Artisans and lacquer masters responded to growing demand by crafting finely detailed kanzashi, making them accessible beyond the aristocracy to commoners and merchants through affordable variants. This boom reflected the period's economic growth and urban culture, where hair ornaments became markers of fashion and social aspiration. Materials advanced with the introduction of bian, or from hawksbill sea turtles, prized for its natural mottling and durability, often combined with wrappings for decorative flair. These innovations allowed for intricate designs like flowering hana-kanzashi and dangling birra-birra styles, with artisans producing a wide array of forms including combs (kushi), stick-like pins (kogai), and seasonal motifs to suit varying occasions. By the mid-18th century, kanzashi encompassed numerous registered variations, emphasizing versatility in everyday and ceremonial use. Kanzashi played a prominent role in art and theater, particularly among courtesans and their apprentices in the district, where elaborate sets denoted rank and seasonal themes. In prints by artists like , kanzashi appear as status symbols, such as motifs evoking (fuji) or auspicious pines (takasago) for young trainees, enhancing the visual drama of performances and appearances. These ornaments, often in gold, silver, or tortoiseshell, contrasted sharply with to highlight elegance in the floating world. Sumptuary laws, including the 1787 edict under the Reforms, restricted ostentatious ornamentation to preserve class distinctions, prompting simplifications for non-elites like scooped-end designs disguised as practical head scratchers. Such regulations limited luxury materials for commoners but spurred creative adaptations, ensuring kanzashi remained integral to fashion while navigating social controls. This interplay of prohibition and innovation underscored kanzashi's cultural resilience during the period.

Modern Adaptations

During the of 1868, the adoption of Western hairstyles and fashions led to a significant decline in the use of kanzashi, as traditional Japanese updos became less common among women. In the Taisho era (1912–1926), traditional Japanese attire experienced a revival amid cultural , with kanzashi reemerging in formal contexts such as tea ceremonies and weddings to accentuate elaborate hairstyles. Following , kanzashi production saw a resurgence in the as rebuilt its , supported by artisan cooperatives that preserved crafting techniques while adapting to postwar economic realities. Synthetic materials like increasingly replaced traditional and , making the ornaments more affordable and accessible without compromising aesthetic appeal. In the , kanzashi have undergone global adaptations, fusing traditional motifs with contemporary , aesthetics, and costumes to appeal to diverse audiences beyond ceremonial wear. Modern designers draw inspiration from kanzashi's intricate forms, incorporating them into hybrid accessories that blend Eastern heritage with Western styles. As of 2024, production centers in maintain a dedicated community, with workshops emphasizing sustainable materials like recycled from vintage kimonos to counter declining demand for traditional daily use while promoting eco-conscious craftsmanship.

Types

Core Structural Types

Kanzashi encompass several core structural types that form the foundational elements of these ornaments, distinguished primarily by their physical shapes and attachment mechanisms. These basic forms provide the essential support for traditional Japanese hairstyles, such as updos and chignons, without incorporating elaborate surface decorations. The primary categories include hira-kanzashi, maru-kanzashi, kogai, and bira, each tailored to specific functional needs in everyday or ceremonial contexts. Hira-kanzashi consist of flat, rectangular plates fitted with simple pins that insert directly into the to secure it. These are commonly used for everyday fastening in shimada updos, a traditional style where hair is gathered into a low bun at the . The plate design allows for stable anchoring while maintaining a minimal profile suitable for daily wear. Maru-kanzashi feature simple round-ended constructions that attach via pins, enabling them to add decorative elements to elaborate hairstyles. They are particularly employed in bridal arrangements to enhance fullness and height. This form supports the weight of additional elements while ensuring secure placement. Kogai are dual-pronged sticks that resemble in form, with both prongs designed for parallel insertion into the to provide robust support. They play a vital role in training, where apprentices begin using them from around age 15 to master complex coiffures during their into the profession. The pronged structure allows for easy manipulation and firm hold in training exercises and performances. Bira-bira take the form of two-pronged kanzashi with a rounded plate at the tip from which metal strips or pieces dangle, creating a fluttering effect. They are mainly utilized to add decorative shimmer and movement during festivals and ceremonies, offering an eye-catching element amid hairstyles. This configuration provides subtle animation for event-specific applications. These structural types often serve as bases upon which decorative enhancements may be added, though the focus here remains on their inherent forms.

Decorative Variations

Tsumami-kanzashi exemplify a key decorative variation, formed by folding and pinching small squares of fine fabric into three-dimensional floral motifs that evoke natural petals. This technique, known as tsumami or "pinching," allows for intricate, layered designs that enhance the visual depth and elegance of hair ornaments worn with . Hana-kanzashi represent another prominent aesthetic subtype, characterized by elaborate flower-adorned pins that incorporate seasonal blooms crafted via tsumami or artificial flower (zouka) methods using habutae silk. These ornaments often feature dangling elements, such as bura petals or metal strips in the bira-bira style, which provide subtle movement and shimmer during wear. Common motifs include cherry blossoms for spring and for autumn, creating thematic diversity across ensembles. Special variants tailored for incorporate dangling chains and balls, often enhanced with bells to produce a gentle chime that complements performance movements. These age-shimada styles, worn by senior apprentices, emphasize elaborate embellishments like shidare silk flower chains for added auditory and visual intricacy.

Materials and Craftsmanship

Traditional Materials

Traditional kanzashi were crafted using metals such as , silver, and alloys to ensure durability and aesthetic appeal, with these materials often formed into pins, combs, and decorative elements that could withstand daily wear in elaborate hairstyles. and silver plating or application became prominent in the during the , enhancing the ornate quality of kanzashi while providing resistance to tarnish and . alloys offered a more affordable yet sturdy base, frequently gilded to mimic precious metals and achieve a luxurious finish suitable for and court attire. Organic materials played a key role in kanzashi construction, particularly , known as bekko, derived from the and valued for its translucent, amber-like quality that allowed intricate and polishing into combs and hairpins. The use of bekko in kanzashi dates back to the but became a specialized craft during the , where it was prized for its natural durability and ability to hold fine details without splintering. International trade in hawksbill tortoiseshell has been restricted since the 1973 Convention on International Trade in Endangered Species (), with fully adhering to the ban by removing its reservation in 1994, leading to reliance on pre-ban stockpiles for ongoing craftsmanship. Ivory, sourced from tusks, was another organic material employed in early kanzashi for its smooth, carveable texture ideal for delicate pins and ornaments, though its international commercial trade was prohibited by in 1989, effective January 1990; banned domestic ivory trade as of July 2022. Boxwood, specifically Japanese tsuge (), provided a alternative for pins and combs, appreciated for its fine grain, resistance to splitting, and natural oil content that repelled oils and maintained smoothness over time. Textiles, especially mulberry silk, formed the basis for decorative wrappings and tsumami zaiku folds in kanzashi, where small squares of the fabric were pinched and layered to create lifelike floral motifs. Mulberry silk's sheen, strength, and dye absorbency made it ideal for vibrant, seasonal designs, often starched for rigidity in hair ornaments. Much of this silk was sourced from Kyoto's Nishijin district, renowned for its high-quality weaving traditions that supplied premium chirimen crepe fabrics used in tsumami techniques since the 18th century. Due to CITES restrictions, modern kanzashi increasingly use synthetic or alternative materials to replicate ivory and tortoiseshell. Adornments in traditional kanzashi included coatings, applied as urushi to provide waterproofing and a glossy, protective finish over wooden or organic bases, preventing moisture damage in humid climates. Urushi , derived from the sap of the lacquer tree, hardened into a durable layer that enhanced longevity and allowed for embedded designs. Pearls or mother-of-pearl were occasionally incorporated as accents for elegance in high-status kanzashi.

Fabrication Techniques

The fabrication of kanzashi involves several specialized techniques, beginning with the formation of the structural pin or base. Metal shafts for kanzashi are typically shaped through or hand-forming processes using materials like or silver, followed by to achieve a smooth finish; traditional polishing may employ natural abrasives such as for precision on metal surfaces. A hallmark technique for decorative elements is tsumami folding, where small squares of fabric, typically measuring 2-3 cm, are pinched and twisted into petal-like shapes using specialized to form flowers or other motifs without sewing or cutting further. This intricate pinching method, known as tsumami zaiku, requires years of apprenticeship; professional artisans often undergo 5-10 years of training to master the precise control needed for balanced, lifelike forms. Lacquering enhances durability and gloss on wooden or metal components, particularly for bases or inlaid designs, using urushi applied in multiple thin layers—often 20-30—to build a protective, lustrous . Each layer is allowed to cure in a controlled humid environment at 20-30°C for approximately 24 hours before sanding and the next application, ensuring even and resistance to wear. Final assembly combines these elements by gluing or decorative pieces to the pin base, often using traditional paste or adhesives for while maintaining flexibility; artisans perform quality checks to ensure overall balance and comfort, verifying that the ornament sits evenly without excessive strain on the wearer.

Cultural and Symbolic Role

Use in Traditional Hairstyles

In traditional Japanese culture, kanzashi play a key role in the worn by senior , an elaborate updo that signifies their advanced apprenticeship stage after two to three years of training. These hair ornaments, often numbering several pieces including floral hana-kanzashi and structural pins, are arranged to secure the hair while denoting the wearer's rank within dance performances and are changed monthly to align with seasonal themes. For Shinto weddings, brides don the pure white shiromuku paired with traditional kanzashi, such as round combs and pins, in the Shimada , a voluminous style that emphasizes elegance and symmetry during the ceremony. These kanzashi, typically featuring gold or floral motifs, secure the elaborate bun and enhance the formal attire's aesthetic harmony. Dangling bira-bira kanzashi with clinking metal or bell attachments are incorporated into participants' hairstyles during festivals, providing visual flair and aiding balance as women join processions. For formal occasions, adopt the marumage hairstyle—a rounded evoking maturity—and adorn it with subtle kogai kanzashi, simple sword-like pins that offer functional support without overwhelming the refined atmosphere.

Symbolism and Seasonal Motifs

Kanzashi serve as markers of social hierarchy within communities, where the materials and designs convey rank and experience. Senior , or geiko in , often wear more elaborate pieces featuring gold motifs such as phoenixes, symbolizing rebirth and high status, while junior apprentices, or , use simpler silver crane designs representing fidelity and longevity; these distinctions draw from Confucian principles of ordered social roles and respect for hierarchy. In Kyoto's district, tsumami kanzashi—crafted by folding into petal-like forms—follow a 12-month cycle of seasonal motifs that align with the and natural cycles, allowing to visually express the passage of time and cultural harmony with nature. For , plum blossoms symbolize endurance and hope, blooming resiliently in winter to herald renewal. May features iris flowers, evoking eloquence and protective courage in communication. November incorporates , denoting longevity and imperial nobility as autumn fades. These motifs are worn prominently in hairstyles during festivals and performances, reinforcing seasonal identity. Beyond seasonal flowers, kanzashi incorporate broader symbolic elements like , which represents resilience and flexibility in adversity, often paired with in winter sets to embody steadfast growth. In wedding ensembles, turtleshell (bekko) patterns evoke protection and enduring marital harmony, drawing from the turtle's cultural role as a guardian against misfortune. Historically, kanzashi were believed to possess protective qualities against evil spirits, a symbolism originating in ancient and persisting in rites of passage like Coming-of-Age Day (Seijin no Hi). As of the 2020s, modern kanzashi and related accessories have incorporated upcycled materials to promote , adapting traditional forms to contemporary environmental values.

References

  1. https://www.dento-tokyo.metro.tokyo.lg.jp/english/items/13.html
  2. https://www.metmuseum.org/art/collection/search/62295
  3. https://knmdb.kyohaku.go.jp/eng/18500.html
  4. https://artsandculture.google.com/story/hana-kanzashi-art-research-center-ritsumeikan-university/0QWByNve2FJiJQ?hl=en
  5. https://www.kcpinternational.com/2012/10/kanzashi/
  6. https://www.japanesetraditionalclothingwafuku.wordpress.com/kanzashi/
  7. http://simitras-exquisite-things.com/assets/articles/Japanese%20Kanzashi%20Hair%20Combs%20and%20Accessories.pdf
  8. https://collections.vam.ac.uk/item/O102748/comb-kazumitsu/
  9. https://asianartnewspaper.com/japanese-beauty-secrets/
  10. https://www.viewingjapaneseprints.net/texts/topics_faq/faq_sumptuary.html
  11. http://goinjapanesque.com/07655/
  12. https://japanobjects.com/features/kanzashi
  13. https://cafe-kimono.com/en/kanzashi-is-japanese-traditional-hairpin-about-the-types-and-designes/
  14. https://www.mitsuifinearts.com/artworks/502-artisan-s-name-unknown-kanzashi-hair-stick-taisho-era-1912-1926/
  15. https://geishamakeup.wordpress.com/2018/03/21/history-of-geishas-2/
  16. http://mi-ivy.com/index-3.html
  17. https://hanabira.org/japanology/kanzashi
  18. https://www.etsy.com/market/kanzashi_hair_accessories
  19. https://www.oharibako.com/workshop_en/
  20. https://www.veltra.com/en/asia/japan/kyoto/a/119234
  21. https://geishaofjapan.com/fashion/kanzashi-hair-ornaments/
  22. https://mai-ko.com/travel/culture-in-japan/geisha/how-to-become-a-geisha-training-of-a-maiko/
  23. https://kanzashi.org/en/english.html
  24. https://festivalofjapan.co.uk/information/kanzashi/
  25. https://appledainty.com/projects-by-discipline/tsumami-zaiku/aqua-kusudama-with-tassel-kanzashi-hair-fork/
  26. https://www.dento-tokyo.metro.tokyo.lg.jp/english/items/10.html
  27. https://www.kamemannen.com/en/bekko-history
  28. https://tokyoteshigoto.tokyo/en/product/origami-bekko-jewelry/
  29. https://www.traffic.org/publications/reports/shell-shocked-japans-role-in-the-illegal-tortoiseshell-trade/
  30. https://mingeiarts.com/products/japanese-vintage-ivory-bone-kanzashi-hairpin
  31. https://eia.org/blog/20200110-thirty-years-since-international-ivory-ban/
  32. https://www.loc.gov/item/global-legal-monitor/2022-07-27/japan-elephant-ivory-trade-prohibited-under-amended-law/
  33. https://www.chidoriyaworld.com/products/original-tsuge-boxwood-comb-long
  34. https://en.edotokyokirari.jp/column/fashion/yonoya/
  35. https://shop.japanobjects.com/pages/about-oharibako
  36. https://japan-forward.com/kimono-style-tsumami-kanzashi-bringing-new-beauty-to-the-world-of-hair-decorations/
  37. https://manekineko-ai.com/japanese-lacquer-geisha-kanzashi-comb-kimono-traditional-hairpin-black-urushi/
  38. https://www.thecarvingpath.net/topic/1344-urushi-lacquer-answer-to-natasha/index.html
  39. https://handcraftkuonetsy.blogspot.com/2014/05/tsumami-kanzashi-tutorial.html
  40. https://attractive-j.com/experiences/PMCBEN
  41. https://yumekanzashi.co.uk/
  42. https://wisteriagardensstudio.wordpress.com/2014/11/16/tsumami-zaiku-by-wisteria-gardens/
  43. https://www.kyuseidotokyo.com/libraryofknowledge/an-in-depth-introduction-to-urushi-lacquer-art
  44. https://kogeistyling.com/pages/how-to-take-care-fine-lacquerware
  45. https://www.urushilab.com/urushi/
  46. https://tsumami-kanzashi.com/method/starch-method/
  47. https://www.instructables.com/How-to-make-a-kanzashi-folded-fabric-flower-pin/
  48. https://musubikiln.com/blogs/journal/guide-to-maki-e-part-1-types-materials-techniques
  49. https://mai-ko.com/travel/culture-in-japan/geisha/the-hairstyles-of-geisha-and-maiko/
  50. https://www.japanpowered.com/japan-culture/geisha-path-dance-shamisen
  51. https://multi-language.wakon-style.jp/pages/attire/hairstyle
  52. http://maihanami.blogspot.com/2016/01/kimono-q-wedding-kimono.html
  53. https://www.japan-guide.com/e/e2061.html
  54. https://geishaofjapan.com/fashion/hairstyles/
  55. https://japan-avenue.com/blogs/japan/japanese-hairstyle
  56. https://store.kyotohandicraftcenter.com/blogs/blog-news/symbols-of-japan-the-deep-meaning-of-traditional-motifs-in-japanese-crafts
  57. https://janbardsley.web.unc.edu/2022/01/adorned-in-good-fortune-the-maikos-new-year-kanzashi/
  58. https://savvytokyo.com/kimono-fashion-with-a-twist/
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