Reused and upcycled clothes have become popular in the fashion industry in recent years. Japan’s kimono have gained worldwide attention as an embodiment of sustainability. Unfortunately, many Japanese people are uninformed about the national dress. We interviewed kimono influencer and researcher Sheila Cliffe, who is originally from the U.K., but resides in Tokyo. Cliffe has caused quite a stir. She calls herself a “kimono trend hunter”, and has gained a following on social media for her fashionable outfit coordinations. Over the years, she has contributed to many projects and events related to the kimono. In 2002, she received the Kimono Culture Promotion Award from the Association for the Cultural Promotion of Traditional Dress. Cliffe’s work has been recognized both in Japan and abroad, making her presence known across the globe. We asked her how her love for Japan and her appreciation for kimono has deepened with her ongoing work to spread the beauty of kimono culture to future generations.

Kimono = formal is an assumption. The appeal is in its versatility; it can adapt to changing purposes and body types

–– Can you tell us why you initially came to Japan?

Sheila Cliffe: I was 24 when I first came to Japan. I was learning shintaido in the U.K. at the time, and my instructor asked me if I wanted to train at a Japanese dojo over summer break. Once I got here, I thought Japan was so interesting. I wanted to stay longer, and I didn’t want to go home. Once I found kimono, that feeling of wanting to stay changed into determination. I couldn’t leave.

–– Do you remember what it was like seeing a kimono for the first time? Do you have an anecdote you’d like to share about that experience?

Cliffe: I really enjoy going to flea markets here. At first, I was drawn to pottery and bowls, so that was mostly what I was looking at. But then, the vivid colors of the silk kimono caught my eye. The first one I bought was a beautiful red kimono. I learned later that that was actually a nagajuban, which is something that you wear under a kimono, and that the red fabric was called momi. So technically, it wasn’t until later that I bought a real kimono. A store clerk in the kimono section of a department store recommended I try one on, and I impulse bought it. I didn’t have a lot of money back then, so it was tough afterwards. When you buy a kimono, you don’t just buy what’s on the price tag. You have to pay for the lining and the tailoring, too. Back then, I didn’t know much about kimono and couldn’t understand Japanese that well, so that was that. But I was obviously at a loss when I found out I had to pay twice as much as I thought I’d have to in three weeks. But I loved the kimono itself. I just had to turn a new leaf and get the money together… (laughs).

–– Do you still have the kimono that you bought then?

Cliffe: Of course. I take good care of it. I still have the photos from the fitting from after I bought it. I decided to take dressing classes because I thought it would be a waste not to be able to wear it after struggling so hard to buy it. First, I took a two month beginner course, then a course on how to clothe people in furisode and tomesode, and how to teach it… Before I knew it, I had completed many courses and had even gotten a license. When I started, I thought it would be enough to learn how to put a kimono on myself. But the more I learned, the more I grew enamored of the kimono world. And my Japanese language ability grew enormously at the same time.

–– Kimono are thought to be difficult to put on yourself, hard to move in, and formal. How do you feel about these assumptions?

Cliffe: I think those same things can be true for western clothes, too. It’s all how you think about it. It’s hard to sit on the floor with a tight pair of denim pants on. Dress shirts and neckties can feel formal, and it’s hard to move around with a restricting item of clothing like a corset on, as well. On top of that, you don’t have the freedom to take off western clothes when you’re uncomfortable. I think kimono are highly versatile because they can adapt to your bodies changing condition or size, simply by adjusting the obi’s tightness. If you want to ride a bicycle or be more active, you can arrange your outfit by pairing the kimono with monpe. It’s very comfortable.

Kimono are a great tool for people who love fashion and want to express themselves through clothing

–– Please tell us, again, what you think is the appeal of the kimono.

Cliffe: I think kimono are a great tool for people who love fashion and want to express themselves through clothing. Nowadays, when I look around to see what people are wearing normally, most of them are wearing black, white, beige, navy… and the pattern variations are always checkers or stripes. It almost feels like everyone’s wearing a uniform. That’s not necessarily a bad thing, but I’m sure some people feel a need for more. Humans are instinctively creatures that adorn themselves with things. I think more people will discover the beauty of the kimono when that need is recognized. The shape of the kimono hasn’t changed much over time, but there’s a lot of variation in color and pattern. That’s why just looking at a kimono can open your imagination and tell an idea or story.

–– You often wear accessories like pin-back buttons with your kimono. I’d like to know how you come up with these mixed outfit coordinations that don’t play within a particular set of rules.

Cliffe: I enjoy combining things that may be unusual. My outfits may seem outrageous, but fundamentally, I wear my kimono how they’re supposed to be worn. But it’s boring to be restricted by rules, so I try to make a statement by saying, “these are some possibilities. Kimono can be fashionable, too”. I wear pin-back buttons with cotton kimono, which are not damaged by the pin because of their coarse-grained material. It’s more fun that way. I also like to focus on the combination of colors and patterns. People think it’s difficult, but if you stick to three colors to coordinate, anyone can do it. It’s also fun to create an outfit based on a story. For example, I like old movies, so I may draw inspiration from wanting to be like Audrey Hepburn. Or if I want to be in a romantic mood, I think of ideas based on that. Spreading out my favorite kimono and accessories around the room and thinking about how to put them all together is the most luxurious way to spend time.

–– You also post your outfit coordinations on Instagram. Your book Sheila Kimono Style tracks your outfit inspirations in great detail, too.

Cliffe: There are a lot of books about how to coordinate kimono, but they’re usually organized into different kimono schools systems, which makes the hurdle seem too high for most. Conversely, I wanted to write a book that people could casually pick up like a fashion magazine. My first book was a great success, but many people suggested I include more outfit coordination ideas. So in my second book, I took pictures of the items I used and explained the thought process behind my outfits. As you can clearly see from the photos, unlike western clothes, kimono embody a culture of adding items. The possible coordination combinations are endless. The accessories I buy don’t have to stick to any genre, though. Anything I like, I add to my kimono coordination. That kind of freedom kimono provide can make it an even more familiar item. For example, instead of using a small bag that’s used solely to wear with a kimono, you can choose a bag that’s more useful and modern in its design. I usually look for accessories at second-hand stores, and like to “treasure hunt” at large, warehouse-like places. I sometimes even combine pieces I like and create my own accessories.

–– It’s common and accepted to combine unlikely pairings within western styles, like wearing denim with a tuxedo jacket. Do you think that kind of outfit coordination can work with kimono?

Criff: If it’s a formal event, one should pick appropriate attire. But I think it’s fine to freely style kimono if it’s for fashion purposes. I bring this topic up in my book, too. I introduce some total coordination ideas around the theme of “elegance” using a combination of hats and shoes. It’s nice to be able to enjoy a mixture of kimono and western clothing. I wear my kimono with turtleneck tops, denim pants, and boots sometimes.

The connection kimono have with the West and Japan’s unknown history

–– The kimono’s appeal lies in its affinity for both the Japanese and Western worlds. There are various theories about Japaneseness, but do you think mixing cultural items was inevitable, since the kimono itself has been greatly influenced by Western culture?

Cliffe: That’s true, kimono have a very deep connection to Western history. I was involved in Europe’s largest kimono exhibition in 2020 at London’s Victoria & Albert museum, “Kimono: Kyoto to Catwalk”, which covered the connection between kimono and Western history in great detail. For instance, the Tokugawa family had a kimono made from silk woven in Lyon, France. If you go back even further, it’s said that Edo chintz was created by imitating Indian chintz. These connections aren’t limited to kimono, but it’s true that Japan and Europe have had a long history of influencing each other. Toyota used to make mechanized looms, and there is a well-known story that the patent rights for one of them was purchased by the British textile machine manufacturer Platt Brothers, and that capital led to the later development of the automobile industry in Japan. I continue my research because there’s more to be known about the kimono’s appeal by digging into history. Recently, I’ve been working with people from Kawagoe to look into and revive the tradition of tozan, which is a cotton weaving type made in Kawagoe. Thread has been found for Tozan that was made in Manchester, proving that Japan was a part of international trade networks.

–– You have a deeper understanding of Japanese culture and history than a lot of Japanese people. But what are some things you like about the U.K., your home country?

Cliffe: I love how much greenery there is in the U.K. The beer’s good, too (laughs). I also love that they preserve old things. The beret and gloves I’m wearing today are from an antique shop in the U.K. The shop is in a repurposed old cotton mill. It’s very spacious, with a rock climbing gym attached to it. And a portion of the space is reserved to learn about the history of the cotton mill. I think making use of buildings that may one day be torn down is a good quality that the U.K. possesses.

The possibilities that kimono have from a sustainability standpoint

–– How do you feel about the recent reevaluation of kimono in terms of sustainability?

Cliffe: Kimono can be worn even if your figure changes, and its basic structure has changed little over time. In that way, I think kimono is an ideal sustainable item. I think many people are tired of the rapid changes in fashion trends, and of the fast fashion industry in general. I think it’s really important to keep old things alive. I love and own a lot of vintage kimono, but some of the older ones are in the wrong size. Unsewing those kimono, washing the fabric, and re-working them into new kimono can be costly, so I enjoy wearing them in different ways. There are many Japanese people who have kimono at home. Through the Kimono Closet Project, I’ve had many people show me and share anecdotes about the kimono they have in their closets at home.

–– Kimono have been trending among the youth as an Insta-worthy item. How do you feel about this?

Cliffe: I definitely feel the momentum of the next generation. Younger people who’ve released books, who’ve thought of new ways to tie obi, and who give outfit coordination advice that’s completely different from my approach, are all very reliable sources that help keep up tradition. There are also more people now who enjoy wearing kimono as a fashion statement than ever before. Especially in a place like Kyoto, kimono rentals are very popular. Through those trends, I’ve seen many people enjoy making their kimono look fashionable. When I first came to Japan, I rarely saw anyone dressed in kimono around town, and that always felt bizarre to me. Among them were people who were interested in kimono but didn’t know where to start. What I want to tell those people is that in order to be better at it, you have to start out being bad. That’s an important step in the process. No one has the right to tell you you’re wearing something wrong, so ignore the “kimono police”. You can wear it poorly when you’re first starting out. There are so many things to enjoy in this day and age. There’s no reason to choose to wear a kimono if it’s not fun. That’s why I think it’s my duty as an influencer to share special ways a kimono can be enjoyed more widely.

Photography Masashi Ura
Translation Mimiko Goldstein

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For artists, muses exist as a source of inspiration. When it comes to the women referred to as muses, people have mainly focused on the superficial things, such as the muse’s external beauty and relationship to the artist. However, Mie Iwatsuki is a unique muse. She speaks the common language that is art, builds equal relationships with artists, and is a strong communicator. According to her, the driving force behind her work is her strong desire to contribute to art.

The importance of communication born from art

――Compared to New York, where you’re based, I feel like Japan has a much more passive attitude towards enjoying art. What are your thoughts on that?

Mie Iwatsuki: I feel like in Japan, there’s an impression that art is out of reach. For example, if you take a word like “curator,” it directly translates to “gakugeiin,” [Note: This word is comprised of the Japanese characters for ‘study,’ ‘art,’ and ‘member’] which sounds pretentious. Overseas, I feel like the word “curator” is more light-hearted. I’ve always wished that we could do away with these kinds of stereotypes and that fine art would become more popular among the public.

――Could you tell us about the allure of art?

Mie: Art is a form of expression that allows us to communicate—in a timely fashion—how people are confronting social issues and what their current plans are. This is true not only for politics but also for gender and diversity. It’s also a way for people to communicate with one another without words. It serves as a medium. So, in New York, the artist’s statement is everything.

――Maybe in Japan, art still has a strong business aspect to it.

Mie: New York’s art market has the investment aspect to it too, of course. But that doesn’t mean that art is only for some people. Many people are interested in it. There are a lot of NPOs here, as well as frequent art events. Casually setting up places where people can interact with artists allows people who want to learn about art, techniques, ways of thinking, and themes to participate. That gives way to all kinds of communication.

――How did you become interested in art in the first place? Also, I’d like to know why you moved to the US.

Mie: I’ve just liked art and drawing since I was a kid. I originally came to the US to become an artist, but I was faced with a harsh reality. But as someone who loves art this much, I figured that even if I couldn’t be an artist, I could still live my life in the art world. So, I changed course. After college, I worked in environments where art was in reach, like auction houses and galleries, while loving art and knowing a lot about it. So naturally, I made more artist friends. I started working as a curator with the thought that I wanted to help my friends and other talented artists.

The artist’s muse brings a deeper perspective to art

――Did you meet Alex Katz, who inspired you to become an artist’s muse, in that kind of art setting?

Mie: Yeah, I did. The art gallery where I was working at the time held a talk with Alex Katz. I’d majored in oil painting, so I was very aware of his greatness. In a world where it’s no exaggeration to say that all brush techniques have been exhausted, he’s still creating new techniques. And as people shift to technology, it’s a very challenging and wonderful thing that he continues to endeavor in the world of two-dimensional work. I thought it’d be my chance to tell him how much I admire him, so I approached him after the event. When I did, his face completely changed. He looked at me very seriously and told me, “I want to paint you.” From there, I started modeling for him, and he painted about 10 portraits of me. Before I knew it, those paintings were being displayed in museums…I still can’t believe it happened.

――Why do you think that you ended up modeling for him many times rather than just once?

Mie: I think it’s because I really love art, and I think he understood that. When I collaborate with artists, we get really excited talking to each other about all kinds of things related to art. Alex likes fashion too, so we talked about that as well. I also just remembered—he said that when he needs a model, he doesn’t just choose people based on photographs. Apparently, he doesn’t get inspired unless he has a connection with the person.

――That’s interesting. I’d love to hear some stories about other artists as well.

Mie: When I was going to work with the photographer Robert Frank, I was studying him and his photography beforehand. That’s when I found a description that compared his work to the concepts of the French philosopher Alexis de Tocqueville. When I asked him about it, he told me that it was completely irrelevant. When I asked him more about it, he said, “That’s just how people saw it. But that kind of assessment is still an important thing.” I was really moved by what he said. He takes pictures because he’s interested in his environment, but the present is always changing. I felt that that in itself was a big statement.

――So, it’s a mutually inspiring relationship. Could you talk about what an artist’s muse is?

Mie: Artist’s muses are like the shamans of the art world. In the past, I’ve seen many incredible works with my own two eyes. I thought: Perhaps the model, as the subject of the work, is its number one witness. So, I felt it was very strange that there’s no way to know what the model thinks. How did they meet the artist, and what kind of conversation did they have leading up to the work? What color lipstick and what kind of clothing did they have on at the time? What did the canvas smell like? What kind of music or sounds did they hear? If we can find out what happened behind the scenes, then viewers can get something deeper from the work. So, I thought that as someone who is both knowledgeable about art and can model, I was the only person who could do that.

――I saw that the catalog of “Mie: A Portrait by 35 Artists,” which you collaborated on with 35 contemporary artists, featured a story that you had written along with the portraits.

Mie: This is an ongoing thing I’m doing as my life’s work, but whenever I collaborate with an artist, I always record what happened and what I felt in the process of creating the art in the form of a story. I’ve already shared some of it, but compiling everything I’ve written into a book and publishing it in Japan is my dream.

Different ways of perceiving beauty in the West and the East and what we can learn from it

――In recent years, there’s been growing concern over how models are treated as expendable. As a model yourself, what do you think of this?

Mie: I’m sometimes the product when I model. I don’t think that’s a bad thing. But I was taught that seeing yourself as a brand is very important, so I try to fully understand and agree with the project before accepting it. But as someone who has seen a lot of great art, there are things I understand when I’m on set. Many photographers also have this perspective, so when we shoot, it’s not exactly like we’re moving in perfect harmony—but it almost always goes smoothly. It’s not about how beautiful I look in the photos, but the feeling. I understand that if we get a good picture, that’s all that matters. There are times when photographers leave the photo selection up to me because they trust me.

――It sounds like one of your strengths is that you’re able to instantly communicate with people on a deeper level. I think the process of creating art based on mutual respect is how things should be, and it’s the most ideal. What else do you think it is about you that appeals to artists?

Mie: This is something I’m not that conscious of, but I’ve been told that the look in my eyes leaves an impression. I’ve been told that when I make eye contact and talk to someone, they feel like they’re going to be sucked in. Also, maybe it’s the fact that my face changes a lot with makeup. Here, there’s a big demand for Asian beauty. Although recently, I think that trend has played a considerable part in [anti-Asian] hate. 

――The standards of beauty are different in Japan versus the West, aren’t they?

Mie: That’s true. Here, diversity is essentially welcomed, so there’s a lot of diversity in terms of appearance and sexuality. The market is well-established, too. I’ve heard that recently, women in Japan are becoming more independent and stronger than in the past…what’s it actually like?

――Although people are shifting their attention to new values, I feel that there’s still a deep-rooted consciousness of beauty standards.

Mie: I lived in Japan until I was in my teens, so I have firsthand experience with the tendency for everyone to head down the same path. It’s a system that makes it difficult to develop individuality, and not just when it comes to beauty. But depending on a person’s way of thinking, the system could also be connected to individuality. Living in New York, I’ve felt the admiration that Westerners have for Japan on many occasions. Not just the traditional culture, but also the Japanese trait of shyness is apparently mysterious to them.

――Instead of focusing only on changing, we should start with knowing, right?

Mie: It’d be nice if there were more media and such for people to get more information. In Japan, I think TV is a major source of information, but it currently only broadcasts biased shows. I’ve learned and realized many things from art, such as history and philosophy, so I hope that that incredible aspect of art will spread more widely in Japan. I want to keep doing what I can to make that happen.

Mie Iwatsuki
Mie Iwatsuki is an artist muse, model, and curator based in New York. She built her career at Christie’s, an established auction house, and an art gallery in SOHO. She also does a wide range of art-related work, including curation and translation. From 2005 to 2010, she was a model for the iconic New York artist Alex Katz, starting her career as an artist’s muse and quickly becoming a rising figure in the art world. In her 2012 exhibition, “Mie: A Portrait by 35 Artists,” she collaborated with 35 contemporary artists. A portion of the proceeds from the exhibition was donated to the Japan Earthquake Relief Fund.
Instagram：＠mieiwatsuki

Edit Jun Ashizawa
Translation Aya Apton

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