Genbee Yamaguchi is one of the most respected kimono makers. In 1981, he became the head of “Kondaya”, a long-established wholesale store of obi sashes that was founded in Kyoto in 1738.  As the tenth head of Kondaya, he devoted himself to advancing obi making.  His recent works, however, have been more involved in designing and making the whole kimono. He also takes an active role in revitalizing the dyeing and weaving technologies through such measures as the revival of Koishimaru - a specific type of silk worm cocoon found in Japan and the preservation of a unique village in the Philippines called “Dreamweaver”.  In 2003, Yamaguchi received the Japan Culture Award.  After successful collaborations with Kengo Sumi, an architect, and Hiroko Koshino, a designer, he released a new kimono line called Kabukimonotachi-no-keifu, in collaboration with UNITED ARROWS, a specialty retailer. It is an exciting and bold kimono collection for men.
Kabukimonotachi-no-keifu is inspired by the men of the Momoyam period (approximately 1568 to 1603) who loved to live a wild and flamboyant life-style. Japanese men in those days were respected as the toughest of the world.  Kabukimono is expressive of that type of man who pursued an extraordinary and “cool” life style.  The fashion of Kabukimonotachi-no-keifu evokes masculinity and the true “rock and roll” spirit of the time.
“If you keep on pursuing the basics, there will be a moment when you will suddenly see limitlessness revealed to you, as once Zeami (the greatest playwright of the Noh theater) said.   Mastering the basics is the shortest road to freedom”
The vital life force and sexiness in Yamaguchi’s designs come from the inner depth of his creative process.

Shinmeisha Shrine in the Naka area in Nishiizu Town, Shizuoka Prefecture, is an old shrine, which was relocated to the present place in 1600.

The Sanbaso dance dedicated at this shrine on the evening of November 2 and on the morning of November 3 every year is performed as a Japanese-styled puppet play (Ningyo-Joruri). It is said that this is one of the Ningyo-Joruri performances that were introduced to this area during the Edo period (1603-1868).

The doll performance is dedicated to give thanks to nature and to pray for a rich harvest, family safety, national peace and prevention of diseases. The dedicated play “Okina” is a drama in Kabuki style, which is originally a repertoire of the Noh play. Each of the three dolls, Chitose, Okina and Sanbaso, is about 1 meter tall and operated by two local young men. Taking charge of operating different parts of the doll, the two doll handlers skillfully operate the doll and make it dance and perform the drama, which is breathtakingly beautiful. The movements of the dolls are so elaborate that you will feel as if a real man is acting as a doll.

The Sanbaso dance dedicated at the annual autumn festival of Ushikoshi Shrine in Ukusu in Nishiizu Town, Shizuoka Prefecture, on November 2 and 3 every year is performed as a Japanese-styled puppet play (Ningyo-Joruri). Sanbaso is a genre of the Kabuki and Ningyo-Joruri dancing, which originated in the Noh play. The doll performance is dedicated to pray for a rich harvest and national peace and stability.

There are several theories about the origin of Ningyo-Joruri performance in this area. One theory states that it was introduced by a nobleman from Kyoto, who was exiled to the Izu province. Another theory states that it was introduced in the early Edo period (1603-1868) by Okubo Nagayasu, who came to this province as Magistrate of Izu Gold Mine. In any case, it is clear from the shrine record that the Sanbaso dance was already performed at this shrine by the local young men during the Tenmei era (1781-1788).

Each of the three dolls, Chitose, Okina and Sanbaso, is operated by three doll handlers. Taking charge of operating different parts of the doll, they handle the doll in a well-balanced manner to the music of Japanese drums, flutes and clappers. The unity created by the dolls and their handlers leads the spectators to the fantastic world.