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.

Tsuishu is a kind of Japanese traditional lacquer ware. In the making of Tsuishu, the thick layer of solid lacquer is engraved with designs such as flowers, birds, or landscapes. Tsuishu originated in China and was introduced to Japan during the Heian period (794-1192). Tsuishu ware was highly valued as tea utensils and house ornaments.

In the making of Sendai Tsuishu, however, the total production time, which is said to be several months at the maximum, is considerably reduced by producing many pieces of engraved lacquer ware of the same pattern out of one hand-carved prototype. The molded wood-carved intaglio is then coated with vermillion lacquer at least one hundred times. This streamlined production method was established during the Meiji period (1868-1912).

Special care is normally needed to handle Tsuishu lacquer ware, but improvements in heat and water resistance were made in Sendai Tsuish so that each item is suitable for daily use without losing delicacy and beauty of lacquer. This is why Sendai Tsuishu has maintained its reputation as a long-beloved traditional art work

Icho-gaeshi was a hairstyle worn by Japanese women in the Edo period (1603-1868). The root of a pony tail is divided into two parts, each of which forms a sidewise 8 shape. The tips of the tail are wound around the root and fastened with a hairpin. As the fan shaped knot resembles the gingko leaf, it was called Icho-gaeshi (literally meaning “a turned-up gingko leaf”).

It was originally worn by young girls aged 12 to 20. Later as geisha and gidayu musicians began to wear their hair in this style, daughters of townspeople, who favored stylish fashion, began to follow their styles. In the Meiji period (1868-1912), it became popular among middle aged women, widows, geisha and entertainers. As it was easy to do up in this style and one did not have to go to a hairdressers’ shop, Icho-gaeshi was the most popular hairstyle up to the early Showa period (1926-1989).