Eastern lore, Western allure
By Mimi Avins (Times)
Updated: 2005-12-09 10:24

A kimono might seem to be a simple garment, 8 yards of fabric that's wrapped around the body. But Atwood discovered it could take a lifetime to really become knowledgeable about the intricacies of the kimono. "What creates value are all the layers of technique involved in the fabric," she says. "A high-end kimono has hand painting and shibori, a very specific dyeing technique, as well as hand embroidery and a hand-woven obi. In Japan, it takes about a year to make one."

With a crew of 30 and embroiderers working in three countries, Atwood had to figure out ways to fast-track kimono production, creating traditional effects with modern methods. She worked on "Memoirs of a Geisha" for nine months and had to dress six central female characters and as many as 200 extras some days. She also created wardrobes for the men in the story. Some antique kimonos were rented from collectors in Japan, a number of others were constructed from vintage cloth, and classic patterns were reproduced on new materials. Motifs recur �� goldfish, hummingbirds, chrysanthemum, dogwood, wisteria, snowflakes and waves �� although some are worn only during certain seasons.

Atwood thinks audiences will respond to the femininity of the costumes and the beauty of the fabrics used, but she acknowledges that what the Japanese consider sexy is different from the Western ideal. "The whole idea is to have mystery," she says. "It's all about hidden treasures."

With kimonos wrapped high and tight, even a glimpse of wrist bone can be enticing. Sayuri, the lead character, wears a warm, golden kimono embroidered with maple leaves for a pivotal encounter with the great love of her life. The neckline dips gracefully away from the back of her neck, revealing a smooth, serene expanse of flesh between the shoulder blades, an underexposed area fashion designers may be inspired to highlight in future collections.

The silhouette of a kimono fastened with a thick obi is barrel-like; it pads and obscures the body. Atwood altered the costumes slightly to create a shape more palatable to modern audiences. "We wanted to see a shoulder, to have the illusion of a waist and have a sense of breasts beneath the kimono," she says. "We were trying to honor the form but make it more accessible, so we made the obi fit tight against the body to sort of glam it up."

In a story rich with drama, history and romance, there must be room for a judicious dose of Hollywood glamour.