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Geisha Schuhe

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Geisha Schuhe

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However, geisha can and do work into their eighties and nineties, [35] and are still expected to train regularly, [46] though lessons may only be put on a few times a month.

New geisha are trained for the most part by their symbolic mothers and older sisters, and engagements are arranged through the mother of the house.

Infrequently, men take contingent positions such as hair stylists, [49] dressers known as otokoshi , as dressing a maiko requires considerable strength and accountants.

The heads iemoto of some dance and music schools that geisha train under, however, may be male, with some barrier to entry for women to achieve the legacy of being the head of an artistic school.

The geisha system was founded, actually, to promote the independence and economic self-sufficiency of women.

And that was its stated purpose, and it actually accomplished that quite admirably in Japanese society, where there were very few routes for women to achieve that sort of independence.

Historically, the majority of women within Japan were wives who could not work due to familial duties. A geisha, however, could achieve independence by working to pay off her debts, making the profession one method for women to support themselves without becoming a wife.

Over time, some Japanese feminists have seen geisha as exploited women, but some modern geisha see themselves as liberated feminists: "We find our own way, without doing family responsibilities.

Isn't that what feminists are? Historically, geisha held an appeal for mainly male guests as a woman outside of the role of "wife".

Wives were modest, responsible, and at times sombre, whereas geisha could be playful and carefree.

Geisha would, on occasion, marry their clients, but marriage required retirement as a matter of fact. Though relatively uncommon in previous decades, geisha parties are no longer understood to be entirely-male affairs, with women commonly attending parties alongside other male guests.

Though geisha will still gracefully flirt and entertain male guests, this is understood to be a part of a geisha's hostessing and entertainment skills, and is not taken as a serious sign of personal interest.

Despite long-held connotations between sex and geisha, a geisha's sex and love life is usually distinct from her professional life.

Geishas are not submissive and subservient, but in fact they are some of the most financially and emotionally successful and strongest women in Japan, and traditionally have been so.

Most geisha are single women, though they may have lovers or boyfriends over time, and are allowed to pursue these relationships outside of having a patron.

In the present day, some geisha are married and continue to work in their capacity as geisha, despite it being uncommon; these geisha are likely to be based in regions outside of Kyoto, as its ultra-traditionalist geisha districts would be unlikely to allow a married geisha to work.

Geisha have historically been conflated with sex work and commonly confused with prostitutes, despite the profession being mostly forbidden from receiving payment for sex since its inception.

Despite this, some geisha have historically engaged in sex work, either through personal choice, or through coercion and at times force.

Some officials claimed that prostitutes and geisha worked at different ends of essentially the same profession - selling sex and entertaining men - and that there would be little difference in calling all prostitutes "geisha".

Nonetheless, the government maintained an official distinction between both professions, arguing that geisha should not be conflated with or confused for sex workers.

Though the law officially maintained a distance between geisha and sex workers, some geisha still engaged in sex work. Writing in , former geisha Sayo Masuda wrote of her experiences in the onsen town of Suwa, Nagano Prefecture , where she was sold for her virginity a number of times by the mother of her okiya.

Such practices could be common in less reputable geisha districts, with onsen towns in particular being known for their so-called "double registered" geisha a term for an entertainer registered as both a geisha and a sex worker.

In the present day, mizuage does not exist, and apprentices mark their graduation to geisha status with a series of ceremonies and events.

Despite this, the modern conflation between geisha and sex workers continues as a pervasive idea, particularly in Western culture.

Sheridan Prasso wrote that Americans had "an incorrect impression of the real geisha world Henshall stated that the job of a geisha included "[entertaining] their customer, be it by dancing, reciting verse, playing musical instruments, or engaging in light conversation.

Geisha engagements may include flirting with men and playful innuendos; however, clients know that nothing more can be expected.

In a social style that is common in Japan, men are amused by the illusion of that which is never to be. In the past, it had been unspoken tradition for an established geisha to take a danna , or patron, who would pay for her expenses, buy her gifts, and engage her on a more personal level - at times involving sex - than a banquet or party would allow.

This would be seen as a sign of the man's generosity, wealth and status, as the expenses associated with being a geisha were relatively high; as such, a danna was typically a wealthy man, sometimes married, who may have been financially supporting the geisha in question through company expenses.

In the present day, it is less common for a geisha to take a danna , purely due to the expenses involved and the unlikelihood that a modern man could support both his household and the cost of a geisha's living.

Nonetheless, it was still common for geisha to retire from the profession in their mid-twenties to live off the support of their patron following the Second World War.

The taking of a patron by a geisha is the closest thing to paid compensation for a personal partnership - whatever that partnership might entail - that a geisha officially engages in today.

During the Allied occupation of Japan , some sex workers, almost exclusively working for the occupying forces in Japan, began to advertise themselves as "geisha girls", due in part to the fact that many foreign soldiers could not tell the difference between a geisha and a woman dressed in a kimono.

These women came to be known commonly as "geesha girls", [58] [59] a misnomer originating from the language barrier between the armed forces and the sex workers themselves; the term spread quickly, as evidenced by the fact that shortly after their arrival in , it was said that some occupying American GIs congregated in Ginza and shouted "We want geesha girls!

The English term "geisha girl" soon became a byword for any female Japanese sex worker, whether actually selling sex or not; the term was applied to bar hostesses who occupy the role of entertaining men through conversation, not necessarily sex and streetwalkers alike.

Unscrupulous okiya owners would not uncommonly sell an apprentice's virginity more than once to different customers, pocketing the entire fee for themselves with the apprentice herself remaining an apprentice.

During WW2, some sex workers would use this term to refer to their acts with customers, leading to some confusion - particularly when referring to themselves as "geisha" when in the company of foreign soldiers, and sometimes amongst Japanese customers.

Since the s, non-Japanese have also become geisha. While traditionally geisha led a cloistered existence, in recent years they have become more publicly visible, and entertainment is available without requiring the traditional introduction and connections.

All the Kyoto hanamachi hold these annually mostly in spring, with one exclusively in autumn , dating to the Kyoto exhibition of , [80] and there are many performances, with tickets being inexpensive, ranging from around yen to yen — top-price tickets also include an optional tea ceremony tea and wagashi served by maiko before the performance.

During this ceremony, geisha and maiko from the Kamishichiken district in northwest Kyoto serve tea to 3, guests.

Geisha entertain their guests with a combination of both their hostessing and conversational skills, and their skills in traditional Japanese art forms of dance, music and singing.

Before deciding to begin a career as a geisha, new recruits are generally expected to have an interest in the arts, as well as some experience; however, as geisha numbers have fallen throughout the decades, this is no longer a strict prerequisite.

Some okiya will take on recruits with no previous experience, with some young geisha, despite having existing experience, expected to begin their lessons from the beginning.

Over time, the more exaggerated theatrical styles evolved into the subtle and more stylised form of dancing used today; despite the difference, elements of traditional Japanese dance, such as the use of gestures to tell a story and the symbolism used to represent this, run throughout both as a common feature.

These dances are accompanied by traditional Japanese music. The primary instrument used by geisha to accompany dance is the shamisen , a banjo-like three-stringed instrument played with a plectrum.

Originating in China as the sanxian , it was introduced to Japan through firstly Korea, and then the Ryukyu Islands in the s, obtaining its current form within a century.

The shamisen soon became the mainstay instrument of geisha entertainment in the s. All geisha must learn to play the shamisen , alongside additional instruments that often accompany the shamisen , such as the ko-tsuzumi small shoulder drum and fue flute , during their apprenticeship, as well as learning traditional Japanese dance; however, after graduation to geisha status, geisha are free to choose which art form they wish to pursue primarily.

Some geisha not only dance and play music, but also write poems, paint pictures, or compose music. A geisha's appearance changes symbolically throughout her career, representing her training and seniority.

These constitute changes in hairstyle, hair accessories, and kimono style. Both maiko and geisha wear traditional white foundation known as oshiroi ; this is worn with red and black eye and eyebrow makeup, red lips and light pink blusher.

Both maiko and geisha underpaint their lips with a red lipstick known as beni , but first-year apprentice geisha paint only the lower lip, and wear less black around the eyes and eyebrows than senior maiko.

Younger apprentices may also paint their eyebrows slightly shorter or rounder to emphasise a youthful appearance.

Geisha wear more black around the eyes and eyebrows than maiko , and older geisha tend only to wear a full face of traditional white makeup during stage performances or on special occasions; older geisha generally stop wearing oshiroi around the same time they stop wearing hikizuri to parties.

Teeth blackening was once a common practice amongst married women in Japan and the imperial court in earlier times, but is now an extremely uncommon practice.

Geisha and maiko always wear kimono while working, and typically wear kimono outside of work. However, the type of kimono varies based on age, occasion, region and season of the year.

Both maiko and geisha wear the collar on their kimono relatively far back, accentuating for maiko the red collar of the underkimono juban , and displaying for both the two or three stripes of bare skin eri-ashi and sanbon-ashi respectively left just underneath the hairline when wearing oshiroi.

Apprentice geisha wear kimono known as hikizuri. Geisha also wear hikizuri ; however, maiko wear a variety with furisode -style sleeves, with a tuck sewn into either sleeve, and a tuck sewn into each shoulder.

Maiko hikizuri tend to be colourful and highly decorated, often featuring a design that continues inside the kimono's hem.

The style of this kimono varies throughout different regions; apprentices in Kyoto tend to wear large but sparsely-placed motifs, whereas apprentices elsewhere appear in kimono similar to a regular furisode , with small, busy patterns that cover a greater area.

Apprentices wear long, formal obi. For apprentices in Kyoto this is almost always a darari lit. Darari are always worn in a knot showing off the length, whereas apprentices elsewhere wear fukura-suzume and han-dara lit.

When wearing casual kimono in off-duty settings, an apprentice may still wear a nagoya obi , even with a yukata. Geisha wear kimono more subdued in pattern and colour than both regular kimono, and the kimono worn by apprentice geisha.

A geisha always wear a short-sleeved kimono, regardless of occasion, formality, or even her age; however, not all geisha wear the hikizuri type of kimono, as older geisha wear regular formal kimono - with no trailing skirt, dipping collar or offset sleeves - to engagements.

Regional geisha tend to have greater similarities with fellow geisha across the country in terms of appearance. Geisha wear their obi in the nijuudaiko musubi style - a taiko musubi drum knot tied with a fukuro obi ; geisha from Tokyo and Kanazawa also wear their obi in the yanagi musubi willow knot style and the tsunodashi musubi style.

Though geisha may wear hakata ori obi in the summer months, geisha from Fukuoka - where the fabric originates from - may wear it the entire year.

The hairstyles of geisha have varied throughout history. During the 17th century, the shimada hairstyle developed, which became the basis for the hairstyles worn by both geisha and maiko.

When the profession of geisha first came into existence, dress edicts prevented geisha from wearing the dramatic hairstyles worn by courtesans, leading to the subdued nature of most geisha hairstyles.

Geisha, unable to reliably book in with a hairstylist once a week to maintain their hair, began to wear human hair wigs in the shimada style that required restyling far less.

The hairstyles of maiko , still utilising the apprentice's own hair, became wider, placed higher upon the head, and shorter in length.

There are five different hairstyles that a maiko wears, which mark the different stages of her apprenticeship. The nihongami hairstyle with kanzashi hair ornaments are most closely associated with maiko , [91] who spend hours each week at the hairdresser and sleep on special pillows takamakura to preserve the elaborate styling.

Maiko in certain districts of Kyoto may also wear additional, differing hairstyles in the run up to graduating as a geisha.

In the present day, geisha wear a variety of the shimada known as the tsubushi shimada - a flattened, sleeker version of the taka shimada worn as a bridal wig in traditional weddings.

Though geisha also wear this hairstyle as a wig, it is usually shaped specifically to their face by a wig stylist.

Both the hairstyles of maiko and geisha are decorated with hair combs and hairpins kanzashi , with geisha wearing far fewer kanzashi than maiko.

The style and colour of hair accessories worn with some maiko hairstyles can signify the stage of an apprentice's training. Typical combs and hairpins may be made of tortoiseshell or mock-tortoiseshell, gold, silver and semi-precious stones such as jade and coral.

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Traditional Japanese female entertainer and hostess. Main article: Mizuage. Further information: Oshiroi. Main article: Kimono. Forvo Media.

Retrieved 1 June Autobiography of a Geisha. Translated by Rowley, G. New York: Columbia University Press.

For the back holes you want them to be just behind the front of the back tooth coming down at an angle that leads to the gap between the teeth on the bottom of the sole.

Be careful that you don't drill into the back tooth as the bit comes through the bottom as I did on one of mine. To thread the thongs slide one end of the rope through each of the back thong holes up through the top, then together through the middle hole.

Tie a knot on the underside of the middle hole to hold the thong in place and cut off any excess, sealing the ends with a lighter to prevent fraying.

Test the fit similarly to make sure they're not too tight or too lose before your tie the knot. The thongs are 33" each on mine, this should be a good starting size for others as well, but I'd say start with something more like 38 each to give yourself room to trim them down.

It's easier to cut away excess than to add more on later. If you like you can add cotton piping over your nylon rope now to give it added softness and color.

The last thing to add to your geta is to round the corners of the sole and sand the whole thing smooth.

Since I don't have my handy rasp on hand to carve down the corners I used a sidewalk to rasp down the corners and filed them smooth.

A rasp or rought file would also be nice to bring the sole in perfectly flush with the teeth so the wood looks more like one piece.

You can also finish them with a clear coat, but I chose to leave mine unfinished. You can also cut out and nail strips of rubber bike tire perhaps?

The geta I've made aren't the only style there is though. There are single tooth geta tengu geta , and ones which have a front tooth that comes forward more like a normal shoe.

There are geta with very thin and tall teeth for when it's wet or rainy out, and geta-style sandals made from more modern materials. Make yours however you like, there's plenty of room for playing with the design once you've got the basics down.

Thanks to archive. Reply 3 years ago. They are designed to be worn slightly offset on the foot. Also, the heel hangs off the back very slightly.

As for the dumb comments about it being drag, or uncomfortable, or dumb looking - i can only say, that obviously you have never worn geta, or clogs.

I have worn both, they are comfortable, and the only thing dumb were those comments. I also screwed mine together, and it turned out fine.

I used cotton washline cord for the thongs, but covered them in a tube of obi silk scrap padded with fleece material to make them more comfortable to wear, and glued a layer of fleece onto the sole for the same reason.

Rounded the toes and heels, and sprayed the wood black. Reply 11 years ago on Introduction. Well the original Geisha were men, but I'm not so hot on drag and my feet are too big to pull off the look.

Reply 9 years ago on Introduction. Sorry, but I think you're getting Geisha confused with Kabuki theater which used to consist of all male actors.

Reply 5 years ago on Introduction. The main function of the geisha is to provide an atmosphere of chic and gaiety for her wealthy clientele.

Geisha are usually exquisitely dressed in traditional kimonos and delicately mannered and have a knowledge not only of the past but also of contemporary gossip.

The geisha system is thought to have emerged in the 17th century to provide a class of entertainers set apart from courtesans and prostitutes, who plied their trades respectively among the nobility and samurai.

The geisha system was traditionally a form of indentured labour, although some girls, attracted by the glamour of the life, volunteered.

Usually, a girl at an early age was given by her parents for a sum of money to a geisha house, which taught, trained, fed, and clothed her for a period of years.

The most sought-after geisha could command large sums from their customers. Besides providing entertainment and social companionship, geisha sometimes maintained sexual relationships with their clients.

When a geisha marries, she retires from the profession. If she does not marry, she usually retires as a restaurant owner, teacher of music or dance , or trainer of young geisha.

Article Media.

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This stage lasts only about a month or so. After the minarai period, a trainee will make her official debut misedashi and become a maiko.

This stage can last between 3 and 5 years. During this time, they learn from both other trainees senior to them, and their geisha mentors, with special emphasis placed on learning from her symbolic "older sister" onee-san.

This involves learning how to serve drinks, hold casual conversation, and some training in the arts, though the latter is usually carried out through by dance and music teachers.

There are three major elements of a maiko 's training. The first is the formal arts training, which takes place in schools found in every hanamachi.

Around the age of 20—21, a maiko will graduate to geisha status in a ceremony known as erikae turning of the collar. Following debut, geisha typically do not go through major role changes, as there are no more formal stages of training.

However, geisha can and do work into their eighties and nineties, [35] and are still expected to train regularly, [46] though lessons may only be put on a few times a month.

New geisha are trained for the most part by their symbolic mothers and older sisters, and engagements are arranged through the mother of the house.

Infrequently, men take contingent positions such as hair stylists, [49] dressers known as otokoshi , as dressing a maiko requires considerable strength and accountants.

The heads iemoto of some dance and music schools that geisha train under, however, may be male, with some barrier to entry for women to achieve the legacy of being the head of an artistic school.

The geisha system was founded, actually, to promote the independence and economic self-sufficiency of women.

And that was its stated purpose, and it actually accomplished that quite admirably in Japanese society, where there were very few routes for women to achieve that sort of independence.

Historically, the majority of women within Japan were wives who could not work due to familial duties. A geisha, however, could achieve independence by working to pay off her debts, making the profession one method for women to support themselves without becoming a wife.

Over time, some Japanese feminists have seen geisha as exploited women, but some modern geisha see themselves as liberated feminists: "We find our own way, without doing family responsibilities.

Isn't that what feminists are? Historically, geisha held an appeal for mainly male guests as a woman outside of the role of "wife".

Wives were modest, responsible, and at times sombre, whereas geisha could be playful and carefree. Geisha would, on occasion, marry their clients, but marriage required retirement as a matter of fact.

Though relatively uncommon in previous decades, geisha parties are no longer understood to be entirely-male affairs, with women commonly attending parties alongside other male guests.

Though geisha will still gracefully flirt and entertain male guests, this is understood to be a part of a geisha's hostessing and entertainment skills, and is not taken as a serious sign of personal interest.

Despite long-held connotations between sex and geisha, a geisha's sex and love life is usually distinct from her professional life.

Geishas are not submissive and subservient, but in fact they are some of the most financially and emotionally successful and strongest women in Japan, and traditionally have been so.

Most geisha are single women, though they may have lovers or boyfriends over time, and are allowed to pursue these relationships outside of having a patron.

In the present day, some geisha are married and continue to work in their capacity as geisha, despite it being uncommon; these geisha are likely to be based in regions outside of Kyoto, as its ultra-traditionalist geisha districts would be unlikely to allow a married geisha to work.

Geisha have historically been conflated with sex work and commonly confused with prostitutes, despite the profession being mostly forbidden from receiving payment for sex since its inception.

Despite this, some geisha have historically engaged in sex work, either through personal choice, or through coercion and at times force.

Some officials claimed that prostitutes and geisha worked at different ends of essentially the same profession - selling sex and entertaining men - and that there would be little difference in calling all prostitutes "geisha".

Nonetheless, the government maintained an official distinction between both professions, arguing that geisha should not be conflated with or confused for sex workers.

Though the law officially maintained a distance between geisha and sex workers, some geisha still engaged in sex work.

Writing in , former geisha Sayo Masuda wrote of her experiences in the onsen town of Suwa, Nagano Prefecture , where she was sold for her virginity a number of times by the mother of her okiya.

Such practices could be common in less reputable geisha districts, with onsen towns in particular being known for their so-called "double registered" geisha a term for an entertainer registered as both a geisha and a sex worker.

In the present day, mizuage does not exist, and apprentices mark their graduation to geisha status with a series of ceremonies and events.

Despite this, the modern conflation between geisha and sex workers continues as a pervasive idea, particularly in Western culture.

Sheridan Prasso wrote that Americans had "an incorrect impression of the real geisha world Henshall stated that the job of a geisha included "[entertaining] their customer, be it by dancing, reciting verse, playing musical instruments, or engaging in light conversation.

Geisha engagements may include flirting with men and playful innuendos; however, clients know that nothing more can be expected.

In a social style that is common in Japan, men are amused by the illusion of that which is never to be. In the past, it had been unspoken tradition for an established geisha to take a danna , or patron, who would pay for her expenses, buy her gifts, and engage her on a more personal level - at times involving sex - than a banquet or party would allow.

This would be seen as a sign of the man's generosity, wealth and status, as the expenses associated with being a geisha were relatively high; as such, a danna was typically a wealthy man, sometimes married, who may have been financially supporting the geisha in question through company expenses.

In the present day, it is less common for a geisha to take a danna , purely due to the expenses involved and the unlikelihood that a modern man could support both his household and the cost of a geisha's living.

Nonetheless, it was still common for geisha to retire from the profession in their mid-twenties to live off the support of their patron following the Second World War.

The taking of a patron by a geisha is the closest thing to paid compensation for a personal partnership - whatever that partnership might entail - that a geisha officially engages in today.

During the Allied occupation of Japan , some sex workers, almost exclusively working for the occupying forces in Japan, began to advertise themselves as "geisha girls", due in part to the fact that many foreign soldiers could not tell the difference between a geisha and a woman dressed in a kimono.

These women came to be known commonly as "geesha girls", [58] [59] a misnomer originating from the language barrier between the armed forces and the sex workers themselves; the term spread quickly, as evidenced by the fact that shortly after their arrival in , it was said that some occupying American GIs congregated in Ginza and shouted "We want geesha girls!

The English term "geisha girl" soon became a byword for any female Japanese sex worker, whether actually selling sex or not; the term was applied to bar hostesses who occupy the role of entertaining men through conversation, not necessarily sex and streetwalkers alike.

Unscrupulous okiya owners would not uncommonly sell an apprentice's virginity more than once to different customers, pocketing the entire fee for themselves with the apprentice herself remaining an apprentice.

During WW2, some sex workers would use this term to refer to their acts with customers, leading to some confusion - particularly when referring to themselves as "geisha" when in the company of foreign soldiers, and sometimes amongst Japanese customers.

Since the s, non-Japanese have also become geisha. While traditionally geisha led a cloistered existence, in recent years they have become more publicly visible, and entertainment is available without requiring the traditional introduction and connections.

All the Kyoto hanamachi hold these annually mostly in spring, with one exclusively in autumn , dating to the Kyoto exhibition of , [80] and there are many performances, with tickets being inexpensive, ranging from around yen to yen — top-price tickets also include an optional tea ceremony tea and wagashi served by maiko before the performance.

During this ceremony, geisha and maiko from the Kamishichiken district in northwest Kyoto serve tea to 3, guests. Geisha entertain their guests with a combination of both their hostessing and conversational skills, and their skills in traditional Japanese art forms of dance, music and singing.

Before deciding to begin a career as a geisha, new recruits are generally expected to have an interest in the arts, as well as some experience; however, as geisha numbers have fallen throughout the decades, this is no longer a strict prerequisite.

Some okiya will take on recruits with no previous experience, with some young geisha, despite having existing experience, expected to begin their lessons from the beginning.

Over time, the more exaggerated theatrical styles evolved into the subtle and more stylised form of dancing used today; despite the difference, elements of traditional Japanese dance, such as the use of gestures to tell a story and the symbolism used to represent this, run throughout both as a common feature.

These dances are accompanied by traditional Japanese music. The primary instrument used by geisha to accompany dance is the shamisen , a banjo-like three-stringed instrument played with a plectrum.

Originating in China as the sanxian , it was introduced to Japan through firstly Korea, and then the Ryukyu Islands in the s, obtaining its current form within a century.

The shamisen soon became the mainstay instrument of geisha entertainment in the s. All geisha must learn to play the shamisen , alongside additional instruments that often accompany the shamisen , such as the ko-tsuzumi small shoulder drum and fue flute , during their apprenticeship, as well as learning traditional Japanese dance; however, after graduation to geisha status, geisha are free to choose which art form they wish to pursue primarily.

Some geisha not only dance and play music, but also write poems, paint pictures, or compose music. A geisha's appearance changes symbolically throughout her career, representing her training and seniority.

These constitute changes in hairstyle, hair accessories, and kimono style. Both maiko and geisha wear traditional white foundation known as oshiroi ; this is worn with red and black eye and eyebrow makeup, red lips and light pink blusher.

Both maiko and geisha underpaint their lips with a red lipstick known as beni , but first-year apprentice geisha paint only the lower lip, and wear less black around the eyes and eyebrows than senior maiko.

Younger apprentices may also paint their eyebrows slightly shorter or rounder to emphasise a youthful appearance. Geisha wear more black around the eyes and eyebrows than maiko , and older geisha tend only to wear a full face of traditional white makeup during stage performances or on special occasions; older geisha generally stop wearing oshiroi around the same time they stop wearing hikizuri to parties.

Teeth blackening was once a common practice amongst married women in Japan and the imperial court in earlier times, but is now an extremely uncommon practice.

Geisha and maiko always wear kimono while working, and typically wear kimono outside of work. However, the type of kimono varies based on age, occasion, region and season of the year.

Both maiko and geisha wear the collar on their kimono relatively far back, accentuating for maiko the red collar of the underkimono juban , and displaying for both the two or three stripes of bare skin eri-ashi and sanbon-ashi respectively left just underneath the hairline when wearing oshiroi.

Apprentice geisha wear kimono known as hikizuri. Geisha also wear hikizuri ; however, maiko wear a variety with furisode -style sleeves, with a tuck sewn into either sleeve, and a tuck sewn into each shoulder.

Maiko hikizuri tend to be colourful and highly decorated, often featuring a design that continues inside the kimono's hem.

The style of this kimono varies throughout different regions; apprentices in Kyoto tend to wear large but sparsely-placed motifs, whereas apprentices elsewhere appear in kimono similar to a regular furisode , with small, busy patterns that cover a greater area.

Apprentices wear long, formal obi. For apprentices in Kyoto this is almost always a darari lit.

Darari are always worn in a knot showing off the length, whereas apprentices elsewhere wear fukura-suzume and han-dara lit.

When wearing casual kimono in off-duty settings, an apprentice may still wear a nagoya obi , even with a yukata.

Geisha wear kimono more subdued in pattern and colour than both regular kimono, and the kimono worn by apprentice geisha.

A geisha always wear a short-sleeved kimono, regardless of occasion, formality, or even her age; however, not all geisha wear the hikizuri type of kimono, as older geisha wear regular formal kimono - with no trailing skirt, dipping collar or offset sleeves - to engagements.

Regional geisha tend to have greater similarities with fellow geisha across the country in terms of appearance.

Geisha wear their obi in the nijuudaiko musubi style - a taiko musubi drum knot tied with a fukuro obi ; geisha from Tokyo and Kanazawa also wear their obi in the yanagi musubi willow knot style and the tsunodashi musubi style.

Though geisha may wear hakata ori obi in the summer months, geisha from Fukuoka - where the fabric originates from - may wear it the entire year.

The hairstyles of geisha have varied throughout history. During the 17th century, the shimada hairstyle developed, which became the basis for the hairstyles worn by both geisha and maiko.

When the profession of geisha first came into existence, dress edicts prevented geisha from wearing the dramatic hairstyles worn by courtesans, leading to the subdued nature of most geisha hairstyles.

Geisha, unable to reliably book in with a hairstylist once a week to maintain their hair, began to wear human hair wigs in the shimada style that required restyling far less.

The hairstyles of maiko , still utilising the apprentice's own hair, became wider, placed higher upon the head, and shorter in length.

There are five different hairstyles that a maiko wears, which mark the different stages of her apprenticeship.

The nihongami hairstyle with kanzashi hair ornaments are most closely associated with maiko , [91] who spend hours each week at the hairdresser and sleep on special pillows takamakura to preserve the elaborate styling.

Maiko in certain districts of Kyoto may also wear additional, differing hairstyles in the run up to graduating as a geisha.

In the present day, geisha wear a variety of the shimada known as the tsubushi shimada - a flattened, sleeker version of the taka shimada worn as a bridal wig in traditional weddings.

Though geisha also wear this hairstyle as a wig, it is usually shaped specifically to their face by a wig stylist.

Both the hairstyles of maiko and geisha are decorated with hair combs and hairpins kanzashi , with geisha wearing far fewer kanzashi than maiko.

The style and colour of hair accessories worn with some maiko hairstyles can signify the stage of an apprentice's training. Typical combs and hairpins may be made of tortoiseshell or mock-tortoiseshell, gold, silver and semi-precious stones such as jade and coral.

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For the back holes you want them to be just behind the front of the back tooth coming down at an angle that leads to the gap between the teeth on the bottom of the sole.

Be careful that you don't drill into the back tooth as the bit comes through the bottom as I did on one of mine. To thread the thongs slide one end of the rope through each of the back thong holes up through the top, then together through the middle hole.

Tie a knot on the underside of the middle hole to hold the thong in place and cut off any excess, sealing the ends with a lighter to prevent fraying.

Test the fit similarly to make sure they're not too tight or too lose before your tie the knot. The thongs are 33" each on mine, this should be a good starting size for others as well, but I'd say start with something more like 38 each to give yourself room to trim them down.

It's easier to cut away excess than to add more on later. If you like you can add cotton piping over your nylon rope now to give it added softness and color.

The last thing to add to your geta is to round the corners of the sole and sand the whole thing smooth. Since I don't have my handy rasp on hand to carve down the corners I used a sidewalk to rasp down the corners and filed them smooth.

A rasp or rought file would also be nice to bring the sole in perfectly flush with the teeth so the wood looks more like one piece.

You can also finish them with a clear coat, but I chose to leave mine unfinished. You can also cut out and nail strips of rubber bike tire perhaps?

The geta I've made aren't the only style there is though. There are single tooth geta tengu geta , and ones which have a front tooth that comes forward more like a normal shoe.

There are geta with very thin and tall teeth for when it's wet or rainy out, and geta-style sandals made from more modern materials.

Make yours however you like, there's plenty of room for playing with the design once you've got the basics down. Thanks to archive.

Reply 3 years ago. They are designed to be worn slightly offset on the foot. Also, the heel hangs off the back very slightly. As for the dumb comments about it being drag, or uncomfortable, or dumb looking - i can only say, that obviously you have never worn geta, or clogs.

I have worn both, they are comfortable, and the only thing dumb were those comments. I also screwed mine together, and it turned out fine.

I used cotton washline cord for the thongs, but covered them in a tube of obi silk scrap padded with fleece material to make them more comfortable to wear, and glued a layer of fleece onto the sole for the same reason.

Rounded the toes and heels, and sprayed the wood black. Reply 11 years ago on Introduction. Well the original Geisha were men, but I'm not so hot on drag and my feet are too big to pull off the look.

Reply 9 years ago on Introduction. Sorry, but I think you're getting Geisha confused with Kabuki theater which used to consist of all male actors.

Reply 5 years ago on Introduction.

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