Handkerchiefs were of tissue paper, and were carried in the belt; while no Japanese, of either sex or any rank, from the Mikado downwards, would consent to even a momentary separation from his or her fan.
Masculine costume consisted of tight trousers to the calf and the loose, round shirts, which were fashioned from white material for the people and from greyish-blue silk for the nobility; and labourers displayed on theirs the insignia of their special craft or of the corporation to which they belonged. Common to all classes were high wooden clogs and sandals of plaited straw. Peculiar to the aristocracy and certain regiments, notably the archers, were short trousers of brilliantly-coloured silk, cut so immensely wide as to suggest the petticoats of a ballet girl. On ceremonious occasions the feet and legs were left bare. Stockings were cut out of cotton, or stuff, neatly seamed up the back, and were made with a division at the great toe for the thong of the sandal. On the whole, subdued shades and dark colours predominated, the Japanese being distinguished by the quiet elegance of their taste.
Typical of the headgear affected by the lower classes in warm weather was a huge straw hat in the form of a dish-cover. Another characteristic example, likewise of straw, resembled a round, deep-edged tray, the brim turned downwards, and the whole was held in place by means of a chin-strap.
Women, as a rule, left the head uncovered, preferring to rely for protection upon flat umbrellas made of paper, cotton, or silk. They drew their hair off the forehead, dressing it in neat puffs or coils and decorating it with large, ornamental pins, flowers, and ribbons, but neither ear-rings nor any other articles of jewellery were worn.
Married women were distinguished by their blackened teeth and the fact that their eyebrows were shaved and their faces unpainted. They wore a long robe of red crêpe de chine which folded over at the breast leaving a V-shaped opening at the throat. Their pet vanity was to arrange their under-garments so that the border of each formed a regular trimming at the neck, a glance sufficing to show how many were worn—the greater the number the greater the success achieved. On the back and sleeves of their trailing silk kimonos were embroidered the arms of their house. When walking, or otherwise inconvenienced by folds of material clinging about their feet, they tucked the kimonos into the belt, a pretty fashion which revealed the gaily-coloured gown beneath and the high wooden clogs.
The only difference between the dress of women of the upper and lower classes was the employment of cotton instead of silk.
Despite the fact that European influence has done much towards imposing European costume upon the Japanese, the influence is as yet restricted to Tokio and other industrial centres. In rural districts the national dress is still sacred, and the country-man remains a quaintly picturesque figure to delight the visitor from across seas, who recognises in him the prototype of the carved ivory models of the glass cabinet and curio table.
From the land of the chrysanthemum to that of the Pyramids is a far cry, and in point of fact no more dissimilar types could be imagined than those of old Japan and ancient Egypt. Woman's dress characteristic of the latter country was marked by a shamelessness of display and a unique brilliancy of colour, the effect of the scanty garments in vivid tones accentuating rather than concealing the natural lines and curves of the figure.