Fashion and the Floating World: Japanese Ukiyo-e Prints
By Anna Jackson and Yamada Masami
Review by Carolin Becke
In Fashion and the Floating World, Victoria and Albert Museum’s curators Anna Jackson and Yamada Masami present an exploration of Japan's vibrant fashion culture in the Edo-period (1603-1868) through the lens of meticulously curated ukiyo-e woodblock prints. Drawing from the extensive collection of the V&A Museum, the authors delve into how these prints not only mirrored contemporary styles but also influenced and disseminated fashion trends among the urban populace.
From the very first page, ukiyo-e prints are foregrounded, immediately setting the tone for the entire publication. This editorial decision not only leaves no doubt in the reader’s mind that the book focuses on visual material, but also subtly trains the viewer to engage with the artworks. As the authors note, ‘Prints [...] often carried complex and playful layers of meaning that are not instantly recognizable to modern viewers’ (p. 19). In this way, the book helps us “see”, to develop a sensitivity to symbolism, stylistic nuances, and cultural references embedded in the artwork.
The visual presentation of the book is exceptional, featuring high-quality reproductions of 170 ukiyo-e prints. Each image is accompanied by insightful commentary that contextualises the artwork within its historical and cultural framework. The authors’ expertise ensures that readers not only appreciate the aesthetic qualities of the prints but also understand their broader cultural significance, particularly in relation to fashion, identity, and everyday life in the Edo period.
The introductory essay is especially effective in this regard, offering an accessible overview of Japanese history, society, and the role played by ukiyo-e prints and fashionable dress within Edo-period life. It naturally places emphasis on Edo culture and society, grounding the reader in the political and economic conditions that shaped the floating world and its aesthetics.
The book is organised into six thematic sections: “Creation and Commerce,” “Looking Good,” “Style and Seduction,” “Patterns of Performance,” “Male Flamboyance,” and “Fashioning Life”. Each of these sections sheds light on different facets of fashion and its societal implications during the Edo period.
“Creation and Commerce” explores the full life cycle of garments for instance, from the production of fabrics through weaving and dyeing, to the display and sale of finished products in bustling Edo shopping streets. It offers a particularly insightful look into the commercial mechanisms of the fashion world, including the development of sales techniques and the emergence of kimono retailers as powerful trendsetters.
“Looking Good” shifts focus to the more intimate, often-overlooked rituals of self-presentation: hair styling, make-up application, dressing, and even laundering and ironing. Particularly valuable is the attention paid to everyday domestic activities, which are rarely foregrounded in academic literature. These images offer a rare glimpse into the labour and routines that underpinned the polished appearances celebrated elsewhere in the prints.
“Patterns of Performance” and “Male Flamboyance” continue the exploration of visual spectacle by focusing on courtesans and kabuki actors, two of the most influential trendsetters in Edo-period culture. These figures often dressed in elaborate ensembles that were both highly theatrical and deeply symbolic. The prints illustrate how their fashion choices filtered down into popular style, with fans and followers emulating their look.
“Fashioning Life,” the final section, ties fashion to seasonal customs, rituals, and everyday practices. It includes depictions of culturally specific moments such as the first bath of the New Year or the practice of ferry boat crossings between Edo and Kawasaki, both serving as backdrops to display seasonal garments and social codes. In these scenes, fashion is not only shown as self-expression or status marker, but also as part of a lived, shared experience in the urban environment.
A significant strength of the book lies in its examination of the symbiotic relationship between art and commerce. Ukiyo-e prints often served as advertisements for kimono retailers, textile workshops, and cosmetic brands. For instance, one print features women outside the Daimaruya store, highlighting the commercial aspect of fashion dissemination (pp. 34-5). Others depict the distinctive packaging of Bien Senjoko face whitening powder, illustrating how products were marketed through art (pp. 54-5, 58, 60, 67). These examples underscore the role of ukiyo-e in promoting consumer culture and the commodification of beauty.
Jackson and Yamada also draw parallels to contemporary branding, arguing that kabuki actors and popular courtesans were carefully constructed public figures whose personal style helped sell everything from textiles to toiletries. This adds a modern relevance to the book's historical material, encouraging readers to draw connections between Edo-period celebrity culture and today’s influencer economy.
Fashion and the Floating World is a compelling fusion of art history and cultural analysis, offering readers an immersive journey into the fashion sensibilities of Edo-period Japan. Jackson and Yamada's scholarly yet accessible narrative, combined with the book's visual richness, makes it an invaluable resource for those interested in Japanese art, fashion history, and cultural studies. By illuminating the intricate connections between fashion, identity, and society, the book not only enhances our appreciation of ukiyo-e prints but also provides a deeper understanding of the cultural fabric of the time.
Compared with other books on the subject, such as those focusing solely on the art historical aspects of ukiyo-e or on broader fashion histories, Fashion and the Floating World strikes a rare balance. It speaks to art historians, dress scholars, and general readers alike. As such, it functions equally well as a stylish coffee table book and as a valuable academic resource. It's quite fun to randomly flip through the pages and focus on a single print, examining its visual details and historical context. Meanwhile, the extensive index and glossary make it a perfect companion for research on Japanese visual and dress culture, assisting both beginners and experts alike. Its interdisciplinary approach, combined with thoughtful design, ensures it will remain relevant and frequently consulted for years to come.