It’s a quiet afternoon in Chiba. Kimono stylist Kara Harris stands in front of a mirror, adjusting the intricate folds of an indigo silk kimono embroidered with winding roses. Behind her, shelves brim with hundreds of kimonos and colorful charms and accessories––evidence of years spent collecting and learning. Her own vibrant vermillion kimono is paired with a contrasting blue and green obi (kimono belt) tied with precision and care. 

As she smooths the fabric, she reflects on how far she’s come. “I’ve always admired kimono,” she says. “But I never thought it was possible for someone like me to wear one, let alone become a licensed kimono stylist.” 

Harris’ journey began in 1997 when she first arrived in Japan as a foreign exchange student. Back then, she assumed her body type and non-Japanese background made wearing a kimono unattainable. Yet, a deep-rooted fascination led her to collect kimono during her school years, learning from books about their history and styling. It wasn’t until years later, amid the global pandemic, that she reignited her passion in earnest.

An Unexpected Path to Kimono School

By day, Harris is a sixth-grade teacher at an international school, balancing lesson plans for language arts, math and science. But outside of school hours, she has immersed herself in the art of kimono dressing and styling. “I started with an introductory course, thinking it was just something to try during the pandemic,” she says. “I had no plans of going any further.”

But one class led to another and what started as a “pandemic hobby” transformed into a journey of rigorous study, practice and unexpected breakthroughs. “When they asked if I’d go to the next level, I thought, why not? I didn’t have anything else to do on Saturdays,” she laughs.

Progressing through the intermediate and advanced teacher-level courses, Harris faced immense challenges. “The classes were entirely in Japanese, and the licensing test was brutal. It was not just a paper test, but there was a practical exam where I had to dress myself and someone else within ten minutes, all while explaining each step in Japanese.” She admits there were tears, especially during vocabulary-heavy tests filled with kanji and specialized terms. 

Harris pressed on. “I surprised myself,” she says. “I could dress others quickly and explain what I was doing. There was so much I learned from my classmates and teachers, who treated me no differently from anyone else.”

Kimono Stylist Kara Harris’ Hybrid Approach

Kimono school gave Harris a strong foundation, from the hada jubon (underpinnings) to the naga jubon (under-kimono), han eri (collar) and various ways to style the musubi (obi tie). 

Harris explains that traditional Japanese techniques have their own color theory and rules for shape patterns and designs. “Traditionally, you follow TPO—time, place, occasion,” she explains. “Colors, fabrics, and styles all depend on this.”

Yet, with these foundational rules in mind, Harris loves mixing modern elements with classic designs. Her creative approach often challenges conventions, resulting in striking combinations that highlight both heritage and individuality. “Sometimes I’ll pair a modern-patterned kimono with a traditional obi,” she says. 

One memorable design features a kimono paired with a Panamanian Pollera Congo skirt, typically worn by the Afro-Panamanian community. “A nod to the African diaspora in the Americas, I wanted to challenge myself to combine both elements,” she explains. “My rule is to keep the shape of the original kimono. Whatever I add to it is meant only to enhance it”

Like all true artists, Harris understands that knowing the foundational rules is essential to knowing how to break them. “And that’s what I love about kimono––it’s a canvas. And as an artist, I get to experiment and create.”

Making Kimono Accessible for All

Harris is committed to making kimono culture more inclusive. “Kimono is for everybody,” she emphasized. “No matter your shape, size or origin, you can make it your own.” This passion stems from personal experience. “I’m not Japanese size,” she said candidly. “When I first started, I had to learn how to adapt kimono to fit me comfortably.” 

Now, she shares her expertise with others through social media tutorials, one-on-one lessons and consultations. “I get a lot of questions from people my size, asking about padding, obi tying and more,” she says. “There’s not much information out there for what I like to call ‘queen-size’ people, so I want to fill that gap.”

She is also working to improve kimono rentals. “When taller or queen-sized people visit rental shops, staff often don’t know what to do. They end up adding too much padding, making the fit unflattering. I’ve been there—it can make you self-conscious.” Her goal is to help clients feel confident and comfortable in kimono.

Navigating Cultural Complexities

Harris often questions how people respond to her wearing and styling kimono, particularly given today’s heightened awareness around cultural appropriation. “My experience in Japan has been nothing but positive. Not once has someone told me I shouldn’t wear a kimono,” she says. 

She also notes that being licensed as a teacher by a Japanese association is a testament to her dedication: “If they think I’m good enough to teach, I must be doing something right.” Still, Harris prefers to keep her credentials low-key. “If someone compliments me, I just say I’m learning every day.” 

A New Chapter in Asakusa 

Come January 2025, Harris will take her passion a step further by opening her first brick-and-mortar kimono rental and styling shop. Just a three-minute walk from Sensoji Temple in Tokyo’s Asakusa district, the shop will offer visitors from all backgrounds a chance to experience the beauty and tradition of kimono firsthand.

For Harris, wearing a kimono is more than tradition—it’s a form of self-expression. Despite the countless rules around it, “It makes me feel free,” she says simply. 

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