#Wagasa
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roger1952.bsky.social
Geisha at Gennin-temple in Kyoto, Japan. Photography by Woosra Kim
Bathed in a brilliant shaft of morning light, a maiko advances along the central flagstone pathway (sandō) within the quiet precincts of Kennin-ji in Kyoto. She carries a small, vermilion oil-paper parasol (wagasa), her hair styled in traditional nihongami and adorned with vibrant floral kanzashi hair ornaments that sway with her movement. Her rich teal-green trailing kimono (hikizuri) features intricate, hand-dyed yūzen motifs and a golden brocade obi, catching the light to reveal flashes of brilliant scarlet silk under-layer (hakkako) as she walks atop high, hollow-carved wooden sandals (okobo). Behind her, a magnificent canopy of pale cherry blossoms (sakura) creates a luminous frame around the dark, weathered roof tiles of the temple gate. The photograph evokes an exquisite, sensory atmosphere: the rhythmic pokkuri-pokkuri hollow chime of wooden okobo echoing across smooth stones, the crisp, cool morning air fragrant with delicate spring blossoms, the damp warmth of sunlit granite, and the solemn, undisturbed quietude of an ancient temple at dawn. Founded in 1202 by the monk Eisai, Kennin-ji stands as Kyoto’s oldest Zen monastery, situated at the immediate threshold where the spiritual grounds meet the historic Gion hanamachi (flower district). The maiko’s presence within this sacred space illustrates the historical interplay between Kyoto's monastic heritage and its refined world of traditional performing arts. Her ensemble represents the pinnacle of Japanese textile and material craftsmanship (monozukuri), from the laborious paste-resist dyeing and gold-leaf embellishment of her silk kimono to the intricate Nishijin-ori weaving of her sash and the hand-carved paulownia wood of her footwear. Each element of her dress is meticulously selected to reflect kisetsukan—a heightened awareness of the current season—aligning her visual presence with the fleeting beauty of early spring cherry blossoms.
October 3, 2026 at 9:21 AM
roger1952.bsky.social
Traditional Japanese umbrella, Jurin-ji temple (十輪寺), Kyoto. Photography by Damien Douxchamps on Flickr.
Gazing upward from beneath the glowing canopy of a traditional oil-paper umbrella (wagasa), the viewer is enveloped in a sea of radiant, sun-drenched crimson. A precise radial matrix of fine, split-bamboo ribs radiates outward from a central spindle, woven with an intricate, geometric web of structural threadwork. Through the translucent, oiled washi paper, the dark silhouettes of leafy tree branches project like delicate ink brushstrokes against a glowing red sky. The scene evokes a rich, immersive sensory atmosphere: the warm, vermilion-tinted light filtering onto the face, the faint, earthy aroma of perilla oil and aged bamboo, the soft rustle of wind through temple trees overhead, and the deep, quiet sanctuary formed beneath the red dome. Captured within the tranquil grounds of Jurin-ji (十輪寺)—a historic Tendai temple in western Kyoto famously known as Narihira-dera after the celebrated Heian-period poet Ariwara no Narihira—this large outdoor umbrella (nodaigasa) traditionally shelters guests during open-air tea gatherings (nodate). The construction of a traditional wagasa represents one of Japan's most refined heritage crafts, where a single length of bamboo is meticulously split into dozens of flexible ribs, joined to a hand-carved wooden hub, and stretched with hand-poured mulberry paper sealed with natural vegetable oils. Every detail—from the structural tension of the bamboo frame to the delicate hand-strung thread reinforcement (kikyō-buki)—honors centuries of monozukuri (artisanal mastery and reverence for material), transforming a functional shade into a portable architectural sanctuary.
October 1, 2026 at 10:13 PM
sardonicus.eu
Goodnight.

"A Japanese belief says that if you can’t sleep at night, it’s because you’re awake in the dream of someone else."

www.dreams.co.uk/sleep-matter...
a traditional Japanese Buddhist monk walking down a misty stone path while holding an orange wagasa (traditional paper umbrella) c1900.
September 27, 2026 at 6:25 PM
machina-muse.bsky.social
Cyberpunk Oriental Anime Girl Aesthetic Fashion Wallpaper 4K

#AIイラスト #AIArt #AIGirl #AIArtwork #AIArtist #AIArtcommunity #DigitalArt #MachinaMuse #OrientalFashion #CyberpunkAnime #TraditionalStyle #FantasyArt #AnimeGirl #S...

🔗 https://machina-muse.com/groups/c050f8cc
✈️ t.me/machinamuse_official
September 22, 2026 at 3:53 PM
lepetitereboot.bsky.social
today's robe is brought to you by Denzel's portion of the closet.

i made the executive decision to commandeer this item because he doesn't wear it snd it's cute on me.
i have worn it no less than 4 times in public, styled with a matching wagasa
September 22, 2026 at 1:55 PM
tokyoukiyohouse.bsky.social
"Dancing with spirits in the quiet snow..." ❄️🦊

A vibrant Ukiyo-e scene of a graceful dancer in a crimson kimono holding a red wagasa and kitsune mask before a snowy pagoda.

Prints here! 🔽
tokyoukiyohouse.redbubble.com

#Ukiyoe #Kitsune #JapaneseArt
Japanese ukiyo-e style print of a woman in a vivid red kimono dancing barefoot on a stone path in the snow, holding a red paper umbrella overhead and a fox mask, in front of a five-story pagoda.
September 18, 2026 at 12:58 AM
roger1952.bsky.social
Maiko Hisamari - view on her ofuku hairstyle. Photography by Tetsuro Hashiguchi on Flickr
Framed from behind beneath the radiating red ribs of an open oil-paper umbrella (wagasa), Maiko Hisamari presents the quiet, architectural grace of the traditional ofuku coiffure. Her alabaster-painted nape (unaji) is delineated by the classic two-pronged eri-ashi pattern, where natural skin emerges in stark contrast against the porcelain white oshiroi foundation framing her low, pulled-back collar. Her sculpted, obsidian hair swells into the characteristic ofuku bun, anchored at its base by a triangular wedge of crimson-and-white tie-dyed silk (kanoko) tucked into the crest alongside a small coral hairpin and seasonal floral kanzashi. She wears a dark kimono woven with crisp white kasuri (ikat) geometric motifs, its deep back collar dipping low to emphasize the elegant curve of her neck. The transition from the junior wareshinobu hairstyle—distinguished by its red silk ring at the center of the bun—to the senior ofuku style signals a maiko’s final years of apprenticeship prior to erikae (the "turning of the collar" when she becomes a full-fledged geiko). In Japanese sartorial tradition, where the body is otherwise enveloped in layered textiles, the nape of the neck has historically been celebrated as the supreme locus of feminine sensuality and grace. The creation of this coiffure relies on the specialized craft (monozukuri) of Kyoto's master hair artisans (kamiyui), who sculpt the maiko's own natural hair using heated wax (bintsuke-abura) into a living sculpture built to hold its form for an entire week.
September 17, 2026 at 1:31 PM
roger1952.bsky.social
Greetings. 1961, Japan
Bowing gracefully beneath a heavy curtain of falling snow, two women exchange a formal winter greeting on a pristine, snow-blanketed path. Their oil-paper umbrellas (wagasa)—one patterned with a classic concentric ring (janome-gasa)—tilt gently toward each other, forming a protective canopy against the flurry. Clad in winter haori coats layered over patterned kimono, their silhouettes offer a striking contrast to the monochromatic storm. The woman on the right, wrapped in a vibrant vermilion jacket, bows deeply with a folded white shawl resting in her hands, her posture mirroring her companion’s respectful ojigi (bow). Elevated on wooden snow clogs (yuki-geta) fitted with protective leather toe-covers (tsuma-gaki), they stand near a snow-laden stone lantern (ishidōrō) and the heavy plaster shutters of a traditional earthen storehouse (kura). The scene highlights the extraordinary monozukuri (artisanal mastery) of traditional foul-weather gear: wagasa hand-assembled from bamboo spokes and oiled washi paper capable of repelling heavy snow, alongside yuki-geta engineered with raised wooden teeth and front hoods to keep white tabi socks pristine. The practice of aisatsu (formal greeting) displayed here underscores the enduring centrality of ritualized courtesy, binding the community through gestures of mutual reverence. Aesthetically, the seamless expanse of white snow functions as a natural realization of yohaku (active negative space), erasing the contours of the ground to isolate the figures within an elemental canvas. The tilted paper umbrellas create mobile, architectural kekkai (protective micro-boundaries), establishing private sanctuaries that intersect to form an intimate space of social warmth.
September 15, 2026 at 9:53 PM
roger1952.bsky.social
Japanese umbrellas, ‘wagasa’
Radiating an incandescent golden warmth against the night, a dense composition of illuminated Japanese oil-paper umbrellas (wagasa) presents a rhythmic study in translucent color and geometric line. Backlit from within, the delicate membranes of handmade washi paper project an amber, cream, and soft vermilion glow, revealing the fine structural skeleton of split bamboo ribs (hone) radiating systematically from central wooden shafts. Stenciled across the taut, pleated canopies are crisp floral motifs—most prominently stylized cherry blossoms (sakura) in deep crimson—running along the umbrella borders and upper domes. In the lower foreground, a parasol edged with a slender lime-green band introduces a subtle chromatic counterpoint, while the background dissolves into soft, honeyed bokeh and deep shadowy voids. Tracing their lineage back to early folding parasols imported from continental Asia during the Heian period and reaching their functional zenith during the Edo period, wagasa represent a masterclass in monozukuri (artisanal discipline). The creation of a single umbrella is an arduous, multi-stage craft requiring the synthesis of specialized trades: fashioning the flexible bamboo ribs, hand-stretching durable mulberry-fiber paper, applying natural vegetable oils (traditionally perilla or sesame) to achieve waterproofing, and sealing the wooden hub (atama) with protective lacquer (urushi). Beyond their historical utility as protection against rain and sun, wagasa maintain an enduring presence in Kabuki theater, traditional tea gatherings (nodate), and bridal processions. In contemporary culture, night illuminated displays (wagasa-akari) celebrate the unique way oiled washi transforms harsh, direct light into a soft, ambient radiance.
September 12, 2026 at 10:26 PM
carina.delachancla.com
Found a space for some empty boxes that were taking up...space >,.,>

Literally just had them on the floor and would have to move them around to get to whatever they were in front of. I have too much stuff lol

Wish it didn't block the lighting I have up there tho
A bunch of empty boxes have been placed on top of a nook that's also a sliding door. An Okami poster, purple Wagasa (Japanese sun umbrella), and some vinyl on the wall surround them The room lights are now off, except for the lighting behind it
September 10, 2026 at 1:08 AM
roger1952.bsky.social
With kimono on the streets of Japan. shinjihi
Gliding through a sun-dappled urban alleyway during a traditional street procession, a young woman steps in serene composure, her pale ice-blue silk kimono (hitoe) and light matching coat (haori) casting a cool, luminous aura against the sunlit thoroughfare. She holds a white ruffled parasol (hi-kasa), angling its shade over a sculptured coiffure, while nearby participants carry traditional vermilion oiled-paper umbrellas (wagasa). The delicate pastel palette of her ensemble—crafted from lightweight silk appropriate for seasonal transitions—is grounded by a crisp white inner collar (han-eri) and a soft blush-pink obiage sash, creating an atmosphere of quiet restraint amidst the throng of cameras and onlookers. Street processions tied to sacred shrine rituals (shinji) or seasonal historical pageants occupy a vital place in Japan’s living material culture. By bringing formal wafuku out of private interiors and onto the public asphalt, these events temporarily re-enchant the modern city, turning everyday streetscapes into dynamic displays of textile history. The adoption of Western lace parasols paired with classical silk attire emerged during the Meiji and Taishō periods as a fashionable hallmark of cosmopolitan sophistication, symbolizing a synthesis where imported accessories were seamlessly absorbed into the visual vocabulary of Japanese urban elegance. Aesthetically, the white parasol functions as a mobile kekkai—a subtle, protective threshold of shade and privacy that preserves the wearer’s inner tranquility (seijaku) within the chaotic motion of the street. The gentle shadow cast across her brow exemplifies miegakure (the design principle of hide-and-reveal), inviting contemplation by partially veiling the face rather than presenting it in harsh, direct light.
September 9, 2026 at 12:37 PM
shieldoffire.bsky.social
Aquella cubierta improvisada le sorprendió debido a la aleatoriedad del gesto. El Portador elevó la mirada hacia el wagasa, para después mirarla a ella directamente. Era un gesto gentil y él no estaba acostumbrado.

—No pretendo molestar Señorita…—murmura, no queriendo turbar su paz—. Pero gracias.
karakvri.bsky.social ‍ ᅠ‍ ᅠ𝐬hizu𝐤𝐚⸻静か。 @karakvri.bsky.social · Aug 30
Le ha cubierto con su wagasa (sombrilla). No hay que subestimarla, es resistente con cualquier tipo de lluvia o ventisca.

“Hay que guarecerse de esta lluvia, mi señor. Puedo ofreceros té para entrar en calor si os place.”
shieldoffire.bsky.social . . . 𝐖𝐲𝐯𝐞𝐫𝐧? @shieldoffire.bsky.social · Aug 30
Las primeras gotas de lluvia le han despertado de su descanso, culminando con la poca madera ya calcinada de la fogata. Tocará ir a buscar algo de comer pero, ¿dónde?
August 30, 2026 at 10:17 AM
karakvri.bsky.social
Le ha cubierto con su wagasa (sombrilla). No hay que subestimarla, es resistente con cualquier tipo de lluvia o ventisca.

“Hay que guarecerse de esta lluvia, mi señor. Puedo ofreceros té para entrar en calor si os place.”
shieldoffire.bsky.social . . . 𝐖𝐲𝐯𝐞𝐫𝐧? @shieldoffire.bsky.social · Aug 30
Las primeras gotas de lluvia le han despertado de su descanso, culminando con la poca madera ya calcinada de la fogata. Tocará ir a buscar algo de comer pero, ¿dónde?
August 30, 2026 at 10:02 AM
jess-stetson.bsky.social
#FotoVorschlag
#Pastell » #Pastel

#pastels #Unagi #umbrella #umbrellas #parasol #wagasa #Japaneseumbrella #decor #ceiling #moodlighting #lighting #paperparasol #washipaper #colourful #colorful
A ceiling covered with overlapping traditional Japanese paper parasols. The pink and pastel umbrellas are illuminated by green and blue mood lights above a sign that reads "UNAGI".
August 28, 2026 at 3:43 PM
zatriny.bsky.social
Desenho do Kamui Gakupo inspirado na estética "Wafuu kei"✨
...um dos subgêneros que tem dentro do visual kei, onde nesse estilo é incorporada a estética tradicional japonesa☝️

#vocaloid #vkei #BRart #digitalart
Desenho digital de Kamui Gakupo inspirado em um dos subgêneros do vkei "Wafuu kei", que incorpora estética tradicional japonesa. Ele está segurando uma wagasa, que é um guarda-chuva tradicional japonês, com a mão esquerda. Gakupo está com um cabelo espetado com mechas longas roxas e em ciano, usando um rabo de cavalo alto e um adorno de espinhos na cabeça. Está usando vários acessórios com espinhos, seu kimono é azul com estampa de leque e por cima dele está usando um longo casaco brancos com mangas rosas.
August 26, 2026 at 4:24 PM
schwarzezeit.bsky.social
A little sketch from grave of the fireflies.
The wagasa of Seita and Setsuko.

#sketch #art #sketching #graveofthefireflies #ghibli #tattoosketch #tattooidea #inkspiration
A japanese Umbrella from the movie grave of the fireflies as a tattoo sketch in sketchy style
August 19, 2026 at 5:28 PM
redsamurai.bsky.social
Floating World🇯🇵
Snow at Shiba Daimon,Tokyo(芝大門之雪)
Artist :🇯🇵Hasui
Date : 1936

A 1930s classic sedan cutting through heavy snow slushes, with a pedestrian carrying a traditional oil-paper umbrella (wagasa). Captures the transition from Edo architecture to the modern world.
August 16, 2026 at 12:31 PM
roger1952.bsky.social
"Kyoto Dotoku" (京都点々累々) by Japanese photographer Masahiro Kondo (近藤 誠宏)., 1985, Japan
Masahiro Kondo’s (近藤誠宏) 1985 series Kyoto Dotoku (京都点々累々) offers an evocative, highly graphic meditation on the enduring rhythms and hidden quietude of Japan's ancient capital. In this monochrome study, Kondo transforms a traditional street scene into an exercise in pure geometry, light, and texture. Visual Geometry & Contrast Radial Forms: The composition is anchored by two fully opened wagasa (oiled-paper parasols) held low against the body. Their overlapping circles create a striking focal point, with the radiating bamboo ribs (hone) forming a delicate, spiderweb-like structure. Architectural Grid: The curved, expansive geometry of the paper parasols sets up a sharp visual tension against the strict vertical lines of the koushi (wooden lattice screen) framing the facade of the traditional machiya townhouse. Tonal Depth: Deep shadows in the weathered timber entryway push the bright white paper of the parasols and the smooth silk of the kimono forward, creating a stark, graphic clarity characteristic of late 20th-century Japanese street photography. Styling & Atmospheric Tone Contemplative Pose: Pausing along the entryway, the woman tilts her head back with eyes closed in a quiet moment of introspection, introducing a serene human presence into the rigid architectural space. Textile & Footwear: She wears a understated light-colored silk kimono bound with a clean, horizontally striped obi sash, elevated off the stone pavement by traditional white tabi socks and wooden geta. By reducing the scene to fundamental elements—paper, wood, silk, and shadow—Kondo bypasses simple nostalgia to capture the quiet, enduring rhythm of Kyoto's historic quarters.
August 10, 2026 at 2:55 PM
roger1952.bsky.social
With a deer as the Messenger of God at Itsukushima island, Japan
Enveloped in the misty coastal air of Itsukushima (Miyajima), this serene photograph captures a woman in formal attire standing along the shrine's shoreline, framed by the iconic vermilion O-torii gate and a roaming sika deer. The atmospheric composition juxtaposes the vivid red of a traditional paper parasol (wagasa) against the soft, cool-toned gloom of the Seto Inland Sea at low tide. The Sacred Setting & Imagery Behind the central figure, a granite stone lantern (tōrō) anchors the right foreground, while the massive camphor-wood pillars of the 16-meter-tall O-torii loom through the sea fog. In the shallow water behind her, a wild sika deer walks across the tidal flats. Revered in Shinto belief as divine messengers (shinroku, 神鹿) of the kami, the deer of Miyajima have lived alongside pilgrims and priests for over a millennium, embodying the sacred protection of Itsukushima Shrine. Textile & Styling Details Kimono: She wears a understated silk kimono in a delicate dove-gray hue, exemplifying the quiet, dignified aesthetic of shibui (unobtrusive elegance). Obi: The muted tone of the silk is balanced by a striking, high-contrast black fukuro-obi woven with rich gold and metallic floral motifs. Color Harmony: A vibrant red braided cord (obijime) and tucked sash (obiage) mirror the brilliant crimson of the hand-crafted wagasa, linking the human silhouette directly to the historic vermilion lacquer of the shrine architecture fading into the distance. By surrounding the figure with sacred wildlife, fog-shrouded shrine architecture, and classic winter-wet coastal light, the photograph distills the quiet, enduring spirit of yūgen (profound grace and subtlety) that defines Japan's legendary sacred island.
August 9, 2026 at 9:45 PM
roger1952.bsky.social
Japanese Shinto priests, Nara, Japan
Set against a dramatic, pitch-black backdrop, this evocative photograph captures a solemn ritual procession of Shinto priests (kannushi) navigating sacred shrine grounds in Nara, Japan. The composition relies on stark chiaroscuro, isolating the figures within deep shadow while warm ambient light catches the radial geometry of pale cream oil-paper umbrellas (wagasa). Stepping slowly in a tiered procession, the officiants carry themselves with quiet, stately dignity, their umbrellas forming a cascading canopy of translucent oiled paper and fine bamboo ribs that glows against the darkness. The garments worn by the procession reflect the strict liturgical hierarchy and courtly dress traditions preserved within Shinto ritual practice. In the foreground, a priest is clad in a pristine white jōe (pure garment), the traditional un-dyed silk or linen robe worn during sacred purification rites (harae), its crisp, squared silhouette and broad, hanging sleeves providing a luminous focal point. Emerging from the shadows behind him, other officiants wear formal ceremonial vestments (shōzoku), ranging from deep black robes to rich, patterned vermilion brocade (akaginu), each crowned with a stiff, black-lacquered cap (kanmuri) rooted in Heian-period imperial court attire. Set in Nara—the ancient capital renowned for monumental sanctuaries like Kasuga Taisha—the scene embodies the enduring continuity of Japanese sacred traditions. The traditional wagasa serve both a practical and ritual function, sheltering the priests while maintaining the ceremonial purity required when moving between shrine precincts during wet or inclement weather. Through its dramatic contrast, rich textile details, and atmosphere of reverence, the photograph captures the timeless majesty and contemplative silence that define Shinto ritual life.
August 8, 2026 at 1:07 PM
roger1952.bsky.social
Artist: Kitagawa Utamaro (c. 1753–1806).Title: Shower (also known as Sheltering from a Sudden Shower or Caught in a Rain Shower).Date: Created circa 1799–1800 during the Edo Period.
Kitagawa Utamaro’s Shower (Yūdachi, c. 1799–1800) captures the sudden, chaotic energy of a summer downpour with remarkable narrative vitality. Fine, relentless diagonal lines slash across the upper composition, forcing three passersby into a desperate huddle beneath a single oil-paper umbrella (wagasa). Wind-whipped tree leaves at the upper margin and bending riverbank reeds reinforce the tempestuous atmosphere, contrasting sharp geometric rainfall against the fluid curves of human movement. The print offers a candid study of Edo-period dress in motion. The central woman hitches her heavy outer kimono high above her knees to save its hem from the mud, exposing her bright vermilion nagajuban (under-kimono) as she rushes barefoot across the ground. A light, patterned tenugui or scarf draped over her shoulders catches the gale, billowing out behind her in a dramatic horizontal flutter. Behind her, a companion tucks in closely under the umbrella's edge, while a man with a cloth bound around his head hitches his robe into his waist belt to sprint alongside them. While Utamaro is best celebrated for his intimate, close-up portraits of women (ōkubi-e), this full-figure genre scene demonstrates his equal mastery of kinetic group composition. By capturing the cling and movement of windblown garments, the vulnerability of exposed ankles, and the shared urgency of the figures, Utamaro elevates a mundane, weather-bound moment into an enduring masterclass in line work, drapery, and human observation.
August 6, 2026 at 9:24 AM
roger1952.bsky.social
A prize-winning image sponsored by Asahi Camera, 1938, Okutama, Tokyo.
Published in 1938 as a prize-winning selection in the prestigious journal Asahi Camera, this evocative monochrome photograph captures a quiet moment of rural life in Okutama, the mountainous western enclave of Tokyo. Walking along a country path bordered by dormant, neatly pruned cultivation fields, a woman clad in a boldly patterned kimono shields herself with a traditional oiled-paper umbrella (wagasa), accompanied by a young child strolling dutifully by her side. In the background, dark, densely forested hills rise steeply into a soft veil of mountain mist, imbuing the composition with a profound sense of quietude and atmospheric depth. Reflecting the artistic currents of pre-war Japanese photographic culture, the image masterfully balances Pictorialist elegance with an authentic, lyrical glimpse into the daily rhythms and rural landscapes of late 1930s Japan.
August 2, 2026 at 10:02 PM
roger1952.bsky.social
Created in 1917 (Taishō 6) by Itō Shinsui (伊東深水, 1898–1972) and published by Watanabe Shōzaburō, Passing Rain (Niwaka Ame) stands as one of the defining early masterpieces of the Shin-hanga ("New Prints") movement.
Credit Line: Clarence Buckingham Collection
The ōban-sized print captures a young woman caught in a sudden shower, leaning forward as she tilts a warm tan and terracotta oiled-paper umbrella (wagasa) against the wind and drizzle. She is dressed in a dark midnight-blue kimono accented by a delicate red grid pattern and a brilliant electric-blue inner collar (han'eri), her hair swept back into a soft, dramatic updo. Diagonal white lines cut across the composition to render the falling rain against a muted, textured gray background, demonstrating Shinsui’s exceptional ability to combine modern psychological intimacy and atmospheric mood with traditional bijin-ga (pictures of beautiful women) sensibilities. The top right corner bears the artist's signature ("Shinsui"), red seal, and the date inscription reading "Taishō 6, 5th month."
July 29, 2026 at 1:42 PM
roger1952.bsky.social
This monochrome portrait captures a woman dressed in traditional Japanese attire, cast in soft, dramatic studio-style lighting against a dark background. She gazes downward in a contemplative posture, holding an open oil-paper parasol (wagasa) decorated with a bullseye design (janome-gasa). She is wearing a kimono patterned with a fine, grid-like geometric weave, paired with an elegant, traditional updo held in place by hairpins (kanzashi). The high contrast, subtle texture of the paper umbrella, and quiet mood give the photograph a classic, timeless feel.
July 25, 2026 at 6:22 PM
alfie.photography
His wagasa are the best. Photographed him years ago, just after the opening of the Kyoto Ritz Carlton. As he also designed and made all the lighting there. All of which is inspired by and made with similar techniques.
June 25, 2026 at 3:05 AM