EXHIBITION: Rare Edo Robes Unveil the Power and Beauty of Women at Court

Japan Forward

13-06-2025

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Countless novels and TV dramas have vividly portrayed the Ooku, the secluded women's quarters of Edo Castle. Yet, the real garments that its inhabitants wore were even more opulent than those seen on screen. Opening July 19 at the Tokyo National Museum in Ueno, the special exhibition Ooku: Women of Power in Edo Castle offers a rare glimpse into the true world of the Ooku through the treasured belongings of women connected to the Tokugawa shogunate.
Among the highlights are uchikake and kosode robes. Adorned with richly detailed embroidery, these masterpieces are so intricate that recreating them today would be nearly impossible.
The Ooku was an exclusive, women-only enclave deep within Edo Castle. Here, the shogun's wife and concubines lived, entrusted with bearing and raising heirs to the Tokugawa shogunate. Their elaborate attire served not only as personal adornment but also as a powerful display of political authority and wealth. According to records, the shogun's wife was required to change outfits as many as five times a day.
The exhibition showcases garments associated with Tensho-in, a samurai-born wife of the 13th shogun, Iesada, and Princess Kazu, the imperial-born wife of the 14th shogun, Iemochi. Their clothing reveals distinct personal traits and highlights the cultural contrasts between their backgrounds.
Also on display are kabuki costumes worn by okyogen-shi , female performers who staged kabuki-style theater within the walls of the Ooku. Haori and Undergarment in Bright Green Satin with Target Motif, a kabuki costume from the Oku (Tokyo National Museum collection)
Among them, one dazzling piece stands out: the Haori and Undergarment in Bright Green Satin with Target Motif , boldly designed with arrows piercing a target. Embellished with lavish gold thread, it captures the vivid spectacle and theatrical flair emblematic of kabuki.
Yuzuruha Oyama, Head of Research at the Tokyo National Museum, remarks:
"The women of the Ooku depicted in television dramas don't wear uchikake like these, richly adorned with intricate embroidery. That's likely because faithfully recreating such garments today would be prohibitively expensive. We hope visitors will take this opportunity to appreciate the beauty of the originals."
Also featured in the exhibition are kakefukusa , ornate embroidered cloths traditionally placed over gifts. A complete set of 31 pieces, now held at Kofuku-in Temple in Nara and designated as Important Cultural Properties, showcases the height of Edo-period embroidery. Commissioned by the 5th Tokugawa shogun Tsunayoshi, the set is believed to have been presented to his concubine, Zuishun'in. Embroidered Kakefukusa: Light Blue Satin with Iris, Pink, and Sake Vessel Motif Featuring the Character for "Longevity" (Designated Important Cultural Property, Kofuku-in Temple, Nara)
The exhibition is divided into four sections:
Highlights include the 40-panel woodblock print series Chiyoda Inner Palace by ukiyo-e master Yoshu Chikanobu, offering a vivid, imagined portrayal of Ooku life during the reign of the 11th Tokugawa shogun, Ienari. Also on view is the Ooku Path to Power Game, a board game that humorously charts the path to status within the inner palace.
For many daughters of affluent townspeople, serving in the Ooku was a coveted opportunity. With the chance to win the shogun's favor, even a woman without noble lineage could, as the saying went, "ride in a gilded palanquin."
Features figures like Lady Kasuga, Eshima, and Takiyama, powerful senior attendants who helped shape the Ooku. Also on display is a comprehensive map of the Edo Castle Honmaru Ooku area, offering insight into the layout and workings of the inner palace.
Showcases the belongings of shoguns' wives, the biological mothers of heirs, and Tokugawa princesses.
Presents items that reflect the elegant lifestyle of the Ooku, including lavish seasonal garments, bridal furnishings, traditional games like karuta , and Gosho dolls.
The exhibition runs through September 21.
Author: Keiko Mizunuma , The Sankei Shimbun
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