本研究は，日本の伝統的衣服であるキモノの形の意味を，ものから得られる情報を通して明らかにしようという試みである。キモノはほどけば布に戻るものとされ，「繰り回し」と呼ばれる作り替えが行われていたことが知られており，制作時から予め再利用を見込んだ形に作られていたと考えられる。キモノがどのように作られ，また作り替えられてきたのか，日常着として着用されていた２点のキモノの観察・解体によって調査し，制作および作り替えの過程と形との関係を考察した。
　資料の解体から，キモノの形に共通する構成の特徴は，狭い幅の布を用い，できるだけ裁断を少なくし，手縫いで作ることであるとわかった。作り替えられたキモノからは，共通の布幅を生かした各部の入れ替えの様子や，布の重なる部分や目立たない部分に痛んだ布や小さな端切れが巧みに生かされている様子が確認できた。調査より，キモノの形は，決まった量の材料を余らせずにできるだけ大きく使うことで作り替えの可能性を広げた，材料を最大限に生かすための形であると結論付けた。また，衣服としての形が一定であることにより，制作技術の習得と応用を容易にし，作りやすさを追求した形であると考えた。

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The purpose of this study is to obtain the close connexion between sewing conditions of women's Kimono and the tension on seams of Kimono induced by body movements. The tensions developed in Kimono of standard size during seven types of body movements were measured by a probe constructed by means of strain gauge that is set on sewing points. The results can be summarized as follows :
1) The seam tensions depend on the types of body movement. The tensions induced on seams in a dynamic condition are generally higher than those in a static condition.
2) The maximum tensions at several body points approximate to 190 g/cm on the back seam near the hips, 70 g/cm on the back seam at the bottom and 140 g/cm on the side seam near the knees.
3) The tensions on the right side seam are higher than those on the left side owing to the way of wearing peculiar to Kimono.

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Seam tensions for women's Kimono were measured for four different kinds of cloths under four types of movement by three somatotype women. The results were as follows :
1) The elasticity of the fabrics had the greatest influence on seam tensions. Shinon crepe that had low elasticity showed the highest value (445 g/cm) of back seam tension at near the hips and tension of serge cloth that had high elasticity was low (190 g/cm). The side seam tension on the left at the bottom of Kimono was strongly affected by frictional force between the fabrics.
2) Factors influencing on seam tensions were different depending on somatotypes. Higher tension was found on the seams of the upper back and the hips for heavy-set women. The tension on bottom seams increased according to the length of the footstep and became higher for slender women.

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Form changes of a Yukata in dressing were examined as to the area change in dressing and the thickness distribution brought about due to puckers.
1) The area hidden by pleats and tucks in the front was 21-23% of the body area of before dressing and 6-7% in the back
2) Overlapping of fabric and distribution of thickness were found mainly on the lines between the waist and the bust In this part the maximum overlapping was 4-5% in thickness and 10-16 ply in number
3) The surface area of the dressed Yukata was 57-64% of the body area measured before dressing The surface increased also with the body index of the subjects

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