This report describes how Emperor Meiji's costume changed from the end of the Edo Period to the beginning of the Meiji Era. When he lived in Kyoto, he wore a traditional costume called a Kugeshouzoku (nobility dress). However, after he moved to Tokyo, his costume changed drastically, because he was forced to westernize his way of life in all respects. In Kyoto, he showed his authority as Mikado with Three Sacred Treasures beside him. In Tokyo, everything was different. He had to represent his authority, not by those symbols but through his new dress: he had to give dignity and nobility to his military uniforms. Emperor Meiji's uniforms were henceforth decorated with epaulets, gold strings, and gorgeous chrysanthemum-pattern embroidery. This is clearly evident in the “Goyoudoroku” receipt lists of purchases by the Imperial Family owned by the Imperial Household Agency.

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 This research aims to examine the rise in popularity of the Heian revival style of court-nobles' residences during the early modern period. This paper traces this history in detail, focusing on the main residence of the head of the Ichijō family. It is known that this residence featured a revival style main hall (shinden) as far back as the seventeenth century. In the eighteenth century, it was well known as one of the finest examples of this style. After the Tenmei conflagration, the hall was rebuilt, again in the Heian revival style. This is supported by the fact that Kigo Harima was in charge of the main hall's reconstruction at this time. The details of this paper's findings are as follows.

 The Ichijō family's main residence gradually grew in size during the first half of the seventeenth century. From the time that the residence was improved and expanded in Keian 2 (1649) until the Meiji period, there were no changes in its size or form. The Heian revival main hall can be first seen in a drawing depicting the initial improvements in Keian 2. However, it did not have a strong Heian revival personality: it was a planar building, similar to the main hall of the Konoe family residence from the same time period, and functioned as a place to hold audiences. That said, compared to the Konoe family residence, the building site plan—comprising the main hall, the hallway (futamune-rō) and inner gate corridor (chūmon-rō) connected to the main hall, and the corridor for the household staff (samurai-rō)—better embodied the revival style. The head of the family at the time, Ichijō Akiyoshi, referred to the Shinkaimon-zu in the Honkaimon-Shinkaimon-zu when it was being built.
 The main hall, rebuilt in Enpō 5 (1677), no longer functioned as a place to hold audiences. Comprised of a moya and hisashi, it more closely embodied the Heian style than before. When rebuilding it, Ichijō Kaneteru, then head of the family, referred to not only the Shinkaimon-zu in the Honkaimon-Shinkaimon-zu but also the Honkaimon-zu. The Honkaimon-Shinkaimon-zu was created in the later medieval period by Kujō Hisatsune, evidently with the Heian-period residence of his ancestors in mind. This is evidence that the study of court-nobles during the medieval period influenced the Heian revival style during the early modern period. This hall was so well known at the time for its Heian revival style (ōko-no-katachi) that Yoshimune, the eighth Tokugawa shogun, sought the building plan used during its construction.
 The main hall rebuilt after the Tenmei conflagration appears to have also been in the Heian revival style. This is supported by the fact that Kigo Harima, who was involved in both the reconstruction of the Dairi (the Imperial Palace) in this style and the building of the Takatsukasa family's Heian revival main hall during the same period, was in charge of construction.

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