Traditional Japanese textiles are rich in geometric patterns (文様 – mon’yō). At first glance, they may seem simple or repetitive… but in reality, each one is based on a precise construction and tells a story.

With a little attention, these patterns become much more legible — and above all, much more interesting to look at. This is often where one's perception changes, and a haori takes on a whole new dimension.

To observe these patterns on authentic Japanese textiles, discover our selection of vintage Japanese kimonos, haoris, yukatas, and obis, sourced directly from Japan.

The main pattern families

To avoid getting lost, the simplest way is to group them by families. You'll see, once you understand this logic, everything becomes clearer.

Patterns based on triangles, diamonds & hexagons

Asanoha (麻の葉) — Hemp leaf

A star pattern formed by interlocking triangles, very regular. It was often used for children's clothing because hemp grows quickly and straight. Even today, it evokes a characteristic sense of solidity and balance.

Kikkō (亀甲) — Tortoise shell

A network of hexagons inspired by the tortoise shell. This pattern is associated with longevity and stability. On some textiles, each hexagon contains an additional detail, which greatly enriches the overall design.

Kagome (籠目) — Basket weave

An openwork triangular pattern reminiscent of bamboo weaving. Its structure is more open than asanoha, which helps differentiate them. It is often considered protective.

Uroko (鱗) — Scales

A pattern of repeated triangles, sometimes in superimposed layers. Inspired by scales, it is associated with protection and transformation. It is a very common pattern, often used subtly.

Hishi (菱) — Lozenge/Diamonds

A diamond pattern, sometimes subtle, sometimes very prominent depending on the scale. It is often associated with ideas of growth or development.

Matsukawabishi (松皮菱) — Pine bark diamond

An ancient variation of the hishi pattern, formed by a large diamond overlaid with two smaller diamonds. Its name comes from its resemblance to the irregular plates of pine bark. Very present in Japanese decorative arts, it also appears on magnificent ancient kosode. The evergreen pine traditionally associates it with longevity and permanence.

Circular, curved, and wavy patterns

Seigaiha (青海波) — Waves of the sea

Regular concentric arcs representing the sea. It is a very ancient pattern, associated with continuity and serenity. It works well as both a background and a main motif.

Shippō (七宝) — Interlocking circles

A pattern formed by intersecting circles representing 7 Buddhist treasures. It evokes harmony and lasting relationships. Visually, it is one of the softest and most balanced patterns.

Shiba / Shibakusa (芝・芝草) — Arched grasses

Small repeated arcs of circles evoke clumps of grass or the ripples of a lawn. At the border between geometry and nature representation, the pattern transforms a few very simple curves into a miniature landscape. It's precisely this kind of stylization that we love in Japanese textiles.

Tsuyushiba (露芝) — Dew on grass

A variation of shiba where small dots or drops settle on the arcs: these are dewdrops on the grass. The pattern is ancient and plays on a very Japanese idea: the beauty of a fragile moment, as dew disappears with the morning sun.

Uzumaki (渦巻) — Spiral

The spiral is one of the oldest and most universal geometric shapes. In Japan, uzumaki literally means "whirlpool" and the pattern is naturally associated with the movement of water. It can be found in many forms in dyeing, weaving, ceramics, and decorative arts.

Kanzemizu (観世水) — Kanze water

Curved lines and spirals create moving, almost hypnotic water. The pattern is traditionally associated with the Kanze family, one of the great schools of Nō theatre. More figurative than uzumaki, it transforms the spiral into a true stylized water current.

Linear and directional patterns

Yagasuri (矢絣) — Arrows

A pattern inspired by arrow feathers. It directs the eye and adds dynamism. Traditionally, it symbolizes irreversible progress, which explains its popularity in certain contexts.

Tatewaku (立涌) — Rising steam

Vertical wavy lines evoking rising steam. The pattern is lively, never completely static, and often serves as a basis for other compositions.

Yoroke-jima (よろけ縞) — Irregular stripes

Slightly distorted vertical stripes. They break the rigidity of straight lines and provide subtle movement, which is very pleasing to the eye.

Yamaji (山路) — Mountain path

A succession of broken lines forms zigzags reminiscent of a path that winds up and down a mountain. The design is extremely simple, but immediately adds rhythm to a textile composition. It can be used alone, as a border, or to structure other patterns.

Grid and repeating patterns

Ichimatsu (市松) — Checkered

A regular square pattern. Very graphic, it symbolizes continuity. Despite its antiquity, it remains surprisingly modern in its rendering, and it is the pattern of Tanjiro's haori in Kimetsu no Yaiba!

Kōshi (格子) — Lattice

A grid pattern inspired by Japanese architecture. Simple in appearance, but with many variations. It brings a calm and orderly structure to the textile.

Igeta (井桁) — Well curb

A very simple shape, similar to our # sign, consisting of four intersecting elements. It represents the wooden structure placed around a traditional Japanese well. On a textile, the igeta can be repeated in a grid and become surprisingly graphic.

Higaki (檜垣) / Ajiro (網代) — Diagonal interlace

Short bands crisscross diagonally to create a very graphic woven effect. Higaki traditionally evokes a fence made of thin cypress slats, while ajiro broadly refers to woven structures. This type of design can be found in basketry, architecture, obis, and woven patterned fabrics.

Sangikuzushi (算木崩し) — Counting sticks

Small groups of lines are arranged alternately horizontally and vertically, creating a rhythm similar to a checkerboard. The pattern derives from sangi, ancient sticks used for calculations. In its classic form with three strokes, it is also known as sankuzushi (三崩し). An ancient pattern that nevertheless appears almost contemporary.

Continuous patterns (tsunagi-mon)

These patterns are constructed with continuous lines. They require a little more attention, but become very legible once recognized.

Sayagata (紗綾形)

A pattern of continuous lines forming interlocking crosses. It evokes continuity and prosperity. Once you've recognized it once, you'll spot it everywhere.

Raimon (雷文)

An angular pattern of continuous lines, similar to a maze design. It provides a strong graphic presence and is associated with energy.

Kaku-tsunagi (角繋ぎ) — Interlocking squares

Square frames link together and appear to pass over each other. This continuous construction creates a true geometric braid effect. Like many tsunagi patterns, its strength comes from the impression that the design could continue indefinitely.

Kuginuki-tsunagi (釘抜繋ぎ) — Linked diamonds

A continuous pattern composed of small diamonds or quadrangular shapes linked together. Its name refers to the kuginuki, the tool used to pull out nails, whose stylized shape gave rise to the pattern. Quite discreet today, it belongs to that large Japanese family of tsunagi patterns, designed to extend endlessly.

Fundō-tsunagi (分銅繋ぎ) — Linked balance weights

A succession of curved shapes inspired by fundō, the ancient weights used with Japanese scales. Linked together, they create a very elegant continuous pattern. The shape of the fundō also being associated with ingots and precious metals, the pattern has acquired a connotation of prosperity.

Textural patterns (komon)

Here, it's almost more about texture than pattern.

Same-komon (鮫小紋)

A pattern composed of tiny, tightly packed dots inspired by shark or ray skin! From a distance, it appears solid. Up close, it reveals all its finesse. This is typically the kind of detail you discover by taking your time. We love it at Kogedo!

Kanoko (鹿の子)

Literally "fawn," it's a pattern of small, irregular dots inspired by shibori dyeing techniques. It brings a softer, more organic feel.

Mameshibori (豆絞り) — Shibori polka dots

A regular scattering of small white circles, traditionally obtained through shibori dyeing. Mame means "bean": the name refers to these small round shapes repeated on the fabric. Simple, popular, and immediately recognizable, it is a good example of a pattern born directly from a textile technique.

Gyōgi (行儀) — Aligned dots

Tiny dots are aligned with extreme regularity on intersecting diagonals. The gyōgi belongs to the refined world of Edo komon, where the precision of the pattern is such that the fabric appears almost plain from a distance. Its name, which evokes good manners and etiquette, echoes the impeccable rigor of the design.

Tōshi-komon (通し小紋) — Aligned dots

One of the great classics of Edo komon (江戸小紋). The Tōshi consists of a multitude of tiny dots arranged with extreme regularity, aligned vertically and horizontally. This is precisely what distinguishes it from the Gyōgi, whose dots follow diagonal lines at 45°. In its famous variant Kakudōshi (角通し), the dots take the form of tiny squares.

To go even further in textile observation, also discover our guide to the different types of Japanese silk: rinzu, chirimen, tsumugi, habutae, and omeshi.

Conclusion

Recognizing these patterns is a bit like learning a new visual language.

At first, everything seems similar. Then, gradually, differences emerge. And once the eye gets used to it, each haori becomes much richer to observe.

And if you want to know more about the garment on which we so often find these patterns at KOGEDO, discover our guide dedicated to the history of the Japanese haori and its different styles.

At KOGEDO, that's exactly what we love: taking the time to look, understand, and let the details reveal themselves.

And which pattern do you prefer? 🦝

These patterns are not just for antique pieces: you can also find the aesthetic of traditional Japanese fabrics in the modern haori from Atelier KOGEDO, handmade by Mikan.

Next up

In the next article:
👉 Japanese floral patterns (and there are many! 🌸)