costumes had been paid for by the actors with exception of those for specialized roles and those worn by the lowest-paid actors. It was exceedingly difficult and often embarrassing for even the average-paid actor to maintain proper stage appearance, for his pay was most inadequate. This situation often produced an unbalanced stage effect, for a leading actor might wear a resplendent costume as a yakko (samurai's servant or footman) while an underpaid actor who had the misfortune to portray the yakko's lord might appear as a minor character because of an uninspired costume necessarily made of inexpensive material.
However, some garments created out of cheaper stuffs turned out to be strikingly original. For example, Ōtani Hiroji II in the play Koi no Sekifuda (Strong Love Breaks Every Barrier, or Love Working as an Almighty Passport) lacked the necessary costume for a red-faced villain's role. So he borrowed a woman's everyday kimono patterned with daffodils, which he had made into attractive stage attire.
Nakamura Nakazō III, as Kōmori Yasu in Yo wa Nasake Ukina no Toko-gushi (The Love Story of Yosaburo and Otomi), commonly called Kirare Yosa or Genjidana, donned his wife's hanten with happy results. (The harden is a short outer coat resembling the haori but lacking ties to fasten it in front. The collar, occasionally of black satin, is not folded like that of the haori.) Ichikawa Omezo I, a popular actor and an accomplished tailor, thought it too costly to have his wardrobe made, so he cut and made his own garments.
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