The Courtesan Maizumi of the Daimonjiya with Her Attendants Shigeki and Naname, from the series "Models for Fashion: New Designs as Fresh as Young Leaves (Hinagata wakana no hatsu moyo)"

The Courtesan Maizumi of the Daimonjiya with Her Attendants Shigeki and Naname, from the series Models for Fashion: New Designs as Fresh as Young Leaves (Hinagata wakana no hatsu moyo), dated 1782 in the Art Institute of Chicago, is a leaf from what is generally regarded as Torii Kiyonaga's most accomplished Yoshiwara series. Hinagata wakana no hatsu moyo set out to do double duty as celebrity portraiture and as a sample book of seasonal kimono designs; each print names a leading courtesan and her two attendants and presents them in textile combinations the publisher hoped Edo women would wish to imitate. Maizumi of the Daimonjiya stands tall at the centre, flanked by her kamuro Shigeki and Naname; the trio embody the rigid hierarchy of the brothel house, with the youngest girl turning her attention to the senior figure as if learning her duties in real time. Kiyonaga uses his hallmark slender, elongated proportions to give the central courtesan a stately bearing, and reserves the sheet's most elaborate fabric design—new spring greens evoked in the series title—for her outer robe. As a Torii school designer trained in theatrical placards, he handled the geometry of large patterns with confidence, and Hinagata wakana no hatsu moyo as a whole exemplifies the moment when Edo [bijin-ga](/glossary/bijin-ga) absorbed and outshone [yakusha-e](/glossary/yakusha-e) as the leading commercial genre. The Art Institute of Chicago holds multiple sheets from the series. For collectors, this is the bedrock Kiyonaga design—canonical proportions, named subject, Yoshiwara setting, fashion-plate appeal.