Karen strode in to the kitchen, her silk kimono gaping open to reveal her recently enhanced boobies.
The kimono is a Japanese traditional garment worn by men, women and children. The word "kimono", which literally means a "thing to wear" (ki "wear" and mono "thing"), has come to denote these full-length robes. The standard plural of the word kimono in English is kimonos, but the unmarked Japanese plural kimono is also sometimes used.
Kimono are T-shaped, straight-lined robes worn so that the hem falls to the ankle, with attached collars and long, wide sleeves. Kimono are wrapped around the body, always with the left side over the right (except when dressing the dead for burial.), and secured by a sash called an obi, which is tied at the back. Kimono are generally worn with traditional footwear (especially zōri or geta) and split-toe socks (tabi).
Today, kimono are most often worn by women, and on special occasions. Traditionally, unmarried women wore a style of kimono called furisode, with almost floor-length sleeves, on special occasions. A few older women and even fewer men still wear the kimono on a daily basis. Men wear the kimono most often at weddings, tea ceremonies, and other very special or very formal occasions. Professional sumo wrestlers are often seen in the kimono because they are required to wear traditional Japanese dress whenever appearing in public.
As the kimono has another name, gofuku, the earliest kimonos were heavily influenced by traditional Han Chinese clothing, known today as hanfu, through Japanese embassies to China which resulted in extensive Chinese culture adoptions by Japan, as early as the 5th century AD. It was during the 8th century, however, that Chinese fashions came into style among the Japanese, and the overlapping collar became particularly women's fashion. During Japan's Heian period (794–1192 AD), the kimono became increasingly stylized, though one still wore a half-apron, called a mo, over it. During the Muromachi age (1392–1573 AD), the Kosode, a single kimono formerly considered underwear, began to be worn without the hakama (trousers, divided skirt) over it, and thus began to be held closed by an obi "belt". During the Edo period (1603–1867 AD), the sleeves began to grow in length, especially among unmarried women, and the Obi became wider, with various styles of tying coming into fashion. Since then, the basic shape of both the men’s and women’s kimono has remained essentially unchanged. Kimonos made with exceptional skill from fine materials have been regarded as great works of art.
The formal kimono was replaced by the more convenient Western clothes and yukata as everyday wear. After an edict by Emperor Meiji, police, railroad men and teachers moved to Western clothes. The Western clothes became the army and school uniform for boys. After the 1923 Great Kantō earthquake, kimono wearers often became victims of robbery because they could not run very fast due to the restricting nature of the kimono on the body and geta clogs. The Tokyo Women's & Children's Wear Manufacturers' Association promoted Western clothes. Between 1920 and 1930 the sailor outfit replaced the undivided hakama in school uniforms for girls. The 1932 fire at Shirokiya's Nihonbashi store is said to have been the catalyst for the decline in kimonos as everyday wear. Kimono-clad Japanese women did not wear panties and several women refused to jump into safety nets because they were ashamed of being seen from below. (It is, however, suggested, that this is an urban myth.)The national uniform, Kokumin-fuku , a type of Western clothes, was mandated for males in 1940.Today most people wear Western clothes and wear the breezier and more comfortable yukata for special occasions.
Textiles and manufacture
Kimonos for men should fall approximately to the ankle without tucking. A woman's kimono has additional length to allow for the ohashori, the tuck that can be seen under the obi, which is used to adjust the kimono to the wearer. An ideally tailored kimono has sleeves that fall to the wrist when the arms are lowered.
Kimonos are traditionally made from a single bolt of fabric called a tan. Tan come in standard dimensions—about 14 inches wide and 12½ yards long—and the entire bolt is used to make one kimono. The finished kimono consists of four main strips of fabric—two panels covering the body and two panels forming the sleeves—with additional smaller strips forming the narrow front panels and collar. Historically, kimonos were often taken apart for washing as separate panels and resewn by hand. Because the entire bolt remains in the finished garment without cutting, the kimono can be retailored easily to fit another person.
The maximum width of the sleeve is dictated by the width of the fabric. The distance from the center of the spine to the end of the sleeve could not exceed twice the width of the fabric. Traditional kimono fabric was typically no more than 36 centimeters (14 inches) wide. Thus the distance from spine to wrist could not exceed a maximum of roughly 68 centimeters (27 inches). Modern kimono fabric is woven as wide as 42 centimeters (17 inches) to accommodate modern Japanese body sizes. Very tall or heavy people, such as sumo wrestlers, must have kimonos custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric.
Traditionally, kimonos are sewn by hand; even machine-made kimonos require substantial hand-stitching. Kimono fabrics are frequently hand-made and -decorated. Techniques such as yūzen dye resist are used for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a kimono are traditionally done with the yūzen resist technique and a stencil. Over time there have been many variations in color, fabric and style, as well as accessories such as the obi.
The kimono and obi are traditionally made of silk, silk brocade, silk crepes (such as chirimen) and satin weaves (such as rinzu). Modern kimonos are widely available in less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers. Silk is still considered the ideal fabric.
Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimonos have free-style designs dyed over the whole surface or along the hem.During the Heian period, kimonos were worn with up to a dozen or more colorful contrasting layers, with each combination of colors being a named pattern.Today, the kimono is normally worn with a single layer on top of one or more undergarments.
The pattern of the kimono can determine in which season it should be worn. For example, a pattern with butterflies or cherry blossoms would be worn in spring. Watery designs are common during the summer. A popular autumn motif is the russet leaf of the Japanese maple; for winter, designs may include bamboo, pine trees and plum blossoms.
A popular form of textile art in Japan is shibori (intricate tie dye), found on some of the more expensive kimonos and haori kimono jackets. Patterns are created by minutely binding the fabric and masking off areas, then dying it, usually by hand. When the bindings are removed, an undyed pattern is revealed. Shibori work can be further enhanced with yuzen (hand applied) drawing or painting with textile dyes or with embroidery; it is then known as tsujigahana. Shibori textiles are very time-consuming to produce and require great skill, so the textiles and garments created from them are very expensive and highly prized.
Old kimonos are often recycled in: altered to make haori, hiyoku, or kimonos for children; used to patch similar kimono; used for making handbags and similar kimono accessories; and used to make covers, bags or cases for implements, especially for sweet-picks used in tea ceremonies. Damaged kimonos can be disassembled and resewn to hide the soiled areas, and those with damage below the waistline can be worn under a hakama. Historically, skilled craftsmen laboriously picked the silk thread from old kimono and rewove it into a new textile in the width of a heko obi for men's kimono, using a recycling weaving method called saki-ori.
These terms refer to parts of a kimono:
Dōura : upper lining on a woman's kimono.
Eri : collar.
Fuki: hem guard.
Furi: sleeve below the armhole.
Maemigoro : front main panel, excluding sleeves. The covering portion of the other side of the back, maemigoro is divided into "right maemigoro" and "left maemigoro".
Miyatsukuchi: opening under the sleeve.
Okumi : front inside panel on the front edge of the left and right, excluding the sleeve of a kimono. Until the collar, down to the bottom of the dress goes, up and down part of the strip of cloth. Have sewn the front body.
Sode : sleeve
Sodeguchi : sleeve opening.
Sodetsuke : kimono armhole.
Susomawashi : lower lining.
Tamoto : sleeve pouch.
Tomoeri : over-collar (collar protector).
Uraeri : inner collar.
Ushiromigoro : back main panel, excluding sleeves, covering the back portion. They are basically sewn back-centered and consist of "right ushiromigoro" and "left ushiromigoro", but for wool fabric, the ushiromigoro consists of one piece.
A woman's kimono may easily exceed US$10,000; a complete kimono outfit, with kimono, undergarments, obi, ties, socks, sandals, and accessories, can exceed US$20,000. A single obi may cost several thousand dollars. However, most kimonos owned by kimono hobbyists or by practitioners of traditional arts are far less expensive. Enterprising people make their own kimono and undergarments by following a standard pattern, or by recycling older kimonos. Cheaper and machine-made fabrics can substitute for the traditional hand-dyed silk. There is also a thriving business in Japan for second-hand kimonos, which can cost as little as ¥500 (about $6). Women's obis, however, mostly remain an expensive item. Although simple patterned or plain colored ones can cost as little as ¥1,500 (about $18), even a used obi can cost hundreds of dollars, and experienced craftsmanship is required to make them. Men's obis, even those made from silk, tend to be much less expensive, because they are narrower, shorter and less decorative than those worn by women.
Kimonos range from extremely formal to casual. The level of formality of women's kimono is determined mostly by the pattern of the fabric, and color. Young women's kimonos have longer sleeves, signifying that they are not married, and tend to be more elaborate than similarly formal older women's kimono. Men's kimonos are usually one basic shape and are mainly worn in subdued colors. Formality is also determined by the type and color of accessories, the fabric, and the number or absence of kamon (family crests), with five crests signifying extreme formality. Silk is the most desirable, and most formal, fabric. Kimonos made of fabrics such as cotton and polyester generally reflect a more casual style.
Women's kimonos
Many modern Japanese women lack the skill to put on a kimono unaided: the typical woman's kimono outfit consists of twelve or more separate pieces that are worn, matched, and secured in prescribed ways, and the assistance of licensed professional kimono dressers may be required. Called upon mostly for special occasions, kimono dressers both work out of hair salons and make house calls.
Choosing an appropriate type of kimono requires knowledge of the garment's symbolism and subtle social messages, reflecting the woman's age, marital status, and the level of formality of the occasion.
furisode literally translates as swinging sleeves—the sleeves of furisode average between 39 and 42 inches (110 cm) in length. Furisode are the most formal kimono for unmarried women, with colorful patterns that cover the entire garment. They are usually worn at coming-of-age ceremonies (seijin shiki) and by unmarried female relatives of the bride at weddings and wedding receptions.
Hōumongi
literally translates as visiting wear. Characterized by patterns that flow over the shoulders, seams and sleeves, hōmongi rank slightly higher than their close relative, the tsukesage. Hōmongi may be worn by both married and unmarried women; often friends of the bride will wear hōmongi at weddings (except relatives) and receptions. They may also be worn to formal parties.
Pongee Hōmongi were made to promote kimono after WWII. Since Pongee Hōmongi are made from Pongee, they are considered casual wear.
Iromuji
single-colored kimono that may be worn by married and unmarried women. They are mainly worn to tea ceremonies. The dyed silk may be figured (rinzu, similar to jacquard), but has no differently colored patterns.
Komon
"fine pattern". Kimono with a small, repeated pattern throughout the garment. This style is more casual and may be worn around town, or dressed up with a formal obi for a restaurant. Both married and unmarried women may wear komon.
Edo komon
is a type of komon characterized by tiny dots arranged in dense patterns that form larger designs. The Edo komon dyeing technique originated with the samurai class during the Edo period. A kimono with this type of pattern is of the same formality as an iromuji, and when decorated with kamon, may be worn as visiting wear (equivalent to a tsukesage or hōmongi).
Mofuku is formal mourning dress for men or women. Both men and women wear kimono of plain black silk with five kamon over white undergarments and white tabi. For women, the obi and all accessories are also black. Men wear a subdued obi and black and white or black and gray striped hakama with black or white zori.
The completely black mourning ensemble is usually reserved for family and others who are close to the deceased.
Irotomesode
single-color kimono, patterned only below the waistline. Irotomesode are slightly less formal than kurotomesode, and are worn by married women, usually close relatives of the bride and groom at weddings. An irotomesode may have three or five kamon.
Kurotomesode
a black kimono patterned only below the waistline, kurotomesode are the most formal kimono for married women. They are often worn by the mothers of the bride and groom at weddings. Kurotomesode usually have five kamon printed on the sleeves, chest and back of the kimono.
Tsukesage
has more modest patterns that cover a smaller area—mainly below the waist—than the more formal hōmongi. They may also be worn by married women.The differences from homongi is the size of the pattern, seam connection, and not same clothes at inside and outside at "hakke." As demitoilet, not used in important occasion, but light patterned homongi is more highly rated than classic patterned tsukesage. General tsukesage is often used for parties, not ceremonies.
Uchikake is a highly formal kimono worn only by a bride or at a stage performance. The Uchikake is often heavily brocaded and is supposed to be worn outside the actual kimono and obi, as a sort of coat. One therefore never ties the obi around the uchikake. It is supposed to trail along the floor, this is also why it is heavily padded along the hem. The uchikake of the bridal costume is either white or very colorful often with red as the base color.
Women dressed as maiko (apprentice geisha), wearing specially tailored "maiko-style" furisode kimonos with tucks in sleeves and at shoulders
The susohiki is mostly worn by geisha or by stage performers of the traditional Japanese dance. It is quite long, compared to regular kimono, because the skirt is supposed to trail along the floor. Susohiki literally means "trail the skirt". Where a normal kimono for women is normally 1.5–1.6 m (4.7–5.2 ft) long, a susohiki can be up to 2 m (6.3 ft) long. This is also why geisha and maiko lift their kimono skirt when walking outside, also to show their beautiful underkimono or "nagajuban"
In contrast to women's kimono, men's kimono outfits are far simpler, typically consisting of five pieces, not including footwear.
Men's kimono sleeves are attached to the body of the kimono with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly unattached from the body of the kimono. Men's sleeves are less deep than women's kimono sleeves to accommodate the obi around the waist beneath them, whereas on a woman's kimono, the long, unattached bottom of the sleeve can hang over the obi without getting in the way.
In the modern era, the principal distinctions between men's kimono are in the fabric. The typical men's kimono is a subdued, dark color; black, dark blues, greens, and browns are common. Fabrics are usually matte. Some have a subtle pattern, and textured fabrics are common in more casual kimono. More casual kimono may be made in slightly brighter colors, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colors such as fuchsia.
The most formal style of kimono is plain black silk with five kamon on the chest, shoulders and back. Slightly less formal is the three-kamon kimono.
In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing. This traditional washing method is called arai hari. Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. Arai hari is very expensive and difficult and is one of the causes of the declining popularity of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practiced, especially for high-end garments.
New, custom-made kimono are generally delivered to a customer with long, loose basting stitches placed around the outside edges. These stitches are called ****suke ito. They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment.
Like many other traditional Japanese garments, there are specific ways to fold kimono. These methods help to preserve the garment and to keep it from creasing when stored. Kimono are often stored wrapped in paper called tatōshi.
Kimono need to be aired out at least seasonally and before and after each time they are worn. Many people prefer to have their kimono dry cleaned. Although this can be extremely expensive, it is generally less expensive than arai hari but may be impossible for certain fabrics or dyes.
Karen stared aghast at the scene of carnage on her Carrara marble worktop. "Who is this ?" she whispered, looking at Rupert and his separated head. "That is ermm Rupert. He was trying to steal your diamonds" lied Roxie."Fortunately Geoff was able to prevent him."
"Awww thanks Geoff" said Karen and gave the little warrior a big sloppy kiss. "What would we do without you ?".
Karen picked up Rupert's remains and chucked them into the recycling bin. Mr Changeable could not take his eyes off Karen's pert chest-twins. A painful kick on his shins from Roxie persuaded him to look elsewhere.
"OK guys we are going out to lunch. There is this new Sushi bar in town. They have a genuine fugu chef from Okinawa. Fugu is on my bucket list !"
Fugu ,literally "river pig", is the Japanese word for pufferfish and the dish prepared from it, normally species of genus Takifugu, Lagocephalus, or Sphoeroides, or porcupinefish of the genus Diodon. Fugu can be lethally poisonous due to its tetrodotoxin; therefore, it must be carefully prepared to remove toxic parts and to avoid contaminating the meat.
The restaurant preparation of fugu is strictly controlled by law in Japan and several other countries, and only chefs who have qualified through rigorous training are allowed to deal with the fish. Domestic preparation occasionally leads to accidental death.
Fugu is served as sashimi and chirinabe. Some consider the liver the tastiest part but it is also the most poisonous, and serving this organ in restaurants was banned in Japan in 1984. Fugu has become one of the most celebrated and notorious dishes in Japanese cuisine.
Fugu contains lethal amounts of the poison tetrodotoxin in its organs, especially the liver, the ovaries, and the eyes whereas skin is usually non-poisonous. The poison, a sodium channel blocker, paralyzes the muscles while the victim stays fully conscious. The victim is unable to breathe, and eventually dies from asphyxiation. There is no known antidote. The standard treatment is to support the respiratory and circulatory systems until the poison is metabolized and excreted by the victim's body.
Advances in research and aquaculture have allowed some farmers to mass-produce safe fugu. Researchers surmised that fugu's tetrodotoxin came from eating other animals that held tetrodotoxin-laden bacteria and that the fish develops immunity over time. Many farmers now produce 'poison-free' fugu by keeping the fugu away from the bacteria. Usuki, a town in Ōita Prefecture, has become known for selling non-poisonous fugu.
The inhabitants of Japan have eaten fugu for centuries. Fugu bones have been found in several shell middens, called kaizuka, from the Jōmon period that date back more than 2,300 years. The Tokugawa shogunate (1603–1868) prohibited the consumption of fugu in Edo and its area of influence. It became common again as the power of the shogunate weakened. In western regions of Japan, where the government's influence was weaker and fugu was easier to get, various cooking methods were developed to safely eat them. During the Meiji Era (1867–1912), fugu was again banned in many areas. Fugu is also the only food the Emperor of Japan is forbidden to eat, for his safety.
Fugu was and is one of the favorite dishes in China where its name was mentioned in the literature as early as circa 400BC. Fugu comes as the first in the three most delicious fish from The Yangtze river.
The torafugu, or tiger blowfish (Takifugu rubripes), is the most prestigious edible species and the most poisonous. Other species are also eaten; for example, Higanfugu (T. pardalis), Shōsaifugu (T. vermicularis syn. snyderi), and Mafugu (T. porphyreus). The Ministry of Health, Labour and Welfare of Japan provides a list that shows which species' body parts can be consumed. The list names safe genera including pufferfish of the Lagocephalus and Sphoeroides genera and the related porcupinefish (Harisenbon) of the genus Diodon.
Strict fishing regulations are now in place to protect fugu populations from depletion. Most fugu are now harvested in the spring during the spawning season and then farmed in floating cages in the Pacific Ocean. The largest wholesale fugu market in Japan is in Shimonoseki.
Fugu prices rise in autumn and peak in winter, the best season, because they fatten to survive the cold. Live fish arrive at a restaurant, surviving in a large tank, usually prominently displayed. Prepared fugu is also often available in grocery stores, which must display official license documents. Whole fish may not be sold to the general public.
Since 1958, fugu chefs must also earn a license to prepare and sell fugu to the public. This involves a two- or three-year apprenticeship. The licensing examination process consists of a written test, a fish-identification test, and a practical test, preparing and eating the fish. Only about 35 percent of the applicants pass. Small miscalculations result in failure or, in rare cases, death. Consumers believe that this training process makes it safer to eat fugu in restaurants or markets. Also, commercially available fugu is sometimes grown in environments in which it grows to be less toxic.
Beginning in October 2012, restaurants in Japan can sell pre-packaged fugu which has been prepared by a licensed practitioner elsewhere.
A dish of fugu can easily cost ¥5,000 (approx. US$50), but it can be found for as little as ¥2,000 (approx. US$20), and a full-course fugu meal (usually eight servings) can cost ¥10,000–20,000 (approx. US$100–200) or more. The expense encourages chefs to slice the fish very carefully to obtain the largest possible amount of meat. The special knife, called fugu hiki, is usually stored separately from other knives.
Sashimi—The most popular dish is fugu sashimi, also called Fugu sashi or tessa. Knives with exceptionally thin blades are used for cutting fugu into translucent slices, a technique known as usuzukuri
Fugu no Shirako
Milt—The soft roe (Shirako) of the blowfish is a highly prized food item in Japan. It is often found in department stores; and, along with cod milt, it is one of the most popular kinds of soft roe. It is often grilled and served with salt.
Fried—Fugu can be eaten deep fried as Fugu Kara-age.
Baked—The fins of the fish are dried out completely, baked, and served in hot sake, a dish called Hire-zake.
Fugu-chiri
Stew—Vegetables and fugu can be simmered as Fugu-chiri, also called tetchiri, in which case the fish's very light taste is hard to distinguish from the vegetables and the dip.
Salad—If the spikes in the skin are pulled out, the skin can be eaten as part of a salad called yubiki.
Tetrodotoxin (TTX) is a potent neurotoxin that shuts down electrical signaling in nerves by binding to the pores of sodium channel proteins in nerve cell membranes. Tetrodotoxin is not affected by cooking.It does not cross the blood–brain barrier, leaving the victim fully conscious while paralyzing the muscles. In animal studies with mice, the median lethal dose was found to be 8 μg tetrodotoxin per kg body weight. The pufferfish itself is not susceptible to the poison because of a mutation in the protein sequence of its cells' sodium channel.
As previously mentioned, commercially available fugu in supermarkets or restaurants is very safe; and, while not unheard of, poisoning from these products is very rare. Most deaths from fugu occur when untrained people catch and prepare the fish, accidentally poisoning themselves. In some cases, they even eat the highly poisonous liver as a delicacy.
Recent evidence has shown that tetrodotoxin is produced by certain bacteria—such as Pseudoalteromonas tetraodonis, certain species of Pseudomonas and Vibrio, as well as others—and that these are the source of the toxin in pufferfish.
The symptoms from ingesting a lethal dose of tetrodotoxin may include dizziness, exhaustion, headache, nausea, or difficulty breathing. The victim remains conscious but cannot speak or move. Breathing stops and asphyxiation follows.
There is no known antidote, and treatment consists of emptying the stomach, feeding the victim activated charcoal to bind the toxin, and putting the victim on life support until the poison has worn off. Japanese toxicologists in several medical research centers are now working on developing an antidote for tetrodotoxin.
Statistics from the Tokyo Bureau of Social Welfare and Public Health indicate 20 to 44 incidents of fugu poisoning per year between 1996 and 2006 in Japan (a single incident may involve multiple diners). Each year, these incidents led to between 34 and 64 victims being hospitalized and zero to six deaths, an average fatality rate of 6.8%.Of the 23 incidents reported in Tokyo from 1993 through 2006, only one took place in a restaurant. All others involved fishermen eating their catch. Poisonings through amateur preparation can result from confusion between types of puffer, as well as improper methods, and some may represent deliberate suicide attempts. Engelvert Kaempfer, a Dutch physician who resided in Japan in the 1690s, reported that an unusually toxic variety of puffer was sometimes sought out by individuals who wished to take their own lives.
Much higher figures have been reported for earlier years; and, for example, in 1958—the first year the preparation of fugu required a special license in Japan—176 people died. According to the Fugu Research Institute 50% of the victims were poisoned by eating the liver, 43% from eating the ovaries, and 7% from eating the skin. One of the most famous victims was the Kabuki actor and "Living National Treasure" Bandō Mitsugorō VIII who in 1975 died after eating an illegally large four servings of liver.
On August 23, 2007, a doctor in Thailand reported that unscrupulous fish sellers sold puffer meat disguised as salmon, which resulted in the deaths of fifteen people over three years. About 115 people were brought to different hospitals. Fugu was banned in Thailand five years prior to the deaths.
In March 2008, a fisherman in the Philippines died and members of his family became ill from pufferfish. The previous year, four people in the same town died and five others fell ill after eating the same variety of pufferfish.
In February 2009, a Malaysian fisherman died and four others were hospitalised after they consumed a meal of puffer fish when they ran out of food while at sea.
In November 2011, a two-Michelin star chef was suspended from his post at "Fugu Fukuji" restaurant in Tokyo. The chef served fugu liver to a customer who (despite being warned of the risks) specifically asked that it be provided. The 35-year-old customer subsequently required hospital treatment for mild symptoms of tetrodotoxin paralysis, but made a full recovery.
Scientists at Nagasaki University have reportedly succeeded in creating a non-toxic variety of torafugu by restricting the fish's diet. After raising over 4,800 non-toxic fish, they are fairly certain that the fish's diet and digestive process actually produce the toxins. The non-toxic version is said to taste the same. Some skeptics say that the species being offered as non-toxic may be of a different species and that the toxicity has nothing to do with the diet of the pufferfish.
Most Japanese cities enjoy one or more fugu restaurants. They may cluster, because of earlier restrictions, as proximity made it easier to ensure freshness. A famous restaurant specializing in fugu is Takefuku, in the Ginza district in Tokyo. Zuboraya is another popular chain in Osaka.
In South Korea, fugu is known as bok-eo . It is very popular in port cities such as Busan and Incheon. It is prepared in a number of dishes such as soups or salads and commands a high price.
As of 2003, only seventeen restaurants in the United States were licensed to serve fugu; twelve of those were in New York. Since that year, some other American restaurants offer fugu.
The fugu is cleaned of the most toxic parts in Japan and freeze-flown to the USA under license in customized, clear, plastic containers. Fugu chefs for U.S. restaurants are trained under the same rigorous specifications as in Japan. Pufferfish native to US waters, particularly the genus Spheroides, have also been consumed for food, sometimes resulting in poisonings.
Sale of fish belonging to this genus is forbidden altogether in the European Union.
The Japanese poet Yosa Buson (1716–1783) expressed some of the Japanese attraction to fugu in a famous senryū:
I cannot see her tonight.
I have to give her up
So I will eat fugu.
In the Kansai region, the slang word teppō meaning rifle or gun, is used for the fish. This is a play of words on the verb ataru, which can mean to be poisoned or shot. In Shimonoseki region, the ancient pronunciation fuku is more common instead of the modern fugu.The former is also a homonym good fortune whereas the latter is one for disabled. The Tsukiji fish market fugu association holds a service each year at the height of the fugu season, releasing hundreds of caught fugu into the Sumida River. A similar ceremony is also held at another large market in Shimonoseki.
A rakugo, or humorous short story, tells of three men who prepared a fugu stew but were unsure whether it was safe to eat. To test the stew, they gave some to a beggar. When it did not seem to do him any harm, they ate the stew. Later, they met the beggar again and were delighted to see that he was still in good health. After that encounter, the beggar, who had hidden the stew instead of eating it, knew that it was safe and he could eat it. The three men had been fooled by the wise beggar.
Lanterns can be made from the bodies of preserved fugu. These are occasionally seen outside of fugu restaurants, as children's toys, as folk art, or as souvenirs. Fugu skin is also made into everyday objects like wallets or waterproof boxes.