Goyo’s background in nihonga and his training in a Western studio enabled him to capture Western fashion and the tranquil beauty in traditional Japanese bijin-ga (painting of beautiful women). These bijin-ga prints were printed after his year of studying ukiyo-e prints and publishing numerous journals and recreation series from old woodblocks. Much of his works were also influenced by the pre-Raphaelite paintings, which originated from his love of romanticism, alim melancholic beauty, and so were the beauties by Utamaro.

The print depicts a woman in the middle of dressing with her nagajuban (under kimono) loosely covering her body while sorting the sashes. The hair was meticulously carved to show the liveliness of the figure, with a few lines outlined. Goyo had extensive preparatory sketches from live models. His early training in nihonga made his line extract from extensive preparatory drawing to achieve perfection in beauty. As can be seen from the reverse side, a few willow-like lines capture the ephemeral grace that seems to disappear like a light snowfall at any moment.

The kanoko shibori kimono was printed with embossing, which added texture and sophistication to the drape over the shoulder, which made the kimono drapes echo with the soft and silk-like hair. Nagajuban (under kimono) is also in the Metropolitan Museum of Art collection (JP2431) and was shown accompanied by the Kimono Style: The John C. Webber Collection exhibition, representing the beauty of the Taisho Era.