Japanese culture puts an extremely large amount of emphasis on decoration and presentation in ways that Western culture often overlooks. Much of this lies in the differences between Eastern and Western ways and intentions of packaging. In the book Wrapping Culture: Politeness, Presentation, and Power in Japan and other Societies by Joy Hendry, Hendry writes that: "A Western perception of the practice [of wrapping gifts] prepares us to regard wrapping as a means to obscure the object inside, whereas in a Japanese view it would seem that the function of wrapping is rather to refine the object, to add to it layers of meaning which it could not carry in its unwrapped form" (27). Janet Smith wrote an article where she cited this passage as an exemplar of the Japanese characteristic of “interpretations of wrapping as expressive simultaneously of care for the recipient and of the refinement/politeness of the giver” (313). This very clearly states that Hendry believes there is a profound meaning present in the minute details in the way Japanese give gifts not present in the west. To see the juxtaposing nature of wrapping in both Japanese and Western culture, compare the treatment and nature of wrapping or packaging through western and Japanese example, a Christmas or birthday present and an omamori. A Christmas or birthday present’s wrapping is merely present to provide mystery over what is contained. When the present is opened, the recipient often aggressively physically tears the packaging apart and then throws it aside. There the wrapping loses all meaning and the importance is solely on the object now uncovered. In contrast, a Japanese omamori or spirit amulet is treated much differently. The packaging of the omamori is very ornate, detailed, and firmly built, unlike temporary wrapping paper used for Western presents. An omamori is intended to be displayed within the packaging, which is often secured by an intricate knot at the top to keep the bag closed. This knot itself has an extreme amount of meaning associated with it as well and is often very complex and difficult to create, requiring both dexterity and discipline. Due to the intricacy and ornamentation of the bag, the packaging of the amulet is as important as the object within the packaging, and opening the packaging
renders the object spiritually insignificant.

Japanese society’s usage of gifts differs from Western societies’ greatly in that, in Western society, we often give gifts as parts of social obligations or celebrations, and the wrapping style is, as long as the gift is ascetically presented and covered, insignificant. Hendry writes that there are two purposes for giving gifts in Japanese culture, “for happy or auspicious occasions associated with the celebration of life, and gifts for memorials of the dead” (15). The premise of celebration of death and giving gifts associated with it is not unheard of in Western culture, however is quite differently approached. Western culture, uniquely Christianity and Judaism, celebrate death as the vehicle of salvation, yet they do so in a much different way than do the Japanese, specifically pertaining to the presentation of gifts. In Japanese culture, individuals often give condolence gifts much in the same way Western society uses “sympathy”-styled greeting cards; however, the thought and effort associated with the use of gifts as opposed to greeting cards is much more meaningful. This meaning is conveyed through the smallest and most seemingly insignificant means, and often through mediums never given meaning in Western culture.

Rope is often used to secure gifts in Japanese society and to give meaning to specific objects and gifts. This is especially true for omamori where the rope and knot are extremely ornate and add additional beauty to the object on which they are secured. According to Hendry, the different colors of a string represent different functions of the gift on which they ornament. “For auspicious occasions , crimson and white represents the most formality; there may also be red and white, red and gold, or silver and gold, and a multicolored combination represents an informal occasion. Black and white, blue and white, or just plain white are used for funerals or memorial gifts” (16). This shows the variety of options for the color of string to be included on a gift and indicates the purpose associated with such colors. The way the rope is secured is also extremely meaningful and culturally significant. The art of knot tying can be expressed through the terms mizuhiki and hanamusubi. The term mizuhiki is an ancient Japanese art form that uses string created from rice paper that is pressed and stretched into chords. The paper is then woven with strands of silk, today uses plastic, and is tied into a decorative knot. These knots specifically are known as hanambushi. Each knot has a different meaning and represented formality depending upon the intricacy and complexity of the knot tied. For example, large very complex knots that cannot be untied represent events that cannot be undone or repeated, like marriage or a funeral. The knot done on an omamori varies, for instance the Japanese tassel knot, included in our project, is common. This knot is designed to provide ornamentation and to be permanently tied; the beauty and difficulty in replicating the knot initially dissuade purchasers of omamori from opening or altering them in any way. This helps to directly preserve the beauty as well as the purity, and therefore usefulness, of the omamori.

The cloth used in omamori’s is also quite significant. Cloth is a very noteworthy item in Japanese culture due to the proclivity to use cloth and silk in decorative kimonos and artwork that have been cornerstones of Japanese culture through history. Hendry comments, “…brocade material of other sorts is a particularly effective way of adding a layer of value to something, without any other obvious functional purpose” (48). Omamori are treated in that way, and the layer of cloth that covers them indeed does provide a deeper meaning and purpose while also giving design.