enthusiastic response encouraged Kubota to develop designs for another group of kimono that would further expand the series, and it was at this point that Kubota began to contemplate the production of a larger, more elaborate continuous group of panoramic kimono. The 'Symphony of Light' series was radically different to Kubota's earlier kimono: they were oversized, based on the , the full-length, unbelted outerkimono with a trailing, padded hem, giving the garments a dramatic appearance. They were made with a heavier silk crepe woven with wefts of gold or silver, adding an extra reflective quality to the designs. The kimono were not designed to be wearable, and were instead intended to be panoramic works of art. By 1986, Kubota had added ten more kimono to the series, and expanded his concept from kimono reflecting the golden light of autumn to kimono that showed winter. By this time, Kubota had envisioned the 'Symphony of Light' as a grand panorama of 80 continuous pieces. When Kubota died in 2003, 29 additional works representing autumn and winter, and five kimono from the 'Universe' series had been completed. Since then, two additional works based on Kubota's designs for 'Universe' have been completed by Kobo, the Itchiku atelier, giving a total of 36 kimono to the 'Symphony of Light' collection. 'Universe' series The seven kimono that compose the 'Universe' series were first intended as part of the 'Symphony of Light' Collection. Kubota's initial concept called for a pyramid-shaped schematic formed from 13 kimono that together would echo Mount Fuji's triangular shape. The 'Universe' kimono were to be presented as a panorama of colour and light, whilst capturing Kubota's vision of Mount Fuji's molten core, symbolic of the beginnings of the Universe itself. Only seven of these kimono were completed in this series before Kubota's death. 'Oceans' series Kubota's 'Oceans' series consists of five kimono, which were intended to play a part in the 'Symphony of Light' series. However, Kubota left little indication of where or how they should be positioned. Together, these kimono present a mini-series of mystical seascapes in which the line between ocean and sky is blurred, and islands seem to drift in and out, appearing more as mirages than real. Kubota often used the terms 'seas' and 'oceans' almost interchangeably in his work. In this series, the oceans are vast and apparently uncontained, with no confining land masses to inhibit their flow.