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Michiko Koshino

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Kosuke Tsumura

Alessandro Esculapio

Source: Fashion Photography Archive 2015

Designer Biography

Mitsuhiro Matsuda

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Kansai Yamamoto

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Guiliano Fujiwara

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Margaret Howell

Elizabeth Glendinning

Source: Fashion Photography Archive 2015

Designer Biography

Lolita

Kathryn A. Hardy Bernal

Source: Fashion Photography Archive 2015

Article

The Lolita fashion-based subculture, once an underground Japanese movement, is a burgeoning worldwide industry. The style, represented by women who dress in childlike clothing, emerged on the streets in the 1970s, gaining impetus within the J-rock (Japanese rock) music scene of the 1990s. The visual kei band Malice Mizer formulated their look on New Romantic glam, inspired by 1980s collaborations between Vivienne Westwood and Malcolm McLaren; fans of the guitarist, Mana, began to mimic his unique

Junya Watanabe

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Kenzo Takada

Stephanie Edith Herold

Source: Fashion Photography Archive 2015

Designer Biography

Lolita Lempicka

Morna Laing

Source: Fashion Photography Archive 2015

Designer Biography

Valentino, Fall/Winter 1992

Rosily Roberts

Source: Fashion Photography Archive 2015

Article

Valentino’s fall/winter 1992 collection, designed shortly after his thirtieth anniversary in the fashion industry, draws on both the history of Western dress and clothing from China and Japan for inspiration. The dramatic silhouette of his 1980s lines has disappeared, and he is allowing for a greater exposure of the model’s body as he creates a collection out of luxurious materials that is rich with detailing. The timeless elegance that he was so well known for by the 1990s continues to appear in

Ronaldus Shamask

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

Hanae Mori

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

Costume National

Shari Sims

Source: Fashion Photography Archive 2015

Designer Biography

Hanae Mori, Fall/Winter 1985

Nadya Wang

Source: Fashion Photography Archive 2015

Article

Hanae Mori (born 1926) is a Japanese designer who was the first Asian woman to become a member of the Chambre Syndicale de la Haute Couture in Paris in 1977, following the opening of her haute couture atelier in the city in the same year. Before establishing herself in Paris, she built a successful career as a fashion and costume designer in Japan. Her fall/winter 1985 haute couture collection is typical of her expansive oeuvre, which combines precise Parisian tailoring with a Japanese aesthetic.

1868–1944: The Japoniste Revolution, the Deorientalizing of the Orient and the Birth of Couture

Adam Geczy

Source: Fashion and Orientalism. Dress, Textiles and Culture from the 17th to the 21st Century 2013

Book chapter

Civilization! Read: ‘the era that has lost almost all its creative power…in jewellery as in furniture’; and in one or the other we are compelled to exhume or import. Import what? Indian bracelets of glass filament and Chinese earrings of cut paper? No. But more often the naïve taste that underlies their making.

1944–2011: Postwar Revivalism and Transorientalism

Adam Geczy

Source: Fashion and Orientalism. Dress, Textiles and Culture from the 17th to the 21st Century 2013

Book chapter

To call the toga or the mandarin’s gown ‘chic’ is to suggest a process of change which barely existed in ancient Rome or China; the clothes of the beefeater of the samurai are eminently respectable, precisely because they are not up to date; the tarboosh was never ‘all the go’ for it has never gone.

Understanding Subcultural Studies: Dick Hebdige Revisited

Yuniya Kawamura

Source: Fashioning Japanese Subcultures 2012

Book chapter

What is a subculture? How is it different from a culture? These are difficult questions to answer because sometimes the terms are used interchangeably. Some groups definitely constitute a subculture, but why can’t we call those groups a culture?

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The Deprofessionalization of Fashion

Yuniya Kawamura

Source: Fashioning Japanese Subcultures 2012

Book chapter

Before the street fashion phenomenon that started in the mid-1990s, fashion trends were mostly dictated by the major fashion magazines. But this is no longer the case, and the magazines no longer dictate styles to consumers. With street fashion came a new type of fashion magazine. A number of Japanese street fashion magazines, such as Tune, Mini, CUTiE, Jille, Fudge, and Egg, were published one after the other. Instead of having professional fashion models pose in famous designers’ clothes, the s

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Book chapter

Joseph Nye, an American scholar at Harvard University, coined the term “soft power” (Nye 2004). He defined soft power as the ability of a nation to achieve its objectives by attracting or seducing other nations to do its bidding or emulate its policies without resorting to coercion (which is “hard power”), since gains and victories achieved by military force and economic sanctions are often short-lived and provoke a backlash (1990, 2004). Hard power does not produce any positive outcomes. Nye mai

Placing Tokyo on the Fashion Map: From Catwalk to Street Style

Yuniya Kawamura

Source: Fashioning Japanese Subcultures 2012

Book chapter

After a long period of isolation from foreign and neighboring countries, Japan opened its doors and moved toward Westernization during the Meiji era (1868–1912). This was a period of radical economic, social, and political reforms. The emperor supported and encouraged the modernization and military buildup of Japan. The government’s new slogan was “Civilization and Enlightenment,” following Western patterns. The most visible transformation was seen in clothes. This new cultural phenomenon, a shif

Japanese Youth in a Changing Society

Yuniya Kawamura

Source: Fashioning Japanese Subcultures 2012

Book chapter

Japan in the 1980s was a seemingly invincible economic superpower. Parents of today’s teens are in their forties and fifties, and experienced the country’s unprecedented economic growth and success of the 1980s. Both corporations and individual consumers were wealthy, and major Japanese corporations had the ambition to conquer the world. In 1986 Mitsui and Company, a Japanese conglomerate, bought the Exxon Building, part of the Rockefeller Center in New York City (Scardino 1986). In 1989 Mitsubis

Shibuya: The Youth in Outspoken Rebellion

Yuniya Kawamura

Source: Fashioning Japanese Subcultures 2012

Book chapter

Subcultures in Shibuya cannot be explained without mentioning a landmark known as Shibuya 109, which is a major shopping center with eight upper-level floors and two basement floors. It has been operated by Tokyu Malls Development (TMD) since 1979. The stores in the building until 1995 sold conventional women’s wear, but in 1996 the entire building changed its customer target to the younger market. As of June 2011 there were 116 tenants/stores in the building, all of which target young girls and

Harajuku: The Youth in Silent Rebellion

Yuniya Kawamura

Source: Fashioning Japanese Subcultures 2012

Book chapter

Jingu Bridge is sometimes called Harajuku Bridge because it is next to Harajuku station. When I began my fieldwork in Tokyo in 2004, the place was full of Japanese teens dressed in different costumes. Some were dressed in very feminine dress with lots of lace trimmings and frills around the skirt hem and the edge of the sleeves; a style known as the Lolita look. Harajuku is a mecca for the Lolita subculture, just as Shibuya is a mecca for Gyaru and Gyaru-o. Lolita style can be seen as a counter-r

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