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While Isao’s Dolly-kei image was certainly a forerunner, there is no doubt that Baby refined and codified the Classic Lolita silhouette. And although Isobe credits Ohnishi as “the true pioneer of today’s Lolita fashion in Japan”, 48 the Baby brand typifies but also exemplifies the authentic, fully- formulated Sweet Lolita image in demonstrating the key elements, rules and regulations of the style that pertain to modesty, sweetness, and innocence. Image removed according to copyright law Figure 57: Baby the Stars Shine Bright (Japanese label) Both Baby and Isobe are immortalised in Novala Takemoto’s novel Shimotsuma Monogatari (Shimotsuma Story, 2002) and Tetsuya Nakashima’s film adaptation, released in Japan in 2004 and then rereleased as Kamikaze Girls Page | 121
with English subtitles in 2006. While the book itself has been translated into English by Akemi Wegmüller (2006), it has also spawned both Japanese and English-language manga-graphic-novel versions, illustrated by Yukio Kanesada, and published in 2005 and 2006, respectively (Fig. 59). Shimotsuma Monogatari is an example of shōjo (teenage girls’) fiction that weaves together the stories of two unlikely companions, Ichigo (“Ichiko”) Shirayuri, a yanki (or delinquent biker-punk, and member of a rough all-girl bōsōzoku, or motorcycle gang); and Momoko Ryugasaki, a Sweet Lolita obsessed with Baby the Stars Shine Bright (Fig. 58). This cult film has helped to push not only the Lolita subculture into the limelight but has enabled Baby to become so popular with worldwide Gothloli that Isobe has since expanded into France and the US, opening stores in Paris’ Bastille district (2007) and San Francisco (2009). Image removed according to copyright law Figure 58: Kyoko Fukada as Momoko Ryugasaki in Shimotsuma Monogatari, 2004 Page | 122
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SCHOOL OF ART AND DESIGN A thesis s
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Contents Attestation of Authorship
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3.12 The Means to Shock 235 Conclus
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Figure 9: Paul Michael Moon Rogers,
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Figure 26: Claude Monet, Waterlilie
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Figure 43: Yu~Ki, bassist for Malic
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Figure 65: Suigintou, Rozen Maiden
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Figure 83: Lolicon, http://blogs.ne
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on the Lolita subculture that we wo
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methodological approach relates clo
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What is the Lolita Subculture? The
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Image removed according to copyrigh
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Taking into consideration the styli
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established trajectories, and rewri
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. How the subculture is perceived b
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The Literature As the Lolita subcul
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My methods for compensating for a l
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and Louise Edwards, “Contesting G
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make it my next major research proj
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That is, I deal with the Abstract a
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Adams’ particular definition of t
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Online Communities My involvement i
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Doll Collecting I have been a doll
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After moving back to Sydney tempora
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The Lolita Complex A Japanese Fashi
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So-called Lolita * The Lolita Subcu
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Though reasons for adopting the Lol
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The Lolita Fashion Identity Since t
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A true Gothic Lolita thus adheres t
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The Gothic Lolita will usually wear
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The Sweet Lolita In a sense the tru
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If the Sweet Lolita’s dress is no
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Figure 14: Kathryn Hardy Bernal (we
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Page 71 and 72: Image removed according to copyrigh
Page 73 and 74: Given that Mana branded his collect
Page 75 and 76: Japan and the Western World Critics
Page 77 and 78: Early Encounters in Art & Design Be
Page 79 and 80: The shift in these dynamics occurre
Page 81 and 82: Court superseded Pugin’s stall as
Page 87 and 88: One of the finest examples of Anglo
Page 91 and 92: In 1888, the renowned department-st
Page 93 and 94: According to Richard Cork and the m
Page 101 and 102: entire wardrobe of Kansai designs.
Page 103 and 104: Merry Christmas, Mr Lawrence is kno
Page 105 and 106: It was, though, with the Yellow Mag
Page 107 and 108: These designers, especially Kawakub
Page 113 and 114: In observing these images it is app
Page 115 and 116: As discussed, Visual kei is the mus
Page 117 and 118: However, the authentic Gothic Lolit
Page 119 and 120: During the Taishō era (1912 - 1926
Page 121: Image removed according to copyrigh
Page 125 and 126: Lolita and Popular Culture Besides
Page 127 and 128: illustration, is closely related to
Page 131 and 132: wider, “European” eyes, as well
Page 133 and 134: Chapter Two The Japanese Lolita: A
Page 137 and 138: commonly held sensibility not only
Page 139 and 140: Hina-Matsuri The Significance of Ni
Page 141 and 142: Bunraku Another tradition, bunraku
Page 143 and 144: Kitano’s Dolls Three tragedies, b
Page 145 and 146: [They] became especially popular du
Page 147 and 148: have taken on certain attributes of
Page 149 and 150: dolls) that had been delivered to J
Page 151 and 152: Hearn was struck by the realism and
Page 153 and 154: The impulse to collect… makes sen
Page 155 and 156: Pearce reiterates this notion of lo
Page 157 and 158: A Means to Escape the Real World I
Page 159 and 160: These pressures, combined with the
Page 161 and 162: For the Gothloli, this special priv
Page 163 and 164: Kawaii does not, therefore, transla
Page 165 and 166: childish objects; and the idea that
Page 167 and 168: A potential explanation for the see
Page 169 and 170: Masanobu Sugatsuke, editor of Compo
Page 171 and 172: There are several areas of concern
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Chapter Three: Challenging The Loli
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young woman, my claim is that the G
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“Kasutei” chooses the Lolita st
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In my honest opinion she was nothin
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That the Gothloli is not willing to
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This, argues Hasegawa, has caused
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those Japanese still influenced by
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Being a Woman in Japan As also disc
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The Shifting Position of Woman in C
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Year Changes of Mothers’ Age at C
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The Position of Woman in Historical
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Lolita as a New Form of Feminist Re
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In reference to the Japanese moveme
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To the Victorians, the Child was a
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Says “Loli-Bee”: Some people th
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That men are largely not attracted
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Lolita as a Radical Subculture In a
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Yuniya Kawamura highlights Dick Heb
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Resisting the Power of Pornography
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While examples of lolicon and or he
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The lolicon is also yet another pro
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understand that photographs of them
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The Gothloli expects and can feel p
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Writes Henville (somewhat contradic
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There is also much to be said in th
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notion that the fetishised French-m
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calling Hime Your Royal Highness or
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the rong [sic] age”. * And simila
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Just as she takes on the identity o
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pornographic activity is not openly
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Little Girl: “Don’t try to play
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Is this the Beginning or the End? O
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In 2003, the Japanese Lolita subcul
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and youth (post-school-aged) commun
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The question Chuang and I raised wa
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Just as the Aoki Sydney Powerhouse
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dresses we bought in Japan. The fin
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But, is this the end or just the be
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Anonymous. “Japanese Youth Subcul
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Chuang, Bevan K. Y., and Kathryn A.
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Giamo, Benedict. “The Myth of the
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Ivy, Marilyn. Discourses of the Van
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Lambourne, Lionel. The Aesthetic Mo
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Muramoto, Hiro. “Japan’s Gothic
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Pooke, Grant and Diana Newall. “P
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Spooner, Catherine. Fashioning Goth
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Wilcox, Claire. Vivienne Westwood.
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22 Ibid. 23 Britannia Online Encycl
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78 Frederick Hadland Davis, op. cit
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118 Yuniya Kawamura, op. cit., p. 3
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176 Ibid., p. 55. 177 Ibid., p. 54.
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224 Jane Pinckard, op. cit. 225 Ibi
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