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In regard to the music genre, so far the visual identities of leading musicians and bands associated with the movement have been discussed, but not the sound. One may be surprised to learn that such demurely dressed young women as Gothloli would favour listening to heavy music. However, just as Mana helped inspire women to dress like little girls, his bands have also encouraged them to be open to the Japanese Gothic and Industrial genre that most Visual-kei groups adhere to. While the sound of groups such as Malice Mizer (Fig. 15), Moi Dix Mois (Fig. 52), Versailles Philharmonic Quintet (Fig. 48) and BLOOD (Fig. 51) might remind us of Western Metal and Goth Industrialism, it is also distinctively Japanese. In a way that is hard to describe, one knows when they are listening to Japanese industrial music, and not just because the lyrics are often sung in Japanese: it is orchestral, dramatic, technically skilful, layered, complex and absolutely mesmerising, it is often fast, frenetic, dark and very, very loud; and most members of the Lolita movement are enthralled by it. This dichotomy is just one of the many paradoxes of the Lolita subculture. Chapters Two and Three of this thesis, which is the thesis per se, investigate and analyse more. The following chapter also examines in greater detail the association of the Japanese Lolita with the Doll and the significance of doll culture in Japan, as well as psychological connections to and inferences of dressing as a doll-like child. However, doll culture is further connected to the subculture in the forms of anime and manga. Manga, which is two-dimensional Page | 125
illustration, is closely related to anime, which is literally animated, or moving- image, manga. There are many popular manga-graphic novels and anime series belonging to the Lolita subculture that feature Gothloli/doll characters. The most notable are Le Portrait de Petite Cossette (Figs 60 & 61), Rozen Maiden (Figs 62 – 65), Princess Resurrection (Figs 66 & 67), and Princess Ai (Figs 68 & 69). The first three of these narratives are available in both graphic-novel and animated-film formats, while the characters of Rozen Maiden Träumend and Princess Ai have been marketed as collectible dolls. Image removed according to copyright law Image removed according to copyright law Figure 60: Le Portrait de Petite Cossette, artwork for anime, 2004 Figure 61: Le Portrait de Petite Cossette graphic-novel manga, Chap. 2, Vol. 1, 2004 Page | 126
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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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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 83 and 84: Image removed according to copyrigh
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 123 and 124: with English subtitles in 2006. Whi
Page 125: Lolita and Popular Culture Besides
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
Page 173 and 174: Chapter Three: Challenging The Loli
Page 175 and 176: 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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