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Attestation of Authorship “I hereby declare that this submission is my own work and that to the best of my knowledge and belief it contains no material previously published or written by another person (except where explicitly defined in the acknowledgements), nor material which to a substantial extent has been submitted for the award of any other degree or diploma of a university or other institution of higher learning.” Kathryn A. Hardy Bernal 30 May 2011 Page | 1
Contents Attestation of Authorship 1 Contents 2 List of Illustrations 5 Acknowledgements 15 Abstract 17 Introduction: 19 What is the Lolita Subculture? 20 Literature Review 27 Methodology 37 Researching from an Insider’s Point of View 41 Chapter One: The Origins of the Lolita Movement 49 1.1 The Lolita Subculture 50 1.2 The Lolita Fashion Identity 54 The Classic Lolita 55 The Gothic Lolita 57 The Sweet Lolita 62 1.3 Mana, Malice Mizer and the Emergence of the Lolita Subculture 67 1.4 Japan and the Western World 74 Early Encounters in Art & Design Between Japan and The Western World 76 Japan’s History and Non-history with the Outside World: 1185 – 1868 77 Japonisme and Gothic Revivalism 79 1.5 Twentieth-century Collaborations Between Japan and the Western World 93 Page | 2
Page 1: SCHOOL OF ART AND DESIGN A thesis s
Page 5 and 6: 3.12 The Means to Shock 235 Conclus
Page 7 and 8: Figure 9: Paul Michael Moon Rogers,
Page 9 and 10: Figure 26: Claude Monet, Waterlilie
Page 11 and 12: Figure 43: Yu~Ki, bassist for Malic
Page 13 and 14: Figure 65: Suigintou, Rozen Maiden
Page 15 and 16: Figure 83: Lolicon, http://blogs.ne
Page 17 and 18: on the Lolita subculture that we wo
Page 19 and 20: methodological approach relates clo
Page 21 and 22: What is the Lolita Subculture? The
Page 23 and 24: Image removed according to copyrigh
Page 25 and 26: Taking into consideration the styli
Page 27 and 28: established trajectories, and rewri
Page 29 and 30: . How the subculture is perceived b
Page 31 and 32: The Literature As the Lolita subcul
Page 33 and 34: My methods for compensating for a l
Page 35 and 36: and Louise Edwards, “Contesting G
Page 37 and 38: make it my next major research proj
Page 39 and 40: That is, I deal with the Abstract a
Page 41 and 42: Adams’ particular definition of t
Page 43 and 44: Online Communities My involvement i
Page 45 and 46: Doll Collecting I have been a doll
Page 47 and 48: After moving back to Sydney tempora
Page 49 and 50: The Lolita Complex A Japanese Fashi
Page 51 and 52: So-called Lolita * The Lolita Subcu
Page 53 and 54:
Though reasons for adopting the Lol
Page 55 and 56:
The Lolita Fashion Identity Since t
Page 57 and 58:
Image removed according to copyrigh
Page 59 and 60:
A true Gothic Lolita thus adheres t
Page 61 and 62:
The Gothic Lolita will usually wear
Page 63 and 64:
The Sweet Lolita In a sense the tru
Page 65 and 66:
If the Sweet Lolita’s dress is no
Page 67 and 68:
Figure 14: Kathryn Hardy Bernal (we
Page 69 and 70:
Page 71 and 72:
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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
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The shift in these dynamics occurre
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Court superseded Pugin’s stall as
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One of the finest examples of Anglo
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In 1888, the renowned department-st
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According to Richard Cork and the m
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entire wardrobe of Kansai designs.
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Merry Christmas, Mr Lawrence is kno
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It was, though, with the Yellow Mag
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These designers, especially Kawakub
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Page 111 and 112:
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In observing these images it is app
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As discussed, Visual kei is the mus
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However, the authentic Gothic Lolit
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During the Taishō era (1912 - 1926
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with English subtitles in 2006. Whi
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Lolita and Popular Culture Besides
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illustration, is closely related to
Page 129 and 130:
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wider, “European” eyes, as well
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Chapter Two The Japanese Lolita: A
Page 135 and 136:
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
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Kitano’s Dolls Three tragedies, b
Page 145 and 146:
[They] became especially popular du
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have taken on certain attributes of
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dolls) that had been delivered to J
Page 151 and 152:
Hearn was struck by the realism and
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The impulse to collect… makes sen
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Pearce reiterates this notion of lo
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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
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Masanobu Sugatsuke, editor of Compo
Page 171 and 172:
There are several areas of concern
Page 173 and 174:
Chapter Three: Challenging The Loli
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young woman, my claim is that the G
Page 177 and 178:
“Kasutei” chooses the Lolita st
Page 179 and 180:
In my honest opinion she was nothin
Page 181 and 182:
That the Gothloli is not willing to
Page 183 and 184:
This, argues Hasegawa, has caused
Page 185 and 186:
those Japanese still influenced by
Page 187 and 188:
Being a Woman in Japan As also disc
Page 189 and 190:
The Shifting Position of Woman in C
Page 191 and 192:
Year Changes of Mothers’ Age at C
Page 193 and 194:
The Position of Woman in Historical
Page 195 and 196:
Lolita as a New Form of Feminist Re
Page 197 and 198:
In reference to the Japanese moveme
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
To the Victorians, the Child was a
Page 205 and 206:
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Says “Loli-Bee”: Some people th
Page 209 and 210:
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
Page 217 and 218:
While examples of lolicon and or he
Page 219 and 220:
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The lolicon is also yet another pro
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understand that photographs of them
Page 225 and 226:
The Gothloli expects and can feel p
Page 227 and 228:
Writes Henville (somewhat contradic
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There is also much to be said in th
Page 231 and 232:
notion that the fetishised French-m
Page 233 and 234:
calling Hime Your Royal Highness or
Page 235 and 236:
the rong [sic] age”. * And simila
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Just as she takes on the identity o
Page 239 and 240:
pornographic activity is not openly
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Little Girl: “Don’t try to play
Page 243 and 244:
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
Page 251 and 252:
Just as the Aoki Sydney Powerhouse
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dresses we bought in Japan. The fin
Page 255 and 256:
But, is this the end or just the be
Page 257 and 258:
Anonymous. “Japanese Youth Subcul
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Chuang, Bevan K. Y., and Kathryn A.
Page 261 and 262:
Giamo, Benedict. “The Myth of the
Page 263 and 264:
Ivy, Marilyn. Discourses of the Van
Page 265 and 266:
Lambourne, Lionel. The Aesthetic Mo
Page 267 and 268:
Muramoto, Hiro. “Japan’s Gothic
Page 269 and 270:
Pooke, Grant and Diana Newall. “P
Page 271 and 272:
Spooner, Catherine. Fashioning Goth
Page 273 and 274:
Wilcox, Claire. Vivienne Westwood.
Page 275 and 276:
22 Ibid. 23 Britannia Online Encycl
Page 277 and 278:
78 Frederick Hadland Davis, op. cit
Page 279 and 280:
118 Yuniya Kawamura, op. cit., p. 3
Page 281 and 282:
176 Ibid., p. 55. 177 Ibid., p. 54.
Page 283:
224 Jane Pinckard, op. cit. 225 Ibi
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