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Introduction This thesis is an investigation into the Japanese movement known generally as Gothic & Lolita (G&L), focussing specifically on the fashion-based subculture of the Lolita. The name “Lolita” is immediately synonymous with the heroine and title of Vladimir Nabokov’s 1955 novel. Whilst Nabokov’s Lolita dwells within and hangs as a spectre over this topic this thesis is not about her per se. It is about a movement that takes its name from this character but reflects little in intention, I argue, to either Nabokov’s narrative or to the nature of the Nabokovian Lolita. Equally significant, this project is not merely a history of the Lolita subculture. My thesis leans more towards Theory than History. Although I visit a history of the Lolita phenomenon, in order to set up and provide background to this study; to allow for an understanding of where and how this movement has arisen; and what it actually is; this is my theory about Lolita. Essentially my thesis is a reading of the Japanese Lolita subculture through which I critically examine the complex issues implied by and connected with it, while analysing the psychology behind and motivations toward participation in this movement. In a sense it is my philosophy on the Cult of the Lolita. Page | 19
What is the Lolita Subculture? The Lolita subculture is a fashion-based movement, originating in Japan but also visible worldwide, whereby adolescent girls or young adult women dress as children or dolls. The “Lolita” or Gothloli (Jap. Gosurori, or Gothic Lolita) is the face of this phenomenon, which pertains to a larger Japanese movement known generally as Gothic & Lolita (or G&L). The style of the Gothloli is influenced by clothing of the Rococo, Romantic and Victorian periods. It is based on the spirit of “Gothick” * Neo-Gothicism, associated with Neo-Romanticism, Victorian mourning garb (particularly for the little girl), and inspired by historical dolls’ dresses and children’s wear, as well as nineteenth-century depictions of young girls in fiction, especially the illustrations of Alice by Sir John Tenniel for Lewis Carroll’s Alice in Wonderland and Through the Looking Glass. At times garments are decorated with Alice characters or motifs portraying Western-Gothic fairytale figures from stories such as The Sleeping Beauty and Little Red Riding Hood (Figs 1 – 4). * “Gothick” was the term used in the nineteenth-century to distinguish between Victorian Gothic (or Neo-gothicism) and actual Gothic (from the Medieval Period). or Page | 20
Page 1 and 2: SCHOOL OF ART AND DESIGN A thesis s
Page 3 and 4: Contents Attestation of Authorship
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: methodological approach relates clo
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 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
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Image removed according to copyrigh
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Given that Mana branded his collect
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Japan and the Western World Critics
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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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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
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wider, “European” eyes, as well
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Chapter Two The Japanese Lolita: A
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commonly held sensibility not only
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Hina-Matsuri The Significance of Ni
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Bunraku Another tradition, bunraku
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Kitano’s Dolls Three tragedies, b
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[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
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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
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These pressures, combined with the
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For the Gothloli, this special priv
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Kawaii does not, therefore, transla
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childish objects; and the idea that
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A potential explanation for the see
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Masanobu Sugatsuke, editor of Compo
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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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