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Lolita as a Radical Subculture
In a nation, as described by Ruth Benedict, that was historically framed by a
social hierarchy dependent on whether one was born male or female into a
world where women, who were considered of a lower status, had to walk
behind their husbands, the Lolita movement assists in allowing women to
finally come forward and become visible. As Ginny Parker has discussed,
“conspicuous clothing also satisfies a craving to stand out. Japanese youth
are generally less conformist than their parents and often believe it’s crucial
to be different”. 198 Moreover, “Yo Yahata a clinical psychologist who has
done case studies and written articles about aspects of Lolita culture” has
highlighted that for Gothloli “[d]ressing like this and having people stare at
them [also] makes them feel that their existence is worth something”. 199
That audiences do stare and comment negatively is understandable in some
ways, as Jane Pinckard has argued. 200 “After all, [it’s] alienating to want to be
someone else, even in pretend”. 201
But as a collective, intimidating force,
these women are in fact noticed, which is empowering and powerful.
Most notably in regard to this new feminism, what is unique about the
Lolita subculture is that it is essentially a feminine movement. What sets this
phenomenon apart from the historical subcultural model is that the face of
the Lolita is feminine. Although it was instigated and is still influenced by
several prominent male figures, such as Mana and Novala Takemoto, the
classic identity even when adopted by men is female. As Takemoto claims,
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