The Lolita Complex: - Scholarly Commons Home

My initial interest in the subculture began in 2002, inspired by Shoichi
Aoki’s publication Fruits (2001) and the subsequent initial exhibition at the
Sydney Powerhouse Museum (December 2002 – July 2003). While the entire
compilation of Aoki’s street photographs intrigued me, it was the handful of
images of girls in Lolita dress that sparked my enthusiasm, which was
accentuated by a Baby the Stars Shine Bright ensemble displayed as part of this
show. The concept of this street fashion, as it was essentially at the time,
resonated with me as it incorporated so much of what I am passionate
about, especially as it combines the image of the Doll with the Gothic. My
motivation for finding out as much as I could on this movement was fuelled
by my lifelong obsession with all things Gothic, medieval and medievalist,
my immersion into Neo-gothicisms, and my occupation as an avid doll
collector. This latter aspect, especially, incited my curiosity when in 2003 I
began to start collecting Japanese Pullip dolls from the time of their
inception. In those days, however, there was very little information on the
actual Lolita subculture. I started my investigations, therefore, by piecing
together every snippet I could find to build up a picture and an
understanding. And, even from the outset, I observed the phenomenon with
a critical and analytical eye, formulating my theories about the movement,
which remain largely unchanged.
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