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Figure 10: James Percy Vivien Masters, Gothic Lolita holding a Japanese Pullip Moon doll from Kathryn Hardy Bernal’s personal collection (both wearing designs, titled Evangeline, by Angie Finn, 2007) WM Block, AUT University, Auckland, New Zealand, 2009 Page | 61
The Sweet Lolita In a sense the truly Sweet Lolita (Figs 5 & 11) is the antithesis of the Gothic Lolita. In the case of the Sweet Lolita there is a pronounced concentration on the very sweetest aspects of the Lolita style, thus more of an emphasis on candy-Rococoesque design or the prettiest Victorian doll, rather than the Gothic. Her dress which is often an explosion of frothiness, bows and frills is generally made up in either one pastel colour, often fairy-floss pink or powder/baby blue, or a combination of pastel/pretty colours, such as pale pinks, salmons, duck-egg/light blues, lemon, butter yellow, mauves or soft greens, sometimes mixed with or grounded by either white or cream, even navy, raspberry or black. The Sweet Lolita still adheres to the silhouette of the Classic Lolita but this Gothloli will often wear a shorter-sleeved blouse or dress and may choose shorter lace-trimmed socks. The pinafore is a common addition either as a full or half apron over her dress or as a pinafore dress over a pretty blouse. Her skirt however is still full and at least knee-length. On her head the Sweet Lolita may wear any manner of headdress from the classic Victorian band to a full bonnet or miniature top hat. She is most likely though to choose a very large bow attached to a headband. Page | 62
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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
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 59 and 60: A true Gothic Lolita thus adheres t
Page 61: The Gothic Lolita will usually wear
Page 65 and 66: If the Sweet Lolita’s dress is no
Page 67 and 68: Figure 14: Kathryn Hardy Bernal (we
Page 73 and 74: 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 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
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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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Image removed according to copyrigh
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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
Page 265 and 266:
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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