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List of Illustrations Figure 1: Baby the Stars Shine Bright (BTSSB, Japanese label), Little Red Riding Hood, 2006. 100% cotton broadcloth appliqué dress and hooded cape (red). http://hellolace.net/wardrobe/baby/2006/op/baby_op_redhood_color.jpg Figure 2: Baby the Stars Shine Bright (BTSSB, Japanese label), Little Red Riding Hood, 2006. 100% cotton broadcloth appliqué dress (red). http://hellolace.net/wardrobe/baby/2006/op/baby_op_redhood_add3.jpg Figure 3. Baby the Stars Shine Bright (or BTSSB, Japanese label), Little Red Riding Hood, 2006. 100% cotton broadcloth appliqué dress (red) (detail). http://hellolace.net/wardrobe/baby/2006/op/baby_op_redhood_add4.jpg Figure 4. Baby the Stars Shine Bright (or BTSSB, Japanese label), Little Red Riding Hood, 2006. 100% cotton broadcloth appliqué dress (red) (detail). http://hellolace.net/wardrobe/baby/2006/op/baby_op_redhood_add7.jpg Figure 5: Kathryn Adèle Hardy Bernal, Hinako (age 19), Sweet Lolita (wearing Vivienne Westwood Rocking-horse Ballerina shoes), Shinjuku, Tokyo, Japan, 2007. Figure 6: Nicky Love and Kathy Hardy, “Cultist Images”, Vogue (Australia) (November 1983), p. 53. Figure 7: Manifesteange Metamorphose temps de fille (Japanese label), Autumn/Winter Collection, 2004. In Rococo 1(2004): 115. Figure 8: Kathryn Adèle Hardy Bernal, Yuki (age 19), Gothic Lolita, Jingu Bashi, Harajuku, Tokyo, Japan, 2007. 21 21 22 22 23 47 56 58 Page | 5
Figure 9: Paul Michael Moon Rogers, Kathryn Hardy Bernal, Gothic Lolita (wearing Gothic, Lolita + Punk, Japanese label), with James Percy, WE Block, AUT University, Auckland, New Zealand, 2008. Figure 10: James George Stratton 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. Figure 11: Masayuki Yoshinaga, Akimi (age 24) and Princess (age 21), Sweet Lolita (wearing Angelic Pretty, Japanese label). In Masayuki Yoshinaga and Katsuhiko Ishikawa, Gothic & Lolita (London: Phaidon, 2007). Figure 12: Bevan K. Y. Chuang, Yuko Kino (age 23), Country Lolita, Laforet Shopping Centre, Harajuku, Tokyo, 2007. Figure 13: Sweet Lolita (wearing Angelic Pretty, Japanese label). http://miki-in-wonderland.tumblr.com/post/3297913708 Figure 14: Kathryn Hardy Bernal (wearing own design, titled Amorette, constructed from Japanese textiles, 2007), WM Block, AUT University, Auckland, New Zealand, 2009. 100% cotton Sweet Labyrinth (Cosmo Textile Co., Ltd.). Figure 15: Malice Mizer. http://isshoniodoru.blogspot.com/2010/05/my-most-listened-to-jrockers-bymarcia.html Figure 16: Mana modelling as a Gothic Lolita for his fashion label Moi-même-Moitié. In Gothic & Lolita Bible 23 (Japan) (Winter, 2006): 27. Figure 17: Mana modelling as a Gothic Aristocrat for his fashion label Moi-même-Moitié. In Gothic & Lolita Bible 23 (Japan) (Winter, 2006): 26. 59 61 63 64 65 66 68 69 70 Page | 6
Page 1 and 2: SCHOOL OF ART AND DESIGN A thesis s
Page 3 and 4: Contents Attestation of Authorship
Page 5: 3.12 The Means to Shock 235 Conclus
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
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If the Sweet Lolita’s dress is no
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Figure 14: Kathryn Hardy Bernal (we
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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
Page 177 and 178:
“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
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
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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
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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