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Reformation period – but all Mediaevalists mourned for the beauty and integrity they felt had been present in Gothic art and architecture that was now missing from contemporary Western design. Japan in its untainted, medieval state represented the Gothic Ideal both philosophically and in regard to the aesthetics and quality of production of their art and crafts. As noted by Victorian artist and designer Walter Crane: The opening of Japanese ports to Western commerce… had an enormous influence on European and American art. Japan [was]… a country… as regards its arts and handcrafts… in the condition of the Middle Ages with wonderfully skilled craftsmen…. What wonder that it took Western artists by storm and that its effects have become so patent. 19 The extent of influence that the introduction of Japanese aesthetics, art, crafts, design, and methods of manufacture to the West had on Western artists, designers and craftspeople cannot be underestimated. The collecting of Japanese wares, or Japonaiserie, became an absolute craze, and the Western phenomenon known as Japonisme (or Japonism) in art, design, and the performing arts was widespread and long-lasting. Some of the most noted figures of this movement were J. A. M. Whistler (Figs 18, 20, 22, 23 & 28), Claude Monet (Figs 25 & 26), D. G. Rossetti, Walter Crane, Vincent van Gogh, Henri de Toulouse Lautrec, Charles Rennie Mackintosh, Margaret Macdonald, Christopher Dresser, William Moorcroft, Arthur Silver, Tissot, Degas, Renoir, Mucha, Klimt and Frank Lloyd Wright. Page | 81
Image removed according to copyright law Image removed according to copyright law Figure 18: James Abbott McNeil Whistler Harmony in Blue and Gold: The Peacock Room, 1876 – 1877 Image removed according to copyright law Figure 19: Andō Hiroshige, Peacock and Peonies, c. 1840s – 1850s Figure 20: James Abbott McNeil Whistler, The Peacock Room (detail), 1876 – 1877 Page | 82
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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
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Figure 43: Yu~Ki, bassist for Malic
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Figure 65: Suigintou, Rozen Maiden
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Figure 83: Lolicon, http://blogs.ne
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on the Lolita subculture that we wo
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methodological approach relates clo
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What is the Lolita Subculture? The
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Image removed according to copyrigh
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Taking into consideration the styli
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established trajectories, and rewri
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. 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
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: 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
Page 113 and 114: In observing these images it is app
Page 115 and 116: As discussed, Visual kei is the mus
Page 117 and 118: However, the authentic Gothic Lolit
Page 119 and 120: During the Taishō era (1912 - 1926
Page 123 and 124: with English subtitles in 2006. Whi
Page 125 and 126: Lolita and Popular Culture Besides
Page 127 and 128: illustration, is closely related to
Page 131 and 132: 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
Page 267 and 268:
Muramoto, Hiro. “Japan’s Gothic
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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
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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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