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Twentieth-century Collaborations between
Japan and the Western World
In viewing the exchange of cultural expression between Japan and the West
as a one-way avenue whereby the West is seen, in a Saidian sense, as the
dominating creative force over the “Other”, is to regard it from a purely
Eurocentric, Orientalist, colonial perspective. In returning to G&L, one can
address this imbalance by examining its evolution and tracing cross-
references which demonstrate that major ideas behind this Japanese
subculture did not emerge recently or even begin with Mana and Malice
Mizer. An observation of the visual identities of Mana’s band members,
shown in images of the group from the mid-to-late-nineties (Figs 37, 39, 42
& 43), highlights multiple historical Western precedents (Figs 38, 40, 41 &
44). Besides these twentieth-century associations, there are of course further
allusions to historical Western fashions of, especially, the Rococo,
Directoire, Empire and Regency Periods.
However, again, these references do not entirely signify a one-way
passage of influence from West to East. The Japanese Visual Kei
phenomenon finds its roots most visibly in the New-romantic movement
which, in turn, was a development from 1970s Glam. Glam itself,
particularly the Glam look, demonstrates a significant relationship with
Japan and Japanese inspiration.
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