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Image removed according to copyright law Figure 45: Kiss, dressed by Larry LeGaspi, 1972 One of the earliest Glam Rock bands to reference Japanese culture in regard to image was Kiss (Fig. 45). <strong>The</strong>ir theatrical look, created by American costume designer Larry LeGaspi, combines a science-fiction aesthetic with total-face traditional kabuki-mask makeup to create characters based on space-alien and animal/reptilian creatures. Page | 97
Image removed according to copyright law Figure 46: David Bowie as Ziggy Stardust, dressed by Kansai Yamamoto, 1972 This platform-booted space-age style also found expression in David Bowie’s alter ego Ziggy Stardust (Fig. 46), an identity that exemplifies the Japanesque but also establishes the Japanese position in the canon of “visual style” in that the fashion designer Kansai Yamamoto was the creator of this visual persona, as well as the costume designer for Bowie’s subsequent role as Aladdin Sane. As Bowie was one of the most inspirational figures in regard to Glam and then New Romanticism, but certainly is still in terms of G&L’s ancestry, Kansai’s part in this evolution is of great importance. Page | 98
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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
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The Literature As the Lolita subcul
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My methods for compensating for a l
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and Louise Edwards, “Contesting G
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make it my next major research proj
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That is, I deal with the Abstract a
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Adams’ particular definition of t
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Online Communities My involvement i
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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 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
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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
Page 133 and 134: Chapter Two The Japanese Lolita: A
Page 137 and 138: commonly held sensibility not only
Page 139 and 140: Hina-Matsuri The Significance of Ni
Page 141 and 142: Bunraku Another tradition, bunraku
Page 143 and 144: Kitano’s Dolls Three tragedies, b
Page 145 and 146: [They] became especially popular du
Page 147 and 148: 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
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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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