Session 6 - Subcultures
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Subculture Analysis
"Subcultures represent 'noise' interference in the orderly sequence which leads from real events and phenomena to their representation in the media" (Hebdige, 1979, p. 90)
Subcultures can be traced back a long time, and is generally defined as urban/ deviant underclasses of society that separate themselves from mainstream culture and media, who all share the same beliefs, fashion, lifestyle and values. Mainstream culture on the other hand is more of an organised hierarchical dominant group which is shaped and represented through politics, media and other corporate interests. They maintain the common consensus of constructed social myths like gender roles or stereotypes. The subfix 'sub' from mainstream culture implies this deviation.
There are a lot of fashion subcultures in Japan that have interested me for a long time. There is one fashion in particular that is picking up speed for me which is Lolita fashion (not to be confused with the book). I hold high respect for this fashion and I have educated myself on the matter many times before. Lolita fashion is a subculture style in Japan which stems from Victorian clothes and Rococo touches (Younker, 2012, p. 103). It can then be divided into different substyles with different aesthetics and stylistic traits. However, they call all fall under a few distinct signs, forming the code of Lolita. The skirt shape and volume (supported by one or more petticoats underneath) is a staple, which is either bell-shape or Aline. The blouse is also highly important, framed by the skirt or a JSK (Dress/ Jumperskirt), but you can also get an OP (onepiece) where a blouse is not required. A lot of these pieces have unique patterns on them. There are also accessories like lace cuffs, bonnets, curled wigs, knee socks and bows. Perhaps the most popular subgenre is Sweet Lolita; fueled by pastels and sweet imagery, embodying brands like Angelic Pretty. One of my favourites, Classic Lolita, is an elegant and more mature style who stays more true to the 19th century and with the brand Victorian Maiden as the frontrunner (Younker, 2011, p.97).
There was an exploding cuteness factor seems widespread in Japan, advertisement, mascots, designs and so forth is all overloaded with cuteness (Younker, 2012, p. 99). This trend has been essential to the evolution of Lolita, especially in post war Japan with an increasingly good economy and consumer culture growing (Atkinson, 2015, p. 15). Romantic mangas (japanese comic books) like shojo started booming as well, supported by cute culture it showed the population mystical romanticism and frilly rococo fashion (Atkinson, 2015, p. 15). When the economy started going sour, the fashion used to be a form of rebellion on Japan's oppressive social structure and poor mental health (Atkinson, 2015, p. 19-20) , with values like self-discipline and the busy adult life beating them down hard (Younker, 2011, p. 101). The teenage life was also challenging and work/ school was hard, and indulging in this childish behaviour and style releasing themselves of their everyday pressure and sending a clear message on their dissatisfaction (Younker, 2011, p. 100). In Western views the cuteness might seem like a weird way to oppose their social roles. This rebellion was their way of challenging higher authorities, and it can be seen as the eastern equivalent of western punk (Younker, 2011, p. 101). It should also be noted that this fashion is also highly opposed to attracting the opposite sex or to imply anything sexual. Sexual attraction to young girls has been a large problem in Japan for long (Lolicon), and even in the west there is a huge misunderstanding between the Lolita fashion and the book Lolita which is widely known classic as a book about a middle-aged man attracted to an underage girl (Younker, 2011, p. 107). This misconception hurts the Lolita picture, even though they value modesty.
This blog entry was updated after I wrote by essay that dove deeper into the fashion and why they dress the way they do, and the expansive history behind the garments. This way I could add more researched and accurate information.
Atkinson, L. (2015) Down the Rabbit Hole: An Exploration of Japanese Lolita Fashion. MA thesis. University of Ottawa. Available at: https://search.proquest.com/docview/1760974267?fbclid=IwAR3_jkqkKy7upsSxpenoK LDpvnEyg6e6yY1FuUvr37XmqNZ6YSVxOIJEM_E&pq-origsite=primo (Accessed 2 April 2020)
Hebdige, D. (1979) Subculture: The Meaning of Style. London: Routledge.
Younker, T. (2011) 'Lolita: Dreaming, Despairing, Defying', Stanford Journal of East Asian Affairs, 11 (1), pp. 97-110. Available at: https://scholar.harvard.edu/files/younker/files/lolita_-_dreaming_despairing_defying.pdf (Accessed 28 February 20)
There are a lot of fashion subcultures in Japan that have interested me for a long time. There is one fashion in particular that is picking up speed for me which is Lolita fashion (not to be confused with the book). I hold high respect for this fashion and I have educated myself on the matter many times before. Lolita fashion is a subculture style in Japan which stems from Victorian clothes and Rococo touches (Younker, 2012, p. 103). It can then be divided into different substyles with different aesthetics and stylistic traits. However, they call all fall under a few distinct signs, forming the code of Lolita. The skirt shape and volume (supported by one or more petticoats underneath) is a staple, which is either bell-shape or Aline. The blouse is also highly important, framed by the skirt or a JSK (Dress/ Jumperskirt), but you can also get an OP (onepiece) where a blouse is not required. A lot of these pieces have unique patterns on them. There are also accessories like lace cuffs, bonnets, curled wigs, knee socks and bows. Perhaps the most popular subgenre is Sweet Lolita; fueled by pastels and sweet imagery, embodying brands like Angelic Pretty. One of my favourites, Classic Lolita, is an elegant and more mature style who stays more true to the 19th century and with the brand Victorian Maiden as the frontrunner (Younker, 2011, p.97).
There was an exploding cuteness factor seems widespread in Japan, advertisement, mascots, designs and so forth is all overloaded with cuteness (Younker, 2012, p. 99). This trend has been essential to the evolution of Lolita, especially in post war Japan with an increasingly good economy and consumer culture growing (Atkinson, 2015, p. 15). Romantic mangas (japanese comic books) like shojo started booming as well, supported by cute culture it showed the population mystical romanticism and frilly rococo fashion (Atkinson, 2015, p. 15). When the economy started going sour, the fashion used to be a form of rebellion on Japan's oppressive social structure and poor mental health (Atkinson, 2015, p. 19-20) , with values like self-discipline and the busy adult life beating them down hard (Younker, 2011, p. 101). The teenage life was also challenging and work/ school was hard, and indulging in this childish behaviour and style releasing themselves of their everyday pressure and sending a clear message on their dissatisfaction (Younker, 2011, p. 100). In Western views the cuteness might seem like a weird way to oppose their social roles. This rebellion was their way of challenging higher authorities, and it can be seen as the eastern equivalent of western punk (Younker, 2011, p. 101). It should also be noted that this fashion is also highly opposed to attracting the opposite sex or to imply anything sexual. Sexual attraction to young girls has been a large problem in Japan for long (Lolicon), and even in the west there is a huge misunderstanding between the Lolita fashion and the book Lolita which is widely known classic as a book about a middle-aged man attracted to an underage girl (Younker, 2011, p. 107). This misconception hurts the Lolita picture, even though they value modesty.
This blog entry was updated after I wrote by essay that dove deeper into the fashion and why they dress the way they do, and the expansive history behind the garments. This way I could add more researched and accurate information.
Atkinson, L. (2015) Down the Rabbit Hole: An Exploration of Japanese Lolita Fashion. MA thesis. University of Ottawa. Available at: https://search.proquest.com/docview/1760974267?fbclid=IwAR3_jkqkKy7upsSxpenoK LDpvnEyg6e6yY1FuUvr37XmqNZ6YSVxOIJEM_E&pq-origsite=primo (Accessed 2 April 2020)
Hebdige, D. (1979) Subculture: The Meaning of Style. London: Routledge.
Younker, T. (2011) 'Lolita: Dreaming, Despairing, Defying', Stanford Journal of East Asian Affairs, 11 (1), pp. 97-110. Available at: https://scholar.harvard.edu/files/younker/files/lolita_-_dreaming_despairing_defying.pdf (Accessed 28 February 20)
Figure 5. Kadluba, C. (2007) Angelic Pretty [Photography]
Figure 6. Solomon203 (2019) Lolita Fashion Models at PF30 [Photography]
Fig. 5 Kadluba, C. (2007) Angelic Pretty [Photography] Available at: https://www.flickr.com/photos/pokpok/1636639141/in/photostream/ (Accessed 28 February 2020).
Fig. 6 Solomon203 (2019) Lolita Fashion Models at PF30 [Photography] Available at: https://commons.wikimedia.org/w/index.php?search=lolita+fashion&title=Special%3ASearch&go=Go&ns0=1&ns6=1&ns12=1&ns14=1&ns100=1&ns106=1#/media/File:Lolita_fashion_models_at_PF30_20190518a.jpg (Accessed 2 April 2020)
Fig. 6 Solomon203 (2019) Lolita Fashion Models at PF30 [Photography] Available at: https://commons.wikimedia.org/w/index.php?search=lolita+fashion&title=Special%3ASearch&go=Go&ns0=1&ns6=1&ns12=1&ns14=1&ns100=1&ns106=1#/media/File:Lolita_fashion_models_at_PF30_20190518a.jpg (Accessed 2 April 2020)