Lolita's

Disclaimer *all views and opinions are my own apart from those referenced* (obvs)

“Clothing is one of the most immediate and effective examples of gendered, made ‘feminine’ or ‘masculine’.” (Entwistle 2000: 141)

How does the ‘Lolita’ subculture in Tokyo use gender and style to reject male dominated fashion and achieve a sense of belonging in modern society?

The main three objectives of this research will be: To describe the social and economic state of Tokyo in context to the emergence and success of Lolita’s. To analyse why Lolita’s choose the Victorian Era clothing to revolt against modern society and reject male dominated fashion. To evaluate how Tokyo’s Lolita’s use fashion to separate themselves from other Tokyo subcultures and achieve a sense of belonging, using theories from; Hebdrige, Kawamura, and Entwistle.
Crane (2000: 1) argues that, ‘Clothing, as one of the most visible forms of consumption, performs a major role in the social construction of identity’.

The main body of the text will begin with a summary of the current social and economic state of Tokyo, with the increasing Westernisation of society and the current place of women in society. The author will investigate why Lolita’s emerged from the 1980’s dominantly from the music and film obsessed culture. The author will then discuss theories including the sense of belonging that subcultures attain, especially in female dominated subcultures against the mass culture. The use of relevant literature from Hebdige, Kawamura and Entwistle will be used to consider why Tokyo’s females reject male dominated fashion, and discuss the relationship between gender and fashion subcultures.

Subcultures defined

In this current era of postmodernity, any member of society can adopt a subculture style to fit their preferences and lifestyle. A subculture has been defined differently by many academics. Overall a subculture is a way of the youth creating a sense of expression; self-identity is a crucial part of adolescent’s development. Sage dictionary of Cultural Studies (2004) in Kawamura, Y (2012) states, subculture is referred to a, “whole way of life” or “maps of meaning” what make the work intelligible to its members. A subculture is constituted by groups of individuals who share distinct values and norms that are against mainstream society (Such as Lolita’s who reject male dominated fashion). Furthermore, Subcultures have been seen as spaces for deviant communities to claim their position or space, suggests Kawamura, Y (2012). Cohen, P (1972) defined subculture by using terms such as ‘hedonism’, ‘defiance’, and ‘quest for excitement’. For example Lolita’s, whom adopt amine styled fake names and never discuss their careers or personal life when they socialise.
Moreover, Gelder, K (2007) suggests, subcultures have a social purpose, with shared conventions, values and rituals. Kawamura, Y (2012) investigated the nature of the Japanese subcultures and found different districts of Tokyo had a relationship with the structural problems of the wider socioeconomic structure. Kawamura, Y (2012) expands by suggesting, ‘there is an ironic correlation between Japan’s economic slump and the increase in the youth’s creativity’. Tokyo’s Lolita’s subculture is especially a form of escapism from Japans current situation, dressing in Lolita is a form of expression of their fantasy world from, “taking flight from adolescence or adulthood and returning to childhood”. Moreover, it is a way of momentarily removing herself from everyday reality, as suggested by Rahman, O, Wing-sum, L, Lam, E and Mong-tai, C (2011). Baudrillard 1983; Thomas 1997, uses the word ‘Hyper-reality’ to describe Lolita’s as ‘beyond real’, through blurring distinctions between real and unreal, these girls create their own fantasy identity that then in turn becomes their reality.

Japan’s style revolution in reaction to the economic state

“When I put on my costume, I feel like I look very different from everyone else around me and it makes me feel stronger” (Rinka, female, Hong Kong. In Peirson-Smith, A 2013)

Since the economic prosperity in the 1980’s, Japans economy has burst and the country is experiencing the worst economic recession. Mothers who used to be homemakers now have to desperately find menial part-time jobs. Moreover, there has been a widespread feeling of alienation, uncertainty and a loss of identity. Hebdige, D (1998:35) suggested how subcultures are formed in the space between surveillance and the evasion of surveillance; they translate the sense of being under scrutiny into the pleasure of being watched. Japanese street style is increasingly creative and they try to challenge the notion of being normal. Furthermore, many Lolita’s dress in the Victorian porcelain doll style, including umbrellas, gloves, and hats. Which in the Victorian era would be acceptable for very wealthy and high-class ladies, perhaps this is in irony to Japans current low economic state.

Lolita’s begun with the up rise of the Visual Kei movement; rock bands in the 1990’s began wearing extravagant outfits, with feminine make-up. Moreover, Japan became infatuated with an, “obsession with the visual”. This Visual Kei mainly influenced Gothic Lolita, as teens would attend concerts and imitate the band member’s style. Furthermore, this led to a sense of belonging in a time when values and beliefs in society were uncertain, especially among women. From this obsession, many sub-styles evolved and ‘Kerouac’, a fashion magazine began photographing Lolita street styles and as a result, many more Lolita brands evolved. During the end of the 1990’s a comic book and film called, “Nana” was released; the main characters obsession for Vivienne Westwood began an obsession for Lolita punk fashion. Clarke et al (1976) asserted that subcultures can find a solution to an individual problems, Lolita’s style creates an image they cannot fulfil in reality.

Lolitafashion.org says that; those who live Lolita as a lifestyle, “may try and live like a princess, surrounding themselves with things of beauty, and taking part in a number of ‘proper’ feminine activities such as baking, embroidery, sewing and other old- fashioned ‘women’s’ activities.” Lolita today is a mass-market fashion and a broad subculture term; it is complex to define the origin of this fashion. Although primarily influenced by Victorian children’s clothing and costumes from Rococo period, Lolita’s are mainly influenced by music, film and key brand styles. Many Lolita’s sew their own clothes, however, the fashion began by labels such as ‘Pink House’, ‘Milk’ and ‘Angelic Pretty’ began selling clothes. Therefore, this subculture has expanded into many different sub-styles. Kawamura, Y (2012) distinguished the differences between Lolita’s categories. Each has a set of rules and regulations regarding style and lifestyle, The Sweet Lolita (Ama Loli) consists of pastel colours. Wa Loli, is classic with frills, gathered skirts combined with Japanese elements, such as kimono blouse. Gothic Lolita wears black with frills and lace, whereas Black Lolita is strictly dressed in all black head-to-toe. It is interesting to note how there are sub styles developing in this Lolita subculture, and a single person may adopt many of these sub-styles according to their mood.

Rebellion against the over sexualisation of women

All Lolita subcultures are entwined to the anime culture, where individuals can escape into a childish and innocent world. Many Japanese women are intimidated by high fashion in the West; the refined beauty, tall, curvaceous bodies, cleavage and tanned skin is something that Japanese women cannot strive for, nor physically achieve. However, Kawamura, Y (2006) suggests it is interesting to note not all girls strive to look different from Western fashion, as one of the first trends among high school girls in 1993 was a pair of long loose white socks pushed down the knee to give the illusion of long model legs. However, Lolita’s want to go against the grain of sexualisation, they ‘rebel’ by going for a look that emphasizes cute girlishness petite bodies, which suits them, as suggested by Talmadge, E (2008).

Moreover, Still today Japan is a male-dominated society. Hirooka discussed the fact Lolita is escapism, many male Japanese boys are highly educated and have well respected jobs, whereas within women, adopting the Lolita style it is a rejection to conformism with the expectation on young Japanese girls to quietly accept their adult life (to be devoted to just become a wife in the male-dominated society). The notion behind Lolita’s is not a fashion to attract men, they simply want to create their own childlike, fun and carefree world to escape the increasing pressure and responsibility of society, as suggested on thefashionspot.com by Talmadge, E. (2008). Lolita’s even go as far as acting facial expressions and childlike behaviour to construct their ideal character.

Attention seeking or a youth revolt?
Japanese fashion does not come from professional Japanese designers, but is led by high school girls who are becoming increasingly influential in controlling fashion trends through the use of subcultures, they don’t imitate modern western styles, they lead by creatively mixing contrasting styles from the West, suggests Kawamura, Y (2006). "People notice us – we stand out," said Sachi, the lead vocalist for Black Pansy. "The pure, girl-like world inside of me, that is what Lolita is all about." (Talmadge, E. 2008)

Lolita’s are only associated with females of Tokyo. Oakley, A (1976) states, “Gender is a product of culture. Gender refers to the social classifications into ‘masculine’ and ‘feminine’, whereas sex is a word that refers to biological differences between male and female” (1976:16).
In Rahman, O, Wing-sun, L, Lam, E and Mong-tai C (2011), a sociologist interviewed a boy who dresses as a Lolita girl, he admits he has a poor relationship with family and friends and is lonely in his daily life. Moreover, he only dresses up in Sweet Lolita in his room due to being laughed at and being called ‘gay’, (even though attracted to women) he states returning to his reality life after dressing as Lolita is very difficult, indicating a ‘sense of ambivalence between his Lolita self and his actual self’.

Wearing Lolita is deemed a lifestyle. Moreover, it is seen as an expression of feminism, they wear innocent clothing to reject ‘revealing’ clothing that males would like to see.
In conclusion, Lolita is a successful and popular subculture among women especially in in Tokyo as it works as escapism from the dull poor economic state. Moreover, Japanese women reject the Western styles that attract men, as this sweet childlike Lolita styles suits the natural petite body shapes of Japanese women. When the Lolita’s socialise they adapt fun imaginary characters that create a sense of belonging in an uncertain world. Entwistle, J and Wilson E (2001) states that, “Dress works to ‘glue’ identities in a world where they are uncertain: as Wilson (1985:12) puts it, ‘the way in which we dress may assuage that fear by stabilizing our individual identity’.” As David, S (1995) suggests, dress is a visual metaphor for identity and as pertains in particular to the open societies of the west.

Reference List:

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• Davis, F. (1995). Identity Ambivalence, Fashion's Fuel. In: Fashion, Culture, and Identity. Chicago: University of Chicago.
  
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• Entwistle, J. (2000). The Fashioned Body: Fashion, Dress and Modern Social Theory. Oxford, London.: unknown publisher .
  
• Kawamura, Y. (2012). Fashioning Japanese Subcultures. London: Berg.
  
• Kawamura, Y. (2006). Japanese Teens as Producers of Street Fashion. New
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• Oakley, A. (1985). Sex, Gender and Society. England: Ashgate
  
• Entwistle, Joanne, and Elizabeth Wilson, eds. Body Dressing (Dress, Body,
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