“However, the challenge to hegemony which subcultures represent is not issued directly by them. Rather it is expressed obliquely, in style.”
One of the most interesting subcultures I’ve encountered is
the Japanese Lolita fashion scene. While the name is shared by the Vladimir
Nabokov’s novel, the origin of the name Lolita in Japanese fashion is highly
debated among the community. Some say it was picked arbitrarily as a pretty,
flowery, Western sounding name, while others theorize that it was originally a
derogatory term for the community that was reclaimed (much like Goth and Punk).
In either case, the community is known for its ostentatious dresses and
hairstyles, almost overly performing femininity. These dresses and headpieces
are made by members of the Lolita community for members of the Lolita community,
going against mass produced clothing and creating something themselves. While
the style may appear oppressive to Westerners, it is not meant to be appealing
to men. Showy clothing and hair go against the demure ideal of femininity
forced upon women in Japanese society and makes a statement about how girls are
expected to grow up much quicker than their male counterparts. By performing a
childhood fantasy, they are retaking parts of their childhood taken from them
by society.
Due to the proliferation of Japanese pop culture, this style
has also become popular outside of Japan, with Lolita communities existing all
over the world. Removed from its culture of origin, I wonder if the fashion
loses some of its edge. The symbols probably do not carry the same meaning that
they do in Japan, and if anything, come off as conservative and homely. Without
this cultural context, Lolita becomes aestheticized rather than a political
statement. There is nothing wrong with enjoying a particular fashion style, but
it is important to know its significance and origins as well. Especially with
fast fashion becoming more and more preferred to these often expensive custom alternative
fashions, this is one of the ways to keep the spirit of it alive.
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ReplyDeleteThis is such a great example. I loved what you added to class today in regard to Japanese Lolita fashion, something I was not familiar with before today. You connect this example to many strong points. This over performance of femininity is very interesting; as I looked more into the community, I saw how Westerners might assume it's oppressive. I appreciate your note that the style is not meant to appeal to men, but to regain their feminine childhood that was taken from them. I find it fascinating that these women make their own dresses and headpieces, I feel like it serves as a symbol for taking matters into their own hands (literally) and reclaiming what society took from them.
ReplyDeleteI do agree with you that the mass spreading of the Lolita communities can create a loss in some of its edge. The style is so deep rooted in societal issues that once it is taken away from the original society and introduced into a different one, it can lose its meaning. The ‘in-your-face’ quality of Lolita does not resonate in communities outside of Japan because the referent has been lost. I agree that the cultural context keeps this community a political statement; without an understanding of how radical it is to reclaim your childhood as a woman in Japan, the style does not feel as bold.
Ironically, when I looked up Japanese Lolita fashion, two fast fashion brands popped up on my browser. One of the most admirable qualities of the Lolita community is that they are made by Lolita women. Therefore, the fact that the cheap, fast made replicas of this style come up first in ads is concerning. Not only are other communities losing the referent of Lolita, but they are replicating the style in a way that contradicts how the original is made.