# data[].attributes.body
https://www.vogue.com/fashion-shows/spring-2003-couture/christian-dior

Mixture of the Chinese and Japsnese elements

# data[].attributes.attachment_link.readable_text
It was Asia, but not as we know it. Recently returned from a three-week trip to China and Japan, John Galliano staged a Christian Dior couture show that smashed cultural boundaries in a spectacle of gargantuan theatricality. Sweeping, multicolored volumes of fabric that mixed East and West, ancient and modern, were showcased amid appearances from Chinese dancers and circus performers, who flew along the runway in death-defying feats of athleticism.

In Galliano's hands, the vivid colors and patterns of Chinese costume and Japanese kimonos got transformed into some of the hugest clothes ever invented. Models, almost completely submerged in cocooning swaths of brocade, taffeta and exploding chiffon flounces, teetered along on vertiginous platforms. Mixed up in the melee were pastel-colored marabou feathers-Galliano's homage to England's Queen Mother-18th-century hoopskirts and deliberately sleazy vinyl (just to add a contradictory jolt of modernity).

Galliano used the term hard-core romance to describe this new passion for volume and sensational celebration of color (running in every hue from sugared pastels to intense bolts of orange, turquoise and red). But we'll have to wait for Dior's ready-to-wear collection to see how the man plans to make it all wearable.

# data[].attributes.attachment_link.title
Christian Dior Spring 2003 Couture Collection

# data[].attributes.attachment_link.description
It was Asia, but not as we know it. Recently returned from a three-week trip to China and Japan, John Galliano staged a Christian Dior couture show that smashed cultural boundaries in a spectacle of gargantuan theatricality.

# data[].attributes.body
https://www.thestar.com/entertainment/2016/05/31/issey-miyakes-creative-mind-on-display-at-tokyo-art-museum.html

Issey Miyakes

# data[].attributes.attachment_link.title
Issey Miyake's creative mind on display at Tokyo art museum

# data[].attributes.attachment_link.description
TOKYO-Although he's behind one of the biggest fashion brands to come out of Japan, Issey Miyake detests being called a fashion designer. Maybe a designer, even a sculptor, but not that frivolous, trend-watching, conspicuous consumption known as fashion. What he has pursued since he started in the 1970s is more timeless.

# data[].attributes.body
https://www.vogue.com/fashion-shows/spring-2015-ready-to-wear/alexander-mcqueen

- To me personally with the collection , the straight lines and some straight seamed were so reflective to the kimono but the designs were not strong enough

# data[].attributes.attachment_link.readable_text
Marc Quinn's huge, ethereal white orchids, gorgeously spotlighted in the center of the black oak catwalk, were in fact cast in bronze. The contrast of floral delicacy and weighty substance was a perfect introduction to Sarah Burton's new collection for Alexander McQueen. She's been in a Japanese frame of mind for at least her last men's and Resort collections. Here, the geisha and the samurai embodied the extremes of her latest looks.

Burton fell under Japan's spell years ago, when she'd traveled there on Lee's business. She acquired quite the collection of kimonos and other artisanal artifacts. And she fell in love with the notion that clothes could have so much personal meaning for their owners. That idea of preciousness was her new inspiration. "Make your clothes so they mean something," was her mantra.

It made for an intense show. The models walked with faces encircled in black lacquer frames, courtesy of the ingenious makeup-ist Pat McGrath. The clothes were tightly belted, tightly harnessed, which created an especially loaded image when the harness was wrapped around a purely feminine kimono shape: the ultimate lady warrior. The fetishistic physicality of such a look was echoed in the inserts that articulated jacquard sheaths, the streamlined pantsuits and the flaring skater skirts, the zippered kimono sleeves. The clothes were infused with an odd energy.

There was the standard maniacal attention to detail in the pearls that seeded the flowers on a skirt of ruffled chiffon, but it would be pleasing to think that this collection represented a new directness for Burton. At least the history here was personal-or as personal as that grab bag of her souvenirs from her Japanese trips. And the face-off between geisha and samurai would seem like the very embodiment of the savage beauty that nestles at the dark heart of McQueen.

# data[].attributes.attachment_link.title
Alexander McQueen Spring 2015 Ready-to-Wear Collection

# data[].attributes.attachment_link.description
Marc Quinn's huge, ethereal white orchids, gorgeously spotlighted in the center of the black oak catwalk, were in fact cast in bronze. The contrast of floral delicacy and weighty substance was a perfect introduction to Sarah Burton's new collection for Alexander McQueen.

# data[].attributes.headline
What makes kimono different and moderner then other culture ? 

# data[].attributes.subject
What makes kimono different and moderner then other culture ? 

# data[].attributes.body
They have a specific magazine that only talks about kimono , the style of wearing , colours , pattern , styling , bags ,etc . The magazine makes young people getting interest in kimono and help the kimomo culture to spread

# data[].attributes.body
The Harajuku fashion allows the Japsnese to creative their own style of kimono with adding what they personally likes , tjis is so unique to the Japanese society that , no other country or city had something like this similar to this Japsnese culture

# data[].attributes.body
https://www.yoair.com/blog/harajuku-fashion-the-most-eye-catching-style-of-clothing-in-japan/

# data[].attributes.attachment_link.readable_text
Harajuku, a district in Shibuya, Tokyo. The area is approximately around the Harajuku station, between Shinjuku and Shibuya on the Yamanote Line. However, the name carries more than just a geological meaning. Harajuku fashion is probably the most eye-catching scene in the streets, along with countless fashion stores. Harajuku fashion derives from Japanese teen culture, and it, in turn, supports the development of teen culture and becomes a symbol of rebel, outrageous spirits. It was once very influential that it affected mainly Southeast Asian countries and the west coast of the US.

This blog will tell you the history related to the most recognized fashion styles in Harajuku and the reasons why Harajuku street fashion is slowly dying out.

The Origin of Harajuku Fashion

Harajuku fashion was once trendy during the 1990s and early 2000s. But its existence can trace back to the early 1980s. Harajuku became famous in the 1980s due to the street performers and wildly-dressed teens who gathered there on Sundays when Omotesando was closed to traffic. Omotesando is a very long street with cafes and upscale fashion boutiques popular with residents and tourists alike. Once it became pedestrianised on Sundays, people would gather there for meet-ups. Tokyo has long been known for its expressive and cartoonish styles and its Harajuku district as the gathering place for the most flamboyant and eclectic youth tribes of all. This cradle of sartorial eccentricity, full of fabulously inventive teen subgroups, boomed in the 1990s.

Harajuku Spirit: Break the Norms

It did not have a specific trend for Harajuku fashion in history; rather, it is a mix of numerous Japanese subcultures. This feature has made Harajuku street fashion extremely diverse and free for creation. A mixed style of fashion is usually seen - you can be in lolita fashion, be in gyaru fashion, or be both of them. There is still some consensus when discussing the common features regarding the Harajuku fashion style; they are all very bold in using colours and symbols from different styles, either domestic or foreign. Notably, while men dominate most fashions, Japanese fashion styles are female dominant, especially Harajuku street styles.

Harajuku fashion is nothing about mainstream fashion. Harajuku fashion did its job well as a type of street fashion to identify wearers from the mainstream. There are barely any guidelines for people to follow because Harajuku fashion is total freedom. What and how you dress is just a self-expression. In Harajuku, no one will judge your look. Because everybody looks weird - or, everybody looks normal. It is rebellious in all senses. These creative Japanese teenagers broke the rule where shops and brands deciding what to sell to the people. In Harajuku, the teens decide what the shops and brands should sell to them.

Street fashion also shifted the primary focus from professionally designed styles to the general public. After all, most of us cannot afford to consume luxury brands all day. But we can create our own fashion using whatever elements we fancy, and we can break the norms together. That is the concept of Harajuku fashion.

Iconic Street Harajuku Fashion Styles

As mentioned above, Harajuku fashion does not have a specific guideline for people to follow. Rather, it is more like a mixed showground of many subcultures. Each subculture group has their own dress code and ritual. But it is also ok to have several subcultural elements presenting at the same time! Let's look at some most recognized Harajuku subculture groups, and you will have a general concept about them.

Lolita Fashion

Although the lolita fashion looks like 18th to 19th-century western clothing style, it is originated in Japan. The fashion is inspired by Victorian clothing and styles from the Rococo period. The name "Lolita" does not link with the Lolita Book or movie. The origins of Lolita fashion date back to 1960s Osaka. During the 70s and 80s, the trend grew, giving rise to clothing brands. By the 1990s, the Lolita style was already a well-established streetwear subculture with followers all over Japan and internationally. The Japanese cuteness culture heavily influences the lolita fashion. Wearers aim to dress as living dolls. They are easy to spot in the streets because the lolita fashion is very colourful. They usually wear wigs and other heavy headwear, such as big colourful bows and bonnets. It is a common style in Harajuku fashion.

Lolita Fashion Categories

There are many subgroups under the lolita fashion as well. The main three categories are sweet lolita, gothic lolita and classical lolita. Sweet lolita usually wears pastel colours such as pink, blue and yellow. The patterns on the dresses are cute baby animals (kittens, puppies, baby squirrels, unicorns...), fruits (apples, strawberries, cherries...) and flowers. A lot of laces and bows is a must. Gothic lolita takes a heavy influence from the Eastern and Victorian Goth styles. Gothic lolita wearers prefer deep, dark, and sultry colours. Crosses, bats, vampires, and spiders are common elements for them. Victorian iron gates and architectural designs are also often seen in their ghoulish and spiritual clothing.

Classical lolita might be more suitable to wear in daily life, as their style is closer to 19th-century daily clothing. There aren't many patterns and heavy decorations, and the colours are muted. Unlike gothic and sweet lolita wearers often make themselves like living dolls, the overall look of classical lolita is more "grown-up" and mature. It is not too dark nor too sweet. But for Harajuku fashion, who cares about the colours or "is it OK to wear them outside"? Harajuku fashion is all about creativity!

The rebellious "dolls."

As a lolita fashion fan myself, I must say this style is a norm-breaker. Japan has a conservative social environment, especially for women. Japanese women barely have any power when facing the strong masculine culture. The Japanese culture prefers submissive, quiet and home-oriented women, which has long been limited to women's self-development. However, the lolita fashion brings them a way to express themselves without interference from men. One of the leading lolita fashion figures in Japan, Aoki Misako, being single in her late 30s, still wears lolita fashion as her lifestyle fashion. It is absolutely abnormal in Japan that a woman stays single in her late 30s, yet she dresses like a young maid.

Recently, Aoki Misako was in an interview to reveal her true daily life to the public. I remember clearly that lots of Japanese men rejected her just because of the way she dressed up. Although she has a decent job (she works as a nurse) and her personality is great, the judgy society in Japan can still push her away. She insists on wearing lolita fashion every day as it truly reflects her personality and the way she wants to be. The lolita fashion is not 100% favourable to men's tastes. Therefore, it is the fashion that escaped men's glaze and empowered women to be whoever they want to be under the girly perspective.

Gyaru Fashion

Girls with typical Gyaru fashion style - Image Credit: Suki Desu

The Gyaru fashion, however, contrasts with the lolita fashion. This word originated from the English "girl" and the slang "gals" to refer to beautiful girls. The gyaru fashion was first created to cater to Japanese men's tastes. It is affected heavily by western culture, as gyaru fashion wearers prefer to bleach their hair to blonde or lighter colours and tan their skin. It is completely different from the lolita fashion because gyaru wants to be more feminine and sexy. Their clothing is more mature as it was what Japanese men wanted - exotic sexy blonde ladies.

But soon, gyaru fashion started its own revolution. Girls made their skin even darker, had more curls on their hair, exaggerated false lashes, white-coloured makeup, shorter and shorter skirts, highly decorated nails...The fashion exaggerated the traditional elements that men thought women should have and became another major trend in Harajuku fashion. Things went downhill when the gyaru fashion began to be associated with inappropriate things. Over time the idea of independent and rebellious gyaru became a cuter style.

There are a lot of subgroups under gyaru fashion, too, such as Shiro (gyaru who don't tan their skin, as in white), Kogyaru (high school uniformed gyaru), Gyaruo (boys in gyaru style), Onee gyaru (older women with gyaru style)...It is also a rebellious move of Japanese women fashion. The gyaru fashion has everything catering to men's tastes, but all of them are exaggerated to a sky-high level, which is a bit ironic, isn't it?

Visual Kei

The famous visual kei band - Versailles - Image Credit: Visual Kei Encyclopaedia

Japanese bands formed in the 1990s and early 2000s usually adopted visual kei as their fashion. As its literal meaning, visual kei bands are all about their looking. I'm not saying that their music is not good, but their appearance is certainly more impressive. Visual kei styles themselves with varying levels of make-up, elaborate hairstyles and flamboyant costumes. They looked similar to Western glam rock, but they made their own fashion style. Some leading visual kei bands are X Japan (the pioneer), L' Arc-en-Ciel (glam-rock aesthetics), Versailles (French Rococo style) and The Gazette (glam rock style). Their music styles are usually heavy metal or punk rock.

The visual kei bands first appeared in the 1980s, and the name "visual" came from X Japan's album. Visual kei fashion then experienced a big bang during the 1990s; however, the booming success lasted for 4 years. There was a major decline in visual kei bands in the early 2000s, as they started to gain public attention, but the novelty soon worn off.

If the gyaru fashion and lolita fashion are rebellious moves by the Japanese girls, visual kei bands will move for the boys. Not gonna lie; my boyfriend is a big fan of Versailles's guitarist. He used to copy their clothing style and haircuts but unfortunately, he had a little budget to support his fashion when he was still in high school. But he learned the electric guitar, and guess what, he is actually so good at it! Other than their look, the visual kei band fashion makes music speak too. Heavy metal music is often emotional and is also a good way to express thoughts.

Kimono Style

Making changes to traditional ethnic clothing is definitely a rebel label. Compared to the three fashions mentioned above, the street style kimono seems more gentle in breaking the norms.

The Dying Harajuku Fashion: "No More Cool Kids"

According to the pioneer photographer Aoki Shoichi, Harajuku street fashion is slowly dying nowadays. Aoki Shoichi runs a street fashion magazine called FRUiTS. The magazine was once very influential for recording Harajuku street fashion and outstanding photo shooting skills. Aoki believes that the Harajuku fashion was a fashion revolution in Japan in the late 1990s. However, in 2017, he shut down the magazine. Aoki said: "There are no more cool kids left to photograph." One biggest reason is the government gave permission for traffic in this area. Harajuku arose because there was no traffic at the weekends, but now the traffic has affected this gathering mecca for creative young people. Harajuku fashion lost its canvas, and "cool kids" don't have a place to present themselves anymore.

Another reason is the rise of cheap and fast fashion. Harajuku fashion styles are expensive - as younger designers boldly use colours and fashion elements to express their opinions. Cheap and fast fashion such as Uniqlo, H&M and Zara make the competition unfair. People would certainly choose cheaper options rather than paying more to look "weird". Also, Harajuku street fashion has gained popularity in the mainstream culture. Aoki thought it was the end for Harajuku street fashion because the freedom of creation was lost. Retailers started to commercialise street fashion clothes, which were meant to be unique. After that, the original value of Harajuku fashion of being a rebel and fighting against norms has been lost with mass commercialisation.

The Japanese traditional culture has been an obstacle too. The tradition always requires people to be submissive and suppressed. No self-expression, don't be the one who is different from others, listen to the mainstream...The mainstream looks down on Harajuku fashion because they don't want their kids to be different. The acceptance of Harajuku fashion is generally low in society. Even though people always praise those who are brave enough to break the norms, they will choose to be good sheep and never fight back when it comes to themselves.

Conclusion

Although Harajuku fashion has been lost in commercialisation, it is still valuable to the fashion industry as it provides lots of new thoughts and creative ideas from Japanese teenagers. We should always remember the value of Harajuku fashion - never compromise to what you believe is wrong and always express yourself in your own style. People should have the courage to break standards and create their own norms.

# data[].attributes.attachment_link.title
Harajuku Fashion: The Most Eye-Catching Style of Clothing in Japan

# data[].attributes.attachment_link.description
Harajuku, a district in Shibuya, Tokyo. The area is approximately around the Harajuku station, between Shinjuku and Shibuya on the Yamanote Line. However, the name carries more than just a geological meaning. Harajuku fashion is probably the most eye-catching scene in the streets, along with countless fashion stores.

# data[].attributes.body
https://fashionunited.uk/news/fashion/exploring-japan-s-influence-on-global-fashion/2017081125461

# data[].attributes.attachment_link.readable_text
Japan's bountiful visual culture has long been a place to take inspiration from. The futuristic yet traditional culture has become a fascination among western communities, translating into our creative industries, particularly fashion.

Described as "another planet" by trend watcher, Ronny de Vylder, the Japanese believe in everything they do, influencing the rest of the world with their 'Wabi-Sabi' view of 'finding art in imperfections'.

Translated into the work of Japanese designers, Rei Kawakubo, Issey Miyake and Yohji Yamamoto, they pioneered the use of androgyny and unevenness in their designs, leading the growth of Wabi-Sabi in the West.

Arriving in Paris in 1980s/90s, the avant-garde designers challenged western ideals of feminine silhouettes such as Dior's 'new look' and opposed the popular 'glam' look of 80s/90s Paris. Yamamoto said he wanted 'to make men's clothes for women', Miyake famously made a collection from a single piece of cloth, and Kawakubo introduced black, uneven female body shapes to western runways.

Kawakubo's unconventional designs inspired legendary European designers John Galliano, Martin Margiela and Alexander Mcqueen and remain relevant in today's fashion industry.

Galliano in particular took influence from Kawakubo's use of black, and in Autumn 1994 his Ready to Wear collection stood out with all black looks partnered with oriental influences; later resulting in his role as creative director at Givenchy.

McQueen also took inspiration from Kawakubo, exploring the female body with a range of materials, some transparent, partnered with silk japanese inspired trousers, jackets and dresses in his legendary La Poupée, Spring 1997 show.

Now the focal point of The Metropolitan Museum of Art's 'The Art of the In-Between' retrospective, Kawakubo's immense career undoubtedly changed the face of fashion, contributing to western fashion's obsession with Japan.

However, it was not just the Japanese fashion design that has influenced the west, but the visuals of Japan itself.

Named Japonisme by French artists, the application of Japanese motifs such as flowers, birds, dragons, waves usually seen on kimonos extended to the west. Kimono's, still worn regularly by the Japanese, were central to the expansion of Japonisme into fashion.

A stand out collection that proved this was Dior Couture Spring 2007, designed again by Galliano the collection was simply Japonisme. Brightly coloured kimonos and dresses covered with waves, frogs, fish, flowers and other nature, were accompanied by geisha makeup and tied together with origami folding techniques.

Translating further into today's fashion, a resurgence of kimono dresses, silk patterned tops and dragon motifs mean Japonisme continues to influence today's youth.

Street style has also been central to the diffusion of Japanese fashion to the west.

Soichi Aoki, a Tokyo born photographer published 'Street' in 1985, a magazine which featured young London's street style. He went on to develop another magazine called 'FRUiTS' in 1997, which focussed on Tokyo's Harajuku district and the avant-garde fashion that was being worn and made by Tokyo's youth.

Recognising a change in fashion, Aoki started a worldwide phenomenon of unique styles and recognised subcultures, inspiring Western youth to learn about and recreate the styles that they were witnessing in FRUiTS.

Subcultures such as Decora emerged, still popular now, participants dress as their favourite anime, manga or other Japanese character - covering themselves with an abundance of merchandise and random objects.

London's street fashion subcultures were inspired by Harajuku, taking on Japonisme, with street brands such as Maharishi continuing to use motifs such as dragons in their designs.

Japanese kanji and kana symbols have become a huge part of western fashion, with both high end and high street brands using them in their designs.

Global brand Adidas has been at the forefront of using these symbols, adding them to apparel underneath their logo. Hype have also used the symbols in their designs, along with other imagery like cherry blossoms. Asos have joined this trend too, offering hoodies and tshirts with japanese symbols.

As global fashion continues to evolve, all that's left to do is witness the never ending inspiration from the futuristic country of opposites: Japan.

Photos courtesy of Pexels, Paul van Riel, Francois Guillot / AFP, Asos website

# data[].attributes.attachment_link.title
Exploring Japan's influence on global fashion

# data[].attributes.attachment_link.description
Japan's bountiful visual culture has long been a place to take inspiration from. The futuristic yet traditional culture has become a fascination among western communities, translating into our creative industries, particularly fashion. Described as "another planet" by trend watcher, Ronny de Vylder, the Japanese believe in everything they do, influencing the rest of the world with their 'Wabi-Sabi' view of 'finding art in imperfections'.

# data[].attributes.body
https://www.fibre2fashion.com/industry-article/8744/japanese-fashion-history-trends-innovation-and-sustainability
Kimono was being more contemporary then cultural in order to get customer to buy

# data[].attributes.body
Focusing on looking at the culture and the whole society atmosphere back in the time ,the beauty of the Japanese women

# data[].attributes.attachment_link.title
Memoirs of a Geisha (2005) Official Trailer 1 - Ziyi Zhang Movie

# data[].attributes.body
https://www.youtube.com/watch?v=dv4lGpKpXCk

# data[].attributes.body
The way that geisha put make up on is very unique to the entire Japanese culture

# data[].attributes.body
I am currently researching on geisha with my tailoring project and while working with the project , I found out that the Japanese back in the days thoughts like the back neck of womens the most attractive place

# data[].attributes.body
Kimono looks were often being seen on runway