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Gothic & Lolita MAGISTERARBEIT Titel der Magisterarbeit „Gothic & Lolita Mode in Japan“ Verfasserin Evamaria Agy, Bakk.phil. angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 066 843 Studienrichtung lt. Studienblatt: Magisterstudium Japanologie UniStG Betreuerin: Dr. Ingrid Getreuer-Kargl, Ao. Univ. Prof. 2 Danksagung An dieser Stelle möchte ich mich bei meiner Betreuerin Dr. Ingrid Getreuer-Kargl und bei Dr. Roland Domenig für das kritische Hinterfragen und die vielen Anregungen und Tipps für meine Arbeit bedanken. Weiters danke ich Mag. Miyagi Yasuyuki für die Korrektur der Übersetzungen ins Deutsche, durch dessen Hilfe ich ein besseres Verständnis der japanischen Sprache erlangen konnte, und Nishihara Shin, der mir bei der Transkription wichtiger Dialoge aus Shimotsuma Monogatari geholfen hat. Bei Ozaki Megumi möchte ich mich besonders für das Engagement und die Hilfe bei meinen Forschungsaufenthalten in Japan bedanken. Außerdem möchte ich meinen Dank an meine KorrekturleserInnen, Mag. Claudia Schmidt, Stefan Fädler, Bakk.phil., Michael Prammer, Anita Trenkwalder, Bakk.phil. und Markus Kamellor aussprechen, die mich in schwierigen Zeiten motivierten und mir viele Ratschläge zur Verbesserung der Arbeit gegeben haben. Zu tiefsten Dank bin ich meinen Eltern, Monika und Klaus Agy, verpflichtet. Ohne ihre Unterstützung wäre es mir nie möglich gewesen, in Wien und in Japan zu studieren. Insbesondere gilt mein Dank meinem Vater, der mich stets ermunterte, meine Ziele und Träume zu verfolgen und sich sehr für mein Studium begeisterte, die Vollendung dieser Arbeit jedoch leider nicht mehr erleben konnte. 3 Inhaltsverzeichnis Abbildungsverzeichnis ............................................................................................................... 4 1. Einleitung................................................................................................................................ 6 1.1 Fragestellung .................................................................................................................... 9 1.2. Forschungsstand ............................................................................................................ 10 1.3. Vorgehensweise und Methoden..................................................................................... 13 2. Begriffsdefinitionen .............................................................................................................. 16 2.1. Mode .............................................................................................................................. 16 2.2. Subkultur ....................................................................................................................... 20 2.3. Gothic & Lolita .............................................................................................................. 22 3. Entstehung und Verbreitung von Gothic & Lolita Mode in Japan ....................................... 27 3.1. Ursprung der Gothic & Lolita Mode ............................................................................. 29 3.2. Charakteristika und Stile von Gothic & Lolita .............................................................. 34 3.3. Marken und Distribution von Gothic & Lolita Kleidung .............................................. 44 4. Darstellung in den Medien und Selbstdarstellung von Gothic & Lolita .............................. 54 4.1. Gothic & Lolita Mode in den Medien ........................................................................... 54 4.2. Momoko Ryūgasaki aus Shimotsuma Monogatari ........................................................ 71 4.3. Selbstdarstellung japanischer Gothic & Lolitas ............................................................ 79 5. Folgerungen .......................................................................................................................... 95 5.1. „Gothic & Lolita“ – Mode oder Subkultur .................................................................... 95 5.2. Darstellung in den Medien und Selbstdarstellung ....................................................... 102 6. Zusammenfassung .............................................................................................................. 108 Literaturverzeichnis ................................................................................................................ 110 Anhangverzeichnis ................................................................................................................. 119 4 Abbildungsverzeichnis Abbildung 1: Gothic & Lolitas in Harajuku Seite 6 Foto von Evamaria Agy, 6 April 2008 Abbildung 2: Der Musiker Mana Seite 7 2007 Gothic & Lolita Bible Vol. 26, 13. Abbildung 3: Beispiel für Gothic & Lolita Mode Seite 26 2008 Gothic & Lolita Bible Boudoir , 106. Abbildung 4: Beispiel für french maiden Seite 26 2010 Maid Costume Emily. (http://shop-emily.com/shopdetail/ 036000000011/order/ ) (10. Mai 2010) Abbildung 5: Beispiel für Gothic-Mode Seite 26 Yoshinaga Masayuki und Ishikawa Katsuhiko 2007 Gothic & Lolita , London: Phaidon, 192. Abbildung 6: Die „erste“ Gothic Lolita Seite 27 2008 Gothic & Lolita Bible Boudoir , 56. Abbildung 7: PINK HOUSE Seite 29 Gedix Co., LTD 2010 „Gedix Brand PINK HOUSE”, Gedix kōshiki hōmupeiji [Gedix Official Web Site]. (http://www.gedix.co.jp/brand/pinkhouse/ ) (10. Mai 2010) Abbildung 8: ATELIER PIERROT Seite 31 2010 Tenkai-Japan. (http://www.tenkai-japan.com/wordpress/wp- content/uploads/2009/11/pierrot31.jpg ) (10. Mai 2010) Abbildung 9: Beispiel für einen jumper skirt Seite 34 Ueda Yūko 2005 Roriita ishō dōraku [Vergnügen Lolita Kleidung]. Tōkyō: Marble Books, 20. Abbildung 10: hime cut und headdress Seite 35 Ueda Yūko 2005 Roriita ishō dōraku [Vergnügen Lolita Kleidung]. Tōkyō: Marble Books, 35. Abbildung 11: Beispiel für Gothic & Lolita Mode Seite 36 2005 Gothic & Lolita Bible Vol. 16, 68. Abbildung 12: Beispiel für Gothic Lolita Seite 37 2009 Gothic & Lolita Bible Vol. 32, 48. 5 Abbildung 13: Beispiel für Sweet Lolita Seite 38 2009 Gothic & Lolita Bible Vol. 34, 50. Abbildung 14: Beispiel für Classical Lolita Seite 38 2009 Gothic & Lolita Bible Vol. 32, 50. Abbildung 15: Princess Lolita -Stil von Metamorphose temps de fille Seite 39 2005 KERA! Vol. 83, 42. Abbildung 16: hime-gyaru -Zeitschrift KiLaLa Seite 40 2010 Shinyūsha. (http://www.shinyusha.co.jp/~top/ 01magazin/kilala.htm ) (10. Mai 2010) Abbildung 17: Verschiedene gyaru -Stile Seite 41 Keet, Philomena und Manabe Yuri 2007 The Tokyo Look Book , Tōkyō: Kodansha Internat., 11. Abbildung 18: Deco Lolita -Stil Seite 42 2007 Gothic & Lolita Bible Vol. 27, 72. Abbildung 19: Sweet Lolitas im street snap der Gothic & Lolita Bible Seite 43 2009 Gothic & Lolita Bible Vol. 32, 79. Abbildung 20: Kinder-kleidchen der Marke Shirley Temple Seite 44 2010 Shirley Temple. ( http://www.shirleytemple.co.jp/ catalog/2010summer01.pdf ) (10. Mai 2010) Abbildung 21: Innocent World Seite 45 2010 Innocent World. (http://innocent-w.jp/ ) (10. Mai 2010) Abbildung 22: Angelic Pretty Seite 46 2007 KERA! Vol. 110, 139. Abbildung 23: Rosa Kleid von Baby, the stars shine bright und hellblaues Kleid von Metamorphose temps de fille Seite 47 2007 KERA! Vol. 106, 103. Abbildung 24: Punk Lolita -Stil von h.Naoto Seite 48 2007 KERA! Vol. 106, 104. 6 1. Einleitung „Wer weiß, vielleicht sieht die Welt eines Tages Mädchen gekleidet in Stilen, die den Porzellanfiguren des Rokoko ähneln oder Reifröcke aus den Tagen Königin Viktorias tragen. Natürlich werden diese Kleider modernisiert sein, aber die Breite, die üppigen Materialien und die Rüschendekoration – das alles wird es geben.“ (Brennikmeyer 1962: 165) Abb.1: Gothic & Lolitas in Harajuku Als Ingrid Brennikmeyer im Jahr 1962 in ihrem Werk The sociology of fashion diese Zeilen verfasste, ahnte sie wohl noch nicht, wie richtig sie mit ihren Vermutungen liegen würde. Der Modestil, den sie in dem oben genannten Zitat beschreibt, entwickelte sich aus der Street Fashion von Tōkyōs berühmten Modeviertel Harajuku in den 1980er Jahren und ist mittlerweile auch über die Grenzen Japans hinaus bekannt und erfreut sich auch in anderen asiatischen, sowie westlichen Ländern, einer relativ großen Fangemeinde. Im Feber 2009 ernannte das japanische Außenministerium die Models Aoki Misako, Kimura Yu und Fujioka Shizuka zu den drei „niedlichen Botschafterinnen“ der japanischen Populärkultur. Diese Mädchen repräsentieren jeweils drei japanische Modestile – die Lolita- Mode, die Harajuku-Mode und die Schulmädchen-Mode – bei ausländischen Veranstaltungen, wie dem Japan Festa in Bangkok im März und der Japan Expo in Paris im Juli 2009. (Ōtani 2009) Die Gothic & Lolita Mode ist durch diese Nominierung zum „Botschafter der Niedlichkeit“ zu einem Teil des Bildes von „Cool Japan“ im Ausland geworden. Doch bereits vor dieser Ernennung hatte die Gothic & Lolita Mode auch außerhalb Japans viele Fans und AnhängerInnen gefunden. In Paris wurde im Jahr 2007 im Zuge der Japan Expo die LaForet Fashion Show präsentiert, bei der die Gothic & Lolita Mode Japans 7 erstmals auf französischen Laufstegen vorgeführt wurde. Ebenfalls in Paris wurde eine Zweigstelle von dem bekannten Gothic & Lolita Label Baby, the stars shine bright im Feber 2007 eröffnet. Im Jahr 2008 erschien die Erstausgabe der Modezeitschrift Gothic & Lolita Bible auf Englisch, deren Inhalt vom japanischen Original übernommen und teilweise auch an das westliche Publikum angepasst wurde. Im November 2004 wurde auf dem Album Love.Angel.Music.Baby der amerikanischen
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