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Lolita Latina an Examination of Gothic and Lolita Style in the Mexican Environment

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Lolita Latina an Examination of Gothic and Lolita Style in the Mexican Environment Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Lolita Latina An Examination of Gothic and Lolita Style in the Mexican Environment A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Visual and Material Culture College of Creative Arts Massey University Wellington, New Zealand Kathryn Adèle Hardy Bernal 2019 Abstract This thesis, completed for the award of Doctor of Philosophy in Visual and Material Culture, Ph.D., examines the development of the fashion-based Mexican Gothic and Lolita movement, and its evolution from its subcultural Japanese roots. It asks, “What are the cultural conditions that encourage this movement to flourish in the Mexican environment?” In turn, “What does Mexican culture contribute to Mexican Gothic and Lolita style?” And, “What does Mexican Gothic and Lolita style say about Mexican culture, society, and beliefs?” The Gothic and Lolita movement is currently thriving in Mexico as an authentic, independent, creative, handmade fashion industry, yet to be co-opted into mainstream culture. With the do-it-yourself aspect of the movement comes its own, unique, cultural flavour. As such, it transforms and rearranges meanings of the original subcultural style in order to make new statements, which subvert the meanings, and understandings, of the Japanese Lolita identity. Analyses of Mexican Gothic and Lolita styles, in context with the Mexican environment, culture, and belief systems, as well as the operation of the Mexican Gothic and Lolita industry, are major focal points of this study. Also investigated are the ways the movement reflects, fits into, and departs from, the philosophies of the original subculture, especially regarding sociocultural and gender politics. These latter aspects are critiqued in context with “normative” gender positions, roles and hierarchies, within mainstream Japanese and Mexican societies. iii Image removed due to copyright law Frontispiece: Sebastián Salcedo, Nuestra Señora de Guadalupe, Mexico, painted copper, 1779 iv Lolita Latina: An Examination of Gothic and Lolita Style in the Mexican Environment A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in VISUAL AND MATERIAL CULTURE Kathryn Adèle Hardy Bernal College of Creative Arts Massey University Wellington, New Zealand 2019 Statement of Original Authorship This is to certify that the intellectual content of this thesis is the product of my own ideas and work and that, to the best of my knowledge and belief, it contains no ideas, wording and or analyses, published previously to my own ideas, work and or publications, by another person, except where due acknowledgment and citation is provided. Table of Contents Abstract iii Statement of Original Authorship vi Table of Contents vii List of Illustrations xi Acknowledgements xxxi Introduction 1 The Background 5 Methods and Methodologies 7 The Insider/Outsider Approach to Ethnographic Studies 9 Methodologies of Art Theory 13 Visual and Material Culture Studies 16 Literature in the Field 17 The Subcultural Japanese Gothic and Lolita Movement in Japan 18 The Subcultural Japanese Gothic and Lolita Movement in Asia 18 The Subcultural Japanese Gothic and Lolita Movement in 18 Anglophone Cultures Theses and Dissertations 19 Reviewing the Field of Study 20 Gaps in the Research Field and Original Contributions 28 Mexican Literary Sources 29 The Chapters 34 Chapter One La Subcultura, Muerte y Vida (Death and Life) 37 The Japanese Origins of the Gothic and Lolita Movement 41 What is a Subculture? 53 Lolita, A Girls’ Subculture 55 The Decline of the Japanese Lolita Movement 63 vii The Mexican Reinvigoration of the Gothic and Lolita Movement 68 Redefining and Undefining Gender Roles and Identity 69 Gender Stereotypes, Sexuality, and Culture in Mexico 73 Marianismo, The Power of the Matriarch 77 Chapter Two México Gótico 81 Mexico’s Hybrid Gothic and Catholic Foundations 91 Our Lady of Guadalupe 103 The Miraculous Apparitions of Our Lady of Guadalupe 105 The Significance of Our Ladies of Guadalupe 107 The “Catholicization” of the Gothic Lolita 128 Chapter Three La Lolita Gótica 137 The Mexican Gothic Lolita Identity 140 Mourning Black 142 La Santa Muerte 154 La Calavera Catrina 162 La Día de Los Muertos 169 La Lolita Catrina 174 Chapter Four Lolita, La Matriarca 205 Cultural Differences in the Meaning of “Lolita” 209 The Lolita Complex and the Fetishization of the Little-Girl Identity 211 The Mexican Perspective 214 María de Los Delores, The Weeping Mother 223 La Llorona and Her Relationship with Our Lady of Sorrows 224 Lolita, La Virgencita 234 Chapter Five Las Lolitas Mexicanas y La Industria de La Moda 251 Gloria Capetillo, Mexican Lolita Artist in Japan 254 Briz Blossom, La Embajadora Lolita de México 259 The Kawaii Ambassadors (Ambassadors of Cuteness) 263 viii The Mexican Gothic and Lolita Fashion Industry 270 Rebel Butterfly by Zeleste Moon 273 Puppets by Claudia Baez 280 Bara No Yami by Yami Yuki Ai 289 Pinkutomidori by Fernanda Súarez 295 Atelier Dulcinea by Yessica Lavin 296 Enid Hallow (Shoes) by Fernando Díaz 298 Fredja Alternative Fashion (Shoes) by Diana Valmont 301 Stella Maris (Jewellery and Accessories) by Gabriela Canton 304 Tea Time Couture by Elizabeth Gray 308 Conclusion 313 Bibliography 335 Appendices 375 Appendix A: Invitation to Participate 377 Appendix B: Questionnaire (English) 381 Appendix C: Questionnaire (Spanish) 389 Appendix D: Quantitative Results and Statistics 395 Appendix E: Invitation for Designers 425 Appendix F: Interview Questions for Designers 429 Appendix G: Interviews with Tom, Baruch, Kyoko, and Inari 431 ix List of Illustrations Frontispiece: Sebastián Salcedo, Virgin of Guadalupe, Mexico, 1779 (signed and dated), Denver Art Museum, https://denverartmuseum.org/collections/spanish-colonial- art?fbclid=IwAR1JD5qOQugxxnfAsF1bep5dCOOs057uMItZHe0pevBj0avAuN2Fdh1meg k (accessed April 8, 2019). Introduction Figure 0.1: Gothic Lolitas in Mexico: Eleonora Ledesma, Yami Yuki Ai, Norma Ange Aguilar Gomez, Yareni Villarreal, Elena Jacqueline (Jackz) García Valdez, Rebekah Raven (New Zealand), Kathryn Hardy Bernal (New Zealand), and Alexa (Aleex GL) Fernanda Deras Barraza, at El Baile de Las Rosas (The Ball of the Roses), Hotel Palacio San Leonardo, Ciudad de Puebla, México, July 23, 2017 Carrusel de Rosas, Facebook, August 2, 2017, https://www.facebook.com/Carrusel.De.Rosas/photos/t.100003582709302/105220089157 7849/?type=3&theater (accessed August 2, 2017). Chapter One: La Subcultura, Muerte y Vida (Death and Life) Figure 1.1: Actress, Kyoko Fukada, wearing a dress by Baby, the Stars Shine Bright, on the DVD cover for the Japanese film, Shimotsuma Monogatari (Kamikaze Girls), Region 1, 2004, “Picture of Kamikaze Girls,” listal.com, http://www.listal.com/viewimage/58545 (accessed January 1, 2018). Figure 1.2: Musician and Gothic Lolita fashion designer, Mana, for Moi-même-Moitié, Gothic & Lolita Bible, Vol. 2, 2001, “† Gothic Lolita Bible Vol 2 ~ Scans,” Monologue†Rhapsody, http://monologue-rhapsody.blogspot.co.nz/2014/07/gothic-lolita-bible-vol-2-scans.html (accessed January 1, 2018). Figure 1.3: Malice Mizer: Gackt Era (1995 – 1999), “Malice Mizer,” jrock & the visual kei 2.0, http://jrockrae.wordpress.com/band-profiles-m-z/malice-mizer/ (accessed October 4, 2017). Figure 1.4: Adam Ant from “Stand and Deliver,” “Among the Roses and the Stars,” kajivar, September 1, 2010, http://kajivar.tumblr.com/post/1050112920/gothiccharmschool-adam- ant-from-stand-and (accessed October 4, 2017). xi Figure 1.5: Vivienne Westwood (design), "Pirate," figured cotton and rayon ensemble, with printed plain weave cotton shirt and sash, muslin stockings, and hat of stiffened felt trimmed with leather and braid, 1981 – 1982, “Collections,” V&A, https://collections.vam.ac.uk/item/O75527/pirate-ensemble- vivienne-westwood/ (accessed October 4, 2017). Figure 1.6: Happy Birthday Yu~Ki, “Mysterious Cat and Chocolate,” Goo Blog, August 8, 2006, http://blog.goo.ne.jp/dixxxdix/e/f8250bd168ddd0394b16009347bd0d1d (accessed October 4, 2017). Chapter Two: México Gótico Figure 2.1: Museu do Templo Mayor, in Monique Renne, “Está no ar o Guia da Cidade do México, a surpreendente capital Mexicana,” Melhores Destinos, July 18, 2016, http://www.melhoresdestinos.com.br/esta-no-ar-o-guia-da-cidade-do-mexico-a- surpreendente-capital-mexicana.html (accessed September 3, 2018). Figure 2.2: Alexa (Aleex GL) Fernanda Deras Barraza and friend: Poder Católico † (Catholic Power), “aleex_gl_dix,” Instagram, May 17, 2018, https://www.instagram.com/p/Bi3BsnsBe_X/?taken-by=aleex_gl_dix (accessed September 3, 2018). Figure 2.3: A Certain Slant of Light Photography (photo), Pierre Dancart (artist), Retablo Mayor, Seville Cathedral, Spain, May 3, 2011, “All That Glitters,” A Certain Slant of Light, December 1, 2011, https://lightslant.wordpress.com/2011/12/01/retablo-mayor/ (accessed September 14, 2017). Figure 2.4: Richard Silver (photo), Mexico City, Mexico, The Metropolitan Cathedral of the Assumption of Mary, “Richard Silver,” flickr, September 27, 2012, https://www.flickr.com/photos/rjsnyc/8051818631 (accessed September 29, 2017). Figure 2.5: Kathryn A. Hardy Bernal (photo), El Tabernáculo de la Catedral Metropolitana de la Asunción de María, Ciudad de México, March 28, 2014. Figure 2.6: Kathryn. A. Hardy Bernal (photo), El Niño
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