Global Circulation of Asian Popular Culture - Literature review Example

Glоbаl Сirсulаtiоn оf Аsiаn Рорulаr Сulturе by Name of author Name of class Name of Professor Name of school Location of school Date Introduction Asian fashion popularity has continued to grow over the decades. This rapid rise popularity in recent times has been due to the fact that fashion enthusiasts have decided to embrace diversity, demystifying cultural barriers (Slade 2009). Popularity, coupled with tremendous appetite to showcase their stylistic genius in the fashion industry, Asian fashionistas are finding themselves surrounded by a new crop of fashion enthusiasts- globally. This is true because Asian fashion was hardly ever seen in the West. Japanese fashion, for instance, has scaled new grounds and has become Asia’s powerhouse in the fashion industry (PRLOG 2010). This noticeable interest from the international market has been made possible by the use of vibrant and diverse colour schemes and styles. Another attributing factor has been the embracing of technology that is cutting edge. In order to appreciate this growth, it is imperative that we know the origins of Asian fashion. Asian fashion boasts of its existence from as far as the 4th century known as the Meiji Period, following Japan’s willingness to open its doors to the West (Koren1984). Later, Japan fused the styles of different foreign labels with their conventional culture known today as Japanese Street Fashion due to its more customizable nature (Chang, 2004). This period was the ultimate defining moment for Japanese fashion, with kimono and yukata leading the way for other forms of fashion. From the above graphics, the vibrant colours and style is very evident Characteristics of Japanese Fashion Hiroko Tabuchi wrote in the New York Times, “There are some promising signs. With government support, the start-up Xavel, which runs fashion shows that let women order outfits in real time using their cellphones, has opened shows in Paris and Beijing.” (Source: Hiroko Tabuchi, New York Times, January 1, 2010). As mentioned in the introductory part of this paper, Japanese fashion is a fusion between foreign, especially Western, styles and its own traditional styles. This creativity allows for the clothes to be more customizable depending on an individual’s interests. Most people may recognize the conventional kimono. This garment was Japan’s fashion revolutionizing product and was greatly influenced by Chinese Clothing, Han (Ince and Nii 2010). The kimono underwent transformation through stylization by layering them with half aprons and worn without trousers or skirts. While the length of kimono sleeves has become longer depending on the marital status o the woman wearing it, its design has relatively remained unchanged (Ince and Nii 2010). This can be explained by the very fact that the work put when making kimonos is great art. Another great characteristic of Japanese fashion is seen in the yukata, which are basically casual kimonos but with a slight twist. Yukata garments are made cotton or artificial fabrics and are have straight seems and wide sleeves, more or less like the kimono. Men generally wear yukatas with shorter sleeves compared to women (Ince and Nii 2010). Yukata for children have characteristic bold patterns with popping colours that are vivid and bright while adults wear those that have dull patterns and colours. These two are very traditional and barely represent Japan’s current fashion although their patterns can be seen in almost all current designs (Ince and Nii 2010). Japan’s contemporary fashion styles are characterized basically by their ability to adapt to changing times without compromising on the original designs. An example of such a style is known as Cosplay which got its name from the fusion of ‘costume’ and ‘play.’ It is characterized by the dressing styles of anime and manga and fantasy movie characters. This mode of dressing is mostly considered a hobby by its fans. The other modern and popular fashion style is Lolita style (Steele and Mears 2010). This type is inspired by classy adult costumes and children’s clothing from the Victorian period. This explains why it is a readily accepted style across the borders of Japan. Lolita has a quite a number of sub-categories including Gothic Lolita characteristic blended look of a doll and that of punk. There is also Sweet Lolita, with characteristic features of soft-coloured clothes and plenty of ribbons (Steele and Mears 2010). Classic Lolita, another sub-category, is more traditional characterized by light colours and is a more mature style (Sun 2003). Another fashion style that is very popular is Kogal and is common with women in big cities and want to accentuate their distinctive taste in fashion and it is characterized by cultural trends. Lastly, Ganguro makes the final fashion style in this group. Ganguro basically means ‘black face’ and is characterized by white lipstick, bleached hair, platform shoes, artificial lashes and brightly coloured clothes. Its root can be traced from as far as the middle 90’s (Steele and Mears 2010). Cultural Specificity of Japanese Fashion Asian cultures are known to hold dear their traditions despite the changes it times. Japan’s fashion reiterates this point as is mentioned earlier. Their conventional garments had long sleeves and sashes, bucolic hues and patterns, floral designs and strikingly bright colours all characterized the culture of the Japanese. Patterns and colours to be worn were however was determined by the different seasons (Sun 2003). These bold colours can be seen in the Kawii designs which are considered cute. This design spots leggings that are colourful and bold. The Ganguro style also makes use of a lot of colours from dying hair to tanning of bodies by youth who decide to take up that style. Much like the Ganguro, Manba fashion trend is another style that uses lots of colour as its accessories are dazzlingly bright. Manba makeup is made up of white bright lips and circles around the eyes. Bright colourful markers are positioned on the face and the ladies also adorn hair extensions with rainbow colours (Sun 2003). The kimono and yukata, although not popular today, have stuck to the traditional Japanese culture maintaining the material and the design. Today, in some parts of Japan, women are required to wear the kimono while at home despite the change in times (Sun 2003). Significance of Japanese Fashion Locally and Globally Japanese fashion has had significant impact is at both local and global levels. Locally, in Japan, the towns of Harajuku, Bosozuko and Shibuya have been considered fashion hot spots towns because of the bold nature of youth in the area (Sun 2003). The most popular fashion style here is the Decora and Lolita characterized by bright and bold colours and patterns. Recently, the merging of the Decora and Lolita style has brought about a new fashion sense that is more of a Western Pastel Goth. This shows that the free nature of Japanese fashion has allowed fashion enthusiasts to play around with the different styles and come up with their own depending on their levels of creativity. This makes fashion a very individualistic matter and as a result, Tokyo is seen as a fashion hub in Japan (Steele and Mears 2010). Streetwear has been a revelation in Japan and is more or less the most popular modern trends and as Tom Wallace, Label Networks president puts it, “Streetwear trends in Japan move at lightning speed, but there is a clear new sense of importance that’s been placed on urbanwear among the most fashionable, including a high-volume of girls now wearing denim.” This has clearly been the significance of Japanese fashion in the local scenes. A society that is jam-packed in a more modern landscape, on the edges of its tradition and group uniqueness has given fashion sense a completely different direction depending on how one views it (Steele and Mears 2010). Individual ideas that may seem dysfunctional at the face of it are made to actually work amazingly together. Another significance of Japanese fashion locally has been ethnocentrism. A study carried out by Kinra (2006) states that individuals are more inclined to accept products that originate in their own countries. This explains the individuality nature of the Japanese when it comes to fashion. A majority of Japanese being culturally ethnocentric (Neuliep, Chaudior & McCroskey 2001), readily accept fashion styles that are more culturally similar to theirs. having an own blended style that they can call their own like the Lolita, Gothic, Decora etc styles explains why they are more common in Japan’s major towns. It would be difficult to find these bold styles anywhere else (Mitchell 2005). While the traditional kimono, yukata and the like were pioneers of the now Japanese fashion craze, contemporary forms of fashion have reacted as a form of resistance to the traditional mode of dressing (Azuma & Fernie, 2003). Japanese culture is known to be very conservative and women are expected, in one way or another, to fulfill conventional roles that are expected of a Japanese woman. Although the modern Japanese woman has more communal roles, she is still required to find employment where they are still placed lower than their male counterparts (Azuma & Fernie, 2003). Fashion styles such as the Goth Lolita, came into being to show rejection of a more societal life to that which is more luxurious and free of responsibilities that come with Japanese traditional culture. Due to the sweetness nature that characterizes Lolita style, Gothic Lolita is more of a substitute culture than a complete rebellion to the Japanese tradition (Azuma & Fernie, 2003). Tokyo, Japan’s capital has become a vibrant fashion scene fashion scene. Tokyo, today, is the host of a couple of Japan Fashion Weeks-much like Paris, New York and Milan. This has given her the opportunity to showcase Japanese fashions both locally and globally (Azuma & Fernie, 2003). This event is has attracted more than 60 designers thus emphasizing the point that Tokyo is Japan’s fashion hub. The emergence of fashion centers has clearly been the result of this fashion revolution. Bunka Fashion College is a good example with several branches worldwide, publishing fashion magazines for the locals and organizes some of the biggest fashion competitions in Japan (Azuma & Fernie, 2003). Student who attend Bunka Fashion College rarely have trouble finding work with some of the biggest and well known fashion powerhouses both locally and globally. A good number of international fashion houses particularly run a number of focus groups mostly with Japanese girls for their product launches (Azuma & Fernie, 2003). Globally, the influence of Japanese fashion has strongly been felt in China, Taiwan and Korea. This has been due to geographical and cultural factors (Kawamura 2004). Although the influence it has had in Europe and America has not been a straightforward emulation, the comparable body, shape and stature has made Japanese fashion style an easier option to those in America and Europe for these neighboring countries (Kawamura 2004). Most would probably not know this but most trends find begin in Japan before migrating to Europe and the States. The West Coast of the United States fashion sense has been influenced by the Japanese street fashion. Well known Japanese designer Rei Kawakubo, not long ago designed for Louis Vuitton and H&M. These frequent cross-overs by guest designers have been the reason for this global circulation of Japanese fashion ((Kawamura 2004). This revolution can be attributed to the great works designers like Issey Miyake, Kohji Kamamoto and Comme de Garcons and widely extended by the emergence of fashion brands like Uniqlo, Kenz and Muji (Kawamura 2004). Recently, Gwen Stefani, a re-known western music icon and greatly obsessed with Japanese sense of fashion and culture, does more often than not showcase Japanese style and includes Harajuku dancers in some of her video clips. The pop icon even decided to start her own fashion line, Harajuku clothing line she named ‘L.A.M.B’ whose inspiration she draws from the Japanese culture. This line was a blend of Christian Dior and the Japanese Harajuku which for a while shocked the fashion world in the west but was later accepted. This Eastern fashion passion also prompted her to launch a Harajuku Lovers Perfume. Though largely considered by many to come up with the quirkiest fashion styles and accessorizing ideas, huge interest of this fashion sense has come from the western world (Bhardwaj & Fairhurst 2010). It is true to say that Western fashion has been greatly influenced by from Japan. This is evident from the number of accessories available such as animal back packs that are stuffed, lace, frills, pairs of knee high socks and Do It Yourself accessories that all have their origins in Japan and now can be readily found in several fashion stores around the world (Bhardwaj & Fairhurst, 2010). Harajuku fashion, for instance, is hyped up by well known western icons and fashion enthusiasts worldwide, and it has created a fresh aspect to western fashion. Online BloombergBusinessweek magazine, in one of its post asked the question, ‘Is Japanese style taking over the world?’ which is a very relevant question considering the rapid growth Japanese fashion has experienced globally. American and European fashion designers are of the opinion that it is critical to watch Japan’s fashion because according to them, over the past few years, new trends have always originated from Japan before making their way into the United States or Europe (Frankel, Fukai and Vinken 2010). Camouflage motifs, a popular Japanese fashion design, began during the Ura-hara period before being incorporated around the world. A popular fashion website, MYNIPPON.COM, carried out a study and found that the best denim fabrics globally are from Japan and that the most costly foreign fashion brands are also from Japan with Italy coming in at a distant second (Knight & Kim, 2007). This is because most foreign brands take their looms to be fabricated and finished in Japan. Denim experts have backed these findings and point out that Japanese denim is by all accounts more ‘precise’ compared to those made elsewhere. They further believe that the recent global resurgent in jeans began its journey in Japan a few years back when vintage. This Japanese cultural resurgence of jeans led to the launching of other jeans labels by the likes of Armani and Polo in order to take advantage of this revival (Frankel, Fukai and Vinken 2010). An article published in Foreign Policy by Douglas McGray says: “Japan has become one of a handful of perfect globalization nations (along with the United States). It has succeeded not only in balancing a flexible, absorptive, crowd-pleasing, shared culture with a more private, domestic one but also in taking advantage of that balance to build an increasingly powerful global commercial force. In other words, Japan's growing cultural presence has created a mighty engine of national cool.” Rajia (2011) states, ‘Japanese fashion may be not as popular as some high-end brands in the Western country like Gucci and Louis Vuitton. But Japanese rely on their unique design and marketing strategy attracts many customers, especially young girl and teenager in the Western country.’ In the April 2013 edition of Vogue Japan “When Life Was Exotic” showed how influencing Japanese aesthetics was in the fashion arena. The 2013 spring campaign by Chanel was inspired by Japanese Washitsu aesthetic characterized by minimalistic decoration to showcase the revival of Japanese traditions. These influences do not solely affect designs but the industry as a whole. It is apparent that Japan is one of the world’s leader in the fashion industry as it has one of the oldest cultures. Changes Japanese Fashion Has Faced In Global Circulation As with any other original product that manages to defy cultural boundaries, Japanese fashion has seen experienced changes over the past several years when it crosses borders to the States, Europe and to the rest of the world (Azuma & Fernie, 2003). This change has however been minimal in countries like China, Taiwan and Korea. This is due to the more or less cultural similarities of these neighboring countries. Another factor believed to be the reason behind these minimalistic changes is the similar body shape and physique of the Asian people (Azuma & Fernie, 2003). However this is not the case with the incorporation of Japanese fashion to other cultures because of both the geographical and cultural diversities. Japanese street fashion for instance, in Japan, it is characterized by the combination of several designs like the use of different coloured knee high socks, mini-skirts, fishnet stockings, spiked hair and an array of other accessories to make the final product look more unique and individualistic (Azuma & Fernie, 2003). When this fashion style migrated to the West Coast of the United States, accessorizing was brought to a minimum since the Unite States, unlike East, tend to make trends concrete in that fashion to them is continuous and take a single piece of garment as a trend for that moment and when it fades away, they take up another. This has seen Japanese street fashion accessorizing go minimal (Azuma & Fernie, 2003). Japanese fashion considers colour an integral part of its fashion style. Bold, vibrant and colorful is the best description of this sense of style (Casselberry 2011). Considered one of the weirdest of styles to some extent, it is still found interesting in a way and is adorned by Japanese youth who have the attitude and angst (Casselberry 2011). This colourful and bold patterns design is only seen in the run ways of fashion events but rarely seen in the streets. The western punk style which has a similar look as the Japanese street look is less colourful when the two styles are compared (Casselberry 2011). Conclusion The global circulation of Japanese fashion has taken place over a period of time and not at one particular point. It has taken the blending of both the Japanese traditional and modern styles to come up with trends that are uniquely considered Japanese. The rapid growth in circulation has been the fast growth in economic and technological advancements which has in turn raised the quality of Japanese garments. Chang (2004) states that UNIQLO brand is a perfect example of success in Japanese fashion globally, further emphasizing the role played by creativity and globalization. it is important not to forget Japan was not a any particular time forced on a very inert structure that was the Western world neither did it grow by mimicking Western customs. Fashion in Japan has, over the eras, grown within the scope of Japanese traditions and has provided a means of showcasing individuation (Casselberry 2011). References Bayus, B. and Putis, W. 2006. Product Proliferation: An Empirical Analysis of Product Line Determinants and Market Outcomes. Marketing Science, 18(2): 137-153 Slade, T. 2009. Japanese Fashion: A Cultural History. London: Bloomsbury. Koren, L. 1984. New Fashion Japan. Tokyo: Kodansha America, Incorporated. Ince, C and Nii, R. 2010. Future Beauty: 30 Years of Japanese Fashion. London: Merrell Holberton Publishers Limited. Steele, V and Mears, P. 2010. Japan Fashion Now. New York: Yale University Press. Sun, M. 2003. Traditional Japanese Fashion Paper Dolls. New York, N.Y: Donver Publications. Mitchell, L. 2005. The Cutting Edge: Fashion From Japan. San Diego: Powerhouse Publishing. Azuma, N and Fernie, J. 2003. Fashion In The Globalized World And The Role Of Virtual Networks In Intrinsic Fashion Design: Journal of Fashion Marketing And Management, 7(4): 413-427. Kawamura, Y. 2004. The Japanese Revolution in Paris Fashion. Oxford: Berg Publishers. Bhardwaj, V and Fairhurst, A. 2010. Fast Fashion: Response to Changes in the Fashion Industry: The International Review of Retail, Distribution and Consumer Research, 20(1): 165-173 Frankel, S, Fukai, A and Vinken, B. 2010. Japanese Fashion. London: Laurence King Publishing. Casselberry, E. 2011. Japanese Culture: Fashion from Kimonos to Harajuku Including Traditional Accessories, Fruits Magazine, Lolita, Gothic, Cosplay, Ganguro. South Carolina: BiblioBazaar Read More

The kimono underwent transformation through stylization by layering them with half aprons and worn without trousers or skirts. While the length of kimono sleeves has become longer depending on the marital status o the woman wearing it, its design has relatively remained unchanged (Ince and Nii 2010). This can be explained by the very fact that the work put when making kimonos is great art. Another great characteristic of Japanese fashion is seen in the yukata, which are basically casual kimonos but with a slight twist.

Yukata garments are made cotton or artificial fabrics and are have straight seems and wide sleeves, more or less like the kimono. Men generally wear yukatas with shorter sleeves compared to women (Ince and Nii 2010). Yukata for children have characteristic bold patterns with popping colours that are vivid and bright while adults wear those that have dull patterns and colours. These two are very traditional and barely represent Japan’s current fashion although their patterns can be seen in almost all current designs (Ince and Nii 2010).

Japan’s contemporary fashion styles are characterized basically by their ability to adapt to changing times without compromising on the original designs. An example of such a style is known as Cosplay which got its name from the fusion of ‘costume’ and ‘play.’ It is characterized by the dressing styles of anime and manga and fantasy movie characters. This mode of dressing is mostly considered a hobby by its fans. The other modern and popular fashion style is Lolita style (Steele and Mears 2010).

This type is inspired by classy adult costumes and children’s clothing from the Victorian period. This explains why it is a readily accepted style across the borders of Japan. Lolita has a quite a number of sub-categories including Gothic Lolita characteristic blended look of a doll and that of punk. There is also Sweet Lolita, with characteristic features of soft-coloured clothes and plenty of ribbons (Steele and Mears 2010). Classic Lolita, another sub-category, is more traditional characterized by light colours and is a more mature style (Sun 2003).

Another fashion style that is very popular is Kogal and is common with women in big cities and want to accentuate their distinctive taste in fashion and it is characterized by cultural trends. Lastly, Ganguro makes the final fashion style in this group. Ganguro basically means ‘black face’ and is characterized by white lipstick, bleached hair, platform shoes, artificial lashes and brightly coloured clothes. Its root can be traced from as far as the middle 90’s (Steele and Mears 2010).

Cultural Specificity of Japanese Fashion Asian cultures are known to hold dear their traditions despite the changes it times. Japan’s fashion reiterates this point as is mentioned earlier. Their conventional garments had long sleeves and sashes, bucolic hues and patterns, floral designs and strikingly bright colours all characterized the culture of the Japanese. Patterns and colours to be worn were however was determined by the different seasons (Sun 2003). These bold colours can be seen in the Kawii designs which are considered cute.

This design spots leggings that are colourful and bold. The Ganguro style also makes use of a lot of colours from dying hair to tanning of bodies by youth who decide to take up that style. Much like the Ganguro, Manba fashion trend is another style that uses lots of colour as its accessories are dazzlingly bright. Manba makeup is made up of white bright lips and circles around the eyes. Bright colourful markers are positioned on the face and the ladies also adorn hair extensions with rainbow colours (Sun 2003).

The kimono and yukata, although not popular today, have stuck to the traditional Japanese culture maintaining the material and the design. Today, in some parts of Japan, women are required to wear the kimono while at home despite the change in times (Sun 2003). Significance of Japanese Fashion Locally and Globally Japanese fashion has had significant impact is at both local and global levels.

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