In the very first visual culture lecture, I looked at Japanese youth culture, and this lecture acts as an introduction to the next level of visual culture, entitled visual culture theory.
The whole topic was oriented around the discussion of how fashion, music, and culture is influenced by the Japanese youth.
It brought up topics such as Japanese music, TV, fashion, and culture, and how all of them were intertwined, influencing each other.
Youth culture in Japan is considered mainstream, and somewhat like western culture, is split up into what resembles a ‘tribal system, with certain sub groups co-existing, who all feature different specific looks based on such culture as music, and anime.
There is a cultural district which exists in Japan, and it is often looked upon as a capital of youth culture and fashion. This district is referred to as Harajuku.
Harajuku could be considered to be on the same level as other fashion capitals, such as London, Paris, New York, etc.
Harajuku is approximately 1 square mile in size, but has become a cultural hotspot, and the location of the famous ‘Harajuku Fashion Walk’.
Harajuku stands out a lot from other areas in Japan, because the city was originally exposed to western culture at the end of WWII, as the U.S. military had occupied sites based in the area.
Japanese youths at the time horded to the area out of curiosity, in order to witness strange, new, products, and culture from the west.
By the 1960’s, Harajuku became a highly cultural area, where many of the youth came to socialize, and to meet-up.
The popularity of the area allowed for commercial development to take place, and this increased over time from initial development in the 1960’s and 1970’s. 1
Although fashion has always been a key part of the district, from around the 1990’s, a varied level of distinct youth fashion trends have emerged in the district, spanning into other areas of Japan. Some of those trends being for example ‘Kawaii’ (which I will go into more detail later), ‘Cyber-Punk’, and ‘Goth Loli’ styles, shown in respectable order.
‘Kawaii’ (cuteness) (figure 1 )2
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| Figure 1 |
‘Cyber-punk’ (figure 2 )3
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| Figure 2 |
‘Goth Loli’ (figure 3 )4
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| Figure 3 |
Such media a music is often a key influence on these fashion styles, and artists often create a distinct style so that followers of their music can dress like they do, almost as if they are part of a large gang.
Kyary Pamyu Pamyu is an artist who is a good example of how artists can influence Japanese youth fashion. 5
Kyary Pamyu Pamyu has a very distinctive fashion style, and her wear is usually very colorful, resembling a ‘Kawaii’ style, and this look could be considered quite strange to a western eye, who is not used to this particular look.
I will admit in my opinion I initially found her style strange before understanding her motives, but I suppose I am bias toward my own cultural origins.
If I was raised in Japan, I would see this as a normal fashion, especially if living in the Harajuku district.
I want to point back to the ‘Kawaii’ visual style that I briefly looked at earlier, as I want to go more in-depth into the Japanese association with ‘cuteness’, and I will provide some further examples of this over the next few pages.
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| Figure 4 |
Figure 4 is referenced at this footnote. 6
Looking back at figure 1 located on the 2nd page, you can see that the imagery within this example suggests cuteness, as well as a level of child-like innocence, and imagery.
For example, in figure 1, the people in the image are dressed up in bright colours, particularly in the theme of pink, and are both wearing clothes that appear cute, and are posing with animal ears on their head.
The figure on the left of the image is also carrying with her a Barbie suitcase, which is associated with small girls.
In figure 4 (see above), the two people appear to be hugging small plush panda toys, and are wearing clothes donned with smiley faces.
They are posing, and dressing, in a way that children would, and westerners who aren’t associated with the eastern style of culture may associate this adult preference to child-like imagery as strange, as it is difficult for an outsider to view a totally different culture from an external point of view, especially with a bias toward their own culture.
The need for Japanese followers of the ‘Kawaii’ visual look to appear as cute as possible, could be viewed in western eyes almost as an obsession.
The next example I want to highlight is found at figure 5, and is a character taken from the Japanese anime television series, Pokémon.
The character displayed below, is one of the franchise’s most recognized figures, and is named ‘Pikachu’.
The Japanese animated television series began airing in 1996, and eventually arrived in the west.
The character could be visually labeled part of the ‘Kawaii’ style, due to a lot of ‘cute’ characteristics, such as his large black eyes, large ears, red and rosy cheeks, colours, small arms, and his smile. This character is commonly used in a lot of Japanese cosplay, which is where people dress up as characters from such media as games, movies, and books.
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| Figure 5 |
Overall in summary, the ‘Kawaii’ style, like many different cultural styles in Japan, is one of the most popular trends, and is beginning to ‘seep’ more and more into Western culture, as there is a growing market in Western interest in Japanese themes.
I discussed the anime series Pokémon earlier, and this series is very popular in both the East and the West, which helps support my claim of Western interest in Japanese culture.
Ben’s lecture – Bladerunner, and Japanese Youth Culture
Moving onto Ben’s lecture now, and I will be talking about how Japanese culture has influenced western contemporary artists, and I will also be discussing the importance of concepts by looking at the 1982 blockbuster movie, Bladerunner, which focuses on concepts heavily influenced by Japanese culture, as a way to connect the lecture by Malcom, and the session with Ben together.
If we take a look at the concept art surrounding Ridley Scott’s movie, when carefully observed, eastern themes can be clearly seen, and it is as if western and eastern cultures have been mixed together.
It is very evident in the first image below, which is referenced at this footnote. 8
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| Figure 6 |
The image’s relation to Japanese culture can be seen through the Japanese text and symbols that are on the signs, almost littered across the street.
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| Figure 7 |
Figure 7 seen above9, also has Japanese language characters featured in the concept art, and figure 8 below10, is a scene from the actual movie.
Here you can see further Japanese cultural influence, as on the right side of the image, there is a face that is of a clear Japanese racial origins.
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| Figure 8 |
Figure 9 below11 once again shows Japanese culture, mixed with western culture.
If you look at the underside of the blimp, you can see a figure of Japanese ethnic origin, coupled with Japanese text.
The image also shows some concept work, as there is a photo of a man working on the blimp pre-production.
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| Figure 9 |
Figure 10 below12 shows a very rough piece of movie concept art
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| Figure 10 |
Concept art was crucial in the production of Bladerunner, and it is also very important in any creative field, such as illustration.
In module three, which was entitled non-narrative illustration, I explored working in multiple concepts with the production and design of my own illustrative, and graphic interpretation of an album, product, editorial, and poster, based upon one of Kate Bush’s albums, ‘Hounds of Love’.
I found it to be of huge benefit to my final designs, and helped to show me just how important concepts are.
The concept art for Bladerunner was inspired by the industrial sections of Middlesbrough, which interestingly was the original hometown of the movie’s director, Ridley Scott.
If we take a look at the model of the city in which the movie is set, you can see stark resemblances between the model, and sections of Middlesbrough. That image is referenced at this footnote.13
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| Figure 11 |
References Used:
1. Godoy, T, (2003), Style Deficit Disorder:
Harajuku Street Fashion – Tokyo, Pg: 11, California: Chronicle Books.
2. FIGURE: 1, Aoki, S. (2001) Fruits,
Pg: … Oxford:
Phaidon Press.
3. FIGURE: 2, Aoki, S. (2001) Fruits,
Pg: 34, Oxford: Phaidon Press.
4. FIGURE: 3, Aoki, S. (2001) Fruits,
Pg: 145, Oxford: Phaidon Press.
5. Godoy, T, (2003), Style Deficit Disorder:
Harajuku Street Fashion – Tokyo, Pg: 17, California: Chronicle Books.
6. FIGURE: 4, Aoki, S. (2001) Fruits,
Pg: 158, Oxford: Phaidon Press.
7. FIGURE: 5, (‘Super Smash Bros Advertisement’). (2014). Official Nintendo Magazine,
(Issue: 113), p.49, Future Publishing Ltd, London.
8. FIGURE: 6, Shay, D. (2000) Blade
Runner: the Inside Story, Pg: 13, London: Titan Books.
9. FIGURE: 7, http://i.imgur.com/whFyC.jpg
10. FIGURE: 8, Shay, D. (2000) Blade
Runner: the Inside Story, Pg: 49, London: Titan Books.
11. FIGURE: 9, Shay, D. (2000) Blade
Runner: the Inside Story, Pg: 69, London: Titan Books.
12. FIGURE: 10, Shay, D. (2000) Blade
Runner: the Inside Story, Pg: 22, London: Titan Books.
13. FIGURE: 11, Shay, D. (2000) Blade
Runner: the Inside Story, Pg: 5, London: Titan Books.
