THE INFLUENCE OF TRADITIONAL JAPANESE CULTURE ON MODERN FASHION DESIGN

THE INFLUENCE OF TRADITIONAL JAPANESE CULTURE ON MODERN FASHION DESIGN

CHAN KA YEE, KELLY BA (Hons) Scheme in Fashion and Textiles (Fashion Design Specialism)

INSTITUTE OF TEXTILES & CLOTHING THE HONG KONG POLYTECHNIC UNIVERSITY 2010

THE INFLUENCE OF TRADITIONAL JAPANESE CULTURE ON MODERN FASHION DESIGN

A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Bachelor of Arts (Honours) in Fashion & Textiles (Fashion Design Specialism) under the Supervision of Dr. Gloria Wong By Kelly, Ka Yee CHAN

Institute of Textiles & Clothing The Hong Kong Polytechnic University April 2010

ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Dr. Gloria Wong, for her content guidance, invaluable advice and sustained interest throughout my preparation of the project work.

ABSTRACT

Japanese culture covers a wide range of aspects such as personal needs, household needs, electronics, media and fashion. One may not realize, but it is possible for Hong Kong people to be gradually influenced by all-round of Japanese culture. In this investigation, researches focusing on factors affecting Hong Kong fashion are studied with regard to Japanese traditional culture. Japanese fashion was categorized for better understanding, and traditional costume was the main focus. The interpretation of modern fashion design using traditional Japanese cultural elements were studied and analyzed. The key to application of Japanese concepts and aesthetics were also studied.

CONTENTS Page ACKNOWLEDGEMENTS ABSTRACT CHAPTER 1 INTRODUCTION 1.1 Background of Study 1.2 Objectives 1.3 Scope of Study 1.4 Methodology 1 2 4 4 5

CHAPTER 2 LITERATURE REVIEW 2.1 Japanese Traditional Cultures 2.1.1 Introduction 2.1.2 Japanese Traditional Arts 2.1.2.1 Sado 2.1.2.2 Ikebana 2.1.2.3 Ukiyoe 2.1.2.4 Origami 8 8 9 9 11 13 15

2.1.2.5 Ohanami 2.1.3 Japanese Traditional Performing Arts 2.1.3.1 Kabuki 2.1.3.2 Geisha 2.2 Japanese Traditional Costumes 2.2.1 The Different Eras 2.2.1.1 Heian Period 2.2.1.2 Kawakuma Period 2.2.1.3 Muromachi Period 2.2.1.4 Momoyama Period 2.2.1.5 Edo Period 2.2.1.6 Meiji to Modern 2.2.2 The Aesthetics and Signification of Kimono 2.2.2.1 Shapes and Silhouette 2.2.2.2 The Kimono Fabric 2.2.2.3 Color Combinations 2.2.2.4 Prints and Patterns 2.3 Japanese Street Fashion

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2.4 Japanese Fashion Designer Brands 2.5 Japanese Labels of Japanese Style Casual Wear CHAPTER 3 METHODOLOGY 3.1 Research Focus 3.2 Questionnaire Survey 3.2.1 Objectives 3.2.2 Questionnaire Design 3.3.3 Sampling, Method and distribution 3.3.4 Pilot Test 3.3.5 Data Collection and Analysis

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CHAPETR 4 FINDINGS OF QUESTIONNAIRE 4.1 Background of Respondents 4.2 Japanese Traditional Culture 4.3 Japanese Traditional Costume 4.4 Japanese Street Fashion 4.5 Japanese Designer Brands and Labels 4.6 Japanese Style Casual Wear 47 51 56 63 71 79

4.7 Japanese Inspired Collection by John Galliano 4.8 Comparison on Different Kinds of Japanese Related Clothing CHAPTER 5 ANALYSIS 5.1 Japanese Traditional Culture 5.2 Japanese Traditional Costume 5.3 Japanese Street Fashion 5.4 Japanese Designer Brands and Labels 5.5 Japanese Style Casual Wear 5.6 Japanese Inspired Collection by John Galliano 106 99 101 102 104 105 90 83

5.7 Comparison on Different Kinds of Japanese Related Clothing 108 CHAPTER 6 DESIGN APPLICATION 6.1 Theme 6.2 Inspirations 6.3 Fabrication 111 112 112

6.4 Placement of Prints 6.5 Silhouette and Cutting 6.6 Styling CHAPTER 7 CONCLUSION, LIMITATIONS AND RECOMMENDATIONS 7.1 Conclusion 7.2 Limitations 7.3 Recommendations APPENDIX REFERENCES

115 116 117

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CHAPTER 1

INTRODUCTION

1.1.

Background of Study

Japan is a modern and prosperous city. A lot of high quality and technology products developed in Japan are widespread allover the world. Today, when we walk into a department store in Hong Kong, Japanese products can be found everywhere. Skin care products, cosmetics, magazines, household items, electronics or even toys etc., are somewhat imported from Japan. It is undeniable that Japanese culture is influential to Hong Kong.

In today’s Hong Kong fashion, it can be seen that certain features of the Japanese traditional costume, kimono, are adopted. Garments with design features such as kimono prints, Ukiyoe graphics, Japanese slogans embroidery, and kimono sleeves are made. The existence of these Japanese inspired clothing

indicated the potential of using Japanese traditional cultural

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elements in design applications.

Different cultures have their own respective aesthetics. If Japanese culture is spreading among different planes of Hong Kong, it is possible that Hong Kong people’s aesthetics are affected through incorporating Japanese cultures. Hence, it is important to find out in what way and to what extent Japanese culture is influencing fashion, and whether or not Hong Kong people appreciate Japanese culture and fashion through the perspectives of them.

1.2.

Objectives

Japanese fashion is very interesting to look at. The elegant kimonos, the extreme-looking street fashion, and the artistic fashion on the runways are all remarkable for. These fashion styles have their own history and are inspiring for someone who cares fashion design. I think it is important to research and explore the definition of Japanese fashion, and learn about the possibilities in Japanese fashion.

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The traditional Japanese costume Kimono has more than a thousand years of history, and is still popular in modern Japan. I believe the amrita of kimono represents the history and development of aesthetics of Japanese, and I want to investigate the key to everlasting fashion design.

There are many fashion styles developed from the subcultures of Japanese. The street fashion in Japan is having different and exaggerated styles especially in Harajuku. Japanese people not only can carry them all, but they also can develop further on those styles. The mix of styles showed creativity behind Japanese street fashion and this is another reason behind my investigation.

One of the fashion capitals, Tokyo, is in Japan. The achievements of great fashion designers such as Rei Kawakubo, Issey Miyake, Yohji Yamamoto are undeniably influential in fashion. It is interesting to study the concept and aesthetics of them.

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Knowing the history of Japanese fashion or understanding its aesthetics is not enough.

As a non-Japanese, I appreciate the Japanese culture and its strength in fashion, and I want to try applying them in my fashion design collection project using Japanese cultural elements as inspirations and find out the feasibility of this.

1.3.

Scope of Study

Japanese culture covers a wide area from the traditional ones to the modern developments. To narrow down the scope of the study, researches were focused on mainly the traditional cultures and traditional costumes for understanding the concept and aesthetics behind the origins of Japanese fashion. Other categories of Japanese fashion such as the street fashion, the Japanese designers’ fashion brands and the Japanese style casual wear, were briefly studied for understanding the development of Japanese fashion. Questionnaire survey was conducted towards

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young adults who aged 18-25 and especially those who are interested in fashion. The attitude of young people towards Japanese fashion was studied. Different aspects such as the recognition, popularity of Japanese traditional culture, Japanese traditional costumes, Japanese street fashion, Japanese Designer Labels, Japanese style casual wear, and the acceptance of bringing Japanese cultural elements to modern fashion design will be assessed.

1.4 Methodology To accomplish the stated objectives, a cope of methodological approaches would be adopted.

1.4.1 Literature Review To research a wider scope of information, literature review was used to collect information on the research topic. Books and websites are researched thoroughly for aspects such as description and definition of Japanese traditional culture and Japanese fashion. Through understanding the history and

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aesthetics of Japanese traditional culture and fashion, it enhanced my knowledge and perception in the concept and focus behind Japanese designs.

1.4.2 Questionnaire Survey Questionnaire survey was performed to collect opinions from the general public in order to understand the recognition, interest and attitude towards the research topic. It was an effective tool to reach a wide range and large number of people. The findings from questionnaire were then analyzed for further understanding of the market’s needs and trend through translating the preference of people for different kinds of Japanese related fashion and clothing.

1.4.3 Design Application A collection of three outfits of the Design Collection Project was applied with the researched principles and aesthetics with my own interpretation on Japanese traditional culture. Different aspects will be discussed to review the possibility of applying

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Japanese aesthetics and concepts from a non-Japanese point of view.

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CHAPTER 2

LITERATURE REVIEW

2.1 Japanese Traditional Cultures and the Aesthetics Behind

2.1.1 Introduction Japan, is a very unique place which, on one hand, it has some of the most updated electronics and high technology products, but, on the other hand, it is still holding on to a lot of its traditions.

Figure 2.1.1a Japanese Traditional Culture When talking about traditional cultures, images of a white-faced Japanese woman wearing a kimono spinning a red umbrella, or Japanese ghost masks and statues often pop up in people’s head. Japanese traditional cultures are renowned for its arts and entertainment from everyday life detail to festival celebrations.

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Sado, kodo, Ikebana, Bonsai, Ukiyoe, Origami are some of the aspects of Japanese arts. Kabuki, Noh, Bunraku, and Geisha are the main categories of Japanese performing arts. Understanding Japanese traditional cultures is a way to go deep to the Japanese aesthetics, which allows me to analyze its influence in fashion.

2.1.2 Japanese Traditional Arts

2.1.2.1 Sado

Figure 2.1.2.1a Sado Sado, which can also be named as Chado, Chanoyu, or Chaji, is a kind of tea ceremony in Japan. The tea ceremony symbolizes “discipline, focus and tranquility of the Japanese culture” (Travel Info). Sado was originated as early as 9th century and
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influenced by the Chinese tea drinking concept. It was then exalted to “the level of national art form” by Sen No Rikyu (Travel Info). Sado was spread all over Japan and it became popular because of its aesthetics.

Figure 2.1.2.1b shows the gesture of the host while performing Sado The carefully choreographed positions, movements and gesture of the host performing the tea ceremony are an expression of thoughtfulness and mutual respect (Travel Info). Sado reflects “the ideals and aesthetics of Zen Buddhism and the concept of wabi-sabi (beauty of simplicity) from the Higashiyama culture” (Wikipedia). The Art of Tea is a representation of “humility, restraint, simplicity, naturalism, profundity, imperfection, asymmetry, simple, unadorned objects and architectural space, and the mellow beauty that time and care impart to materials”
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(as cited in Picture Tokyo).

2.1.2.2 Ikebana

Figure 2.1.2.2a Ikenbana Ikebana, in another name called Kado, is the way of flower arrangement which “symbolizes heaven, earth and humankind” (Picture Tokyo). Ikebana was originated by a Buddhist priest called Ikebana Senkei in 15th century and was then widely spread in Japan in the early 20th century (Travel Info). Ikebana is a very popular culture that there are thousands Ikebana schools around the world.

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Figure 2.1.2.2b “vertical-line” arrangement of Ikebana Rather then putting the flowers together according to the colors of blossoms, “Ikebana often emphasizes other areas of the plant, such as its stems and leaves, and draws emphasis toward shape, line, form” (Wikipedia). The art of flower arrangement is based on the aesthetics which suggests minimalism and forms “a harmony of linear constructions, rhythm and color” (Picture Tokyo). While practicing flower arrangement in Ikebana way, it is a must to keep silence as a spiritual respect to the nature, and it is believed that “Ikebana can inspire one to identify with beauty in all art forms” (Wikipedia).

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2.1.2.3 Ukiyoe

Figure 2.1.2.3a Ukiyoe Ukiyoe is a kind of wood-block print which is “collaboration between artist, publisher, wood board carver and the painter” (Japanzone) and has a meaning of “pictures of the floating world” (Picture Tokyo). Ukiyoe were originated in the metropolitan culture of Edo period, “when the political and military power was in the hands of the shoguns, and the country was virtually isolated from the rest of the world” (Ukiyo-e, 1995).

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Figure 2.1.2.3b Unkiyoe Poster They were often used for book illustrations and kabuki posters, and became very popular in Japan because they could be mass-produced so that the unwealthy townsmen were affordable (Picture Toyko).The prominent Japanese artists of Ukiyoe include Utamaro, Hokusai, Hiroshige, Sharaku. This kind of art was also influential to some Western artists such as Van Gogh, Monet, Degas and Klimt in the late 19th century (Picture Tokyo). Subjects and themes that were often used in Ukiyoe include actors and theatrical performances, animals and flowers, festivals and processions, historical and mythological themes, landscapes and street scenes, Sumo wrestlers, and women etc. The aesthetics of Ukiyoe were based on the Buddha concept of a “Sorrowful World”

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and the seeking of release after the earthly plane of death and rebirth (Picture Tokyo). They represent the state of mind and attitudes of the artists towards the cultures in their times.

2.1.2.4 Origami

Figure 2.1.2.4a Origami Origami refers to the art of paper folding. Although the origin of Origami is unknown, Japan was definitely a place to elevate the art of it as early as the Heian Period which “was a time of great artistic and cultural advances” (Japanzone). Great variety and possibility of designs can be formed by simple folding actions which explain the popularity of Origami among adults and children worldwide in the Edo period. The grandmaster of Origami, Akira Yoshizawa, was innovative in Origami techniques such as the wet-folding.

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Figure 2.1.2.4b Origami balloons used as string lights Origami not only was used as an entertainment, but also in ceremonial occasions because it was an art representing the laws of nature, the dignity of life, and the expression of affection into one’s work (as cited in Japanzone). The aesthetics of Origami was based on the different forms and color combinations of Origami paper.

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2.1.2.5 Ohanami

Figure 2.1.2.5a Ohanami Every year in spring time, Japanese gather together for viewing of cherry blossoms named as Ohanami. This kind of flower viewing hobby has become a national obsession since Heian Period (Travel). Cherry blossoms have several symbolisms. They are “a symbol of delicateness of the nature, and also of the human” (as cited in Sakura), “a transience of life” (Travel) and “an embodiment of self-sacrifice” (Sakura).

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Figure 2.1.2.5b Sakura Ohanami is important to Japanese because it is cultivation for “sensitivity of beauty” that Sakura (cherry tree) is thought to be “a key object to understand Japanese philosophy” (as cited in Sakura).

2.1.3 Japanese Traditional Performing Arts

2.1.3.1 Kabuki

Figure 2.1.3.1a Kabuki Actors
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Kabuki is a form of traditional Japanese theatre meaning the skill for singing and dancing with the combination of “form, color and sound into one of the world's great theatrical traditions” (Japanzone). “It is known for the stylization of its drama and the elaborate make up worn by its performers” (Picture Tokyo). “The word kabuki is in fact believed to derive from the verb kabuku, meaning "to lean", or "to be out of the ordinary", hence kabuki can be interpreted to mean "avant-garde" or "bizarre" theatre” (Picture Tokyo).

2.1.3.4 Geisha

Figure 2.1.3.4a Geisha Geisha refers to artists or entertainers which their

performances include “story-telling, music playing, performing
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the Chado tea ceremony and flirtation” (Travel). “The Geisha´s position in society flourished when peace and prosperity came to Japan” (BellaOnline).

Figure 2.1.3.4b & c Geisha performing Sado A Geisha has to learn an infinite number of unque skills such as “the proper manner to whiten her face, the art of dressing elegantly, how to serve drinks, how to play the samisen, and any number of other ‘womanly’ skills” (BellaOnline). This explains why Geisha are also called “person of arts” (japanzone) or “person of talents” (Bella Online).

“The word ‘kimono’ literally means ‘clothing’, but has come to
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symbolize the Geisha and their way of life” (Travel). Although the kimonos for Geisha were more “simply dressed than the courtesans, they became regarded as fashion leaders” until the decline of Geisha in mid-20th century (Japanzone).

Figure 2.1.3.4d Geisha “Geishas seem to live in their own world which has its own principles and the Japanese give much respect to this” (ChinatownConnection). The secrecy of a Geisha’s life adds mystery and allure to this kind of Japanese culture

2.2 Japanese Traditional Costume

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2.2.1 The Different Eras Japan is famous for its national costume, kimono, which has a history of over ten centuries while some modern Japanese are still wearing in special occasions.

Kimono was a piece of simply designed garment, with a squared body and a pair of squared sleeves, and was easy to fasten or discard (H. B. Minnich, 1963, p.27). L. C. Dalby (1993) defined kimono as “a geometric use of standard fabric widths sewn with minimal cutting; an open, overlapping front; an attached neckband sewn around the front opening; and sleeves consisting of a width of fabric attached to the selvages” (p.18).

Kimono was economical due to its minimal waste of fabrics. The cutting layout of kimono patterns formed a rectangle of 12 feet 6 inches long and 14 inches wide (p.20). Since kimono is standard in size, any excess fabric in a kimono pattern would be folded into the seams instead of being cut (p.20). Although the construction method, the pattern and the form of kimono stay more

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or less the same, the styles and colors vary over the centuries.

2.2.1.1 Heian Period

Figure 2.2.1.1a Kimono in Heian Period Early in the Nara Period (710-794), Buddhism was established in Japan and the kimono in that period was mostly influenced by Chinese culture. Japanese then developed a more characterized style of kimono in the Heian Period as the power of Fujiwara dominated.

During that time, the straight-line-cut kimono making technique was developed, which involved cutting pieces of fabric in straight lines and sewing them together (“History of Kimonos”, n.d.). That was the prime reason behind the straight-line-cut and squared shape of the kimono.

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Another special feature was layering of the kimono. According to N. Yamanaka (1982), “women of the Heian court wore unlined kimono one over the other, taking great care to match and contrast the colors of each layer, which were visible at the neck, sleeve ends and lower skirt” (p. 34). The multi-layered kimonos were worn in ceremonial locations and as undergarment.

The outer garment called sokutai, was a robe consisted of a long trailing and large and open-ended sleeves. Sokutai was designed for the luxury living of the Heian court nobles who their life was “one of the most refined and sophisticated in the world at that time, although an extraordinary concern for beauty, delicacy and sensitivity led eventually to a prescriptive aesthetics and empty formalism” (N. Yamanaka, 1982, p.34).

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2.2.1.2 Kamakura Period

Figure 2.2.1.2a & b shows women and men in Kamakura Period During the Kamakura Period (1185-1333), “the elegant court life was replaced by a more restrained style of living” (H.

Munsterberg, 1996, p.9) as the extravagance of fashions was restricted by laws. Simplicity was emphasized and the

multi-layered kimono waned. Another important alteration was the change of the narrow sleeved kimono called kosode, from a plain white undergarment to a colorful, decorated main garment (p.9).

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2.2.1.3 Muromachi Period

Figure 2.2.1.3a & b shows women and men in costume for both Muromachi Period and Momoyama Period The significance of the Muromachi Period (1334-1573) was the transition of kimono from an exaggerated Fujiwara court costume to a simple Kawakura kosode which were modified and standardized to a long-lasting style until today (H. B. Minnich, 1963, p.138).

Apart from that, Muromachi Period was notable because the usage of the luxurious textiles such as “lavish gold-patterned silks, deeply crinkled crepes, and heavy silks of so-called exquisite quality to sheer ramie and stiff silk gauze” (H. B. Minnich, 1963,

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p.139). According to Hugo Munsterberg (1996), the splendid garments that were donated to the shrine are today listed as National Treasures (p.9). From the fashion at that time, it reflected the aesthetics were glamorized by aristocracy.

2.2.1.4 Momoyama Period The short Momoyama Period (1573-1615) was remarkable of a huge quantity and a great variety of beautiful cloths with bold and colorful textile designs (H. Munsterberg, 1996, p.11-12). From H. Munsterberg’s description of Momoyama Period as “one of the most brilliant and artistically productive in Japan’s long history (1996,p.11) and its products as “the bright colors and rich use of gold and silver were dazzling, and the resulting visual effect lavish (p.15), it reflected the aesthetics during that time encourages splendor, magnificence and grandeur.

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2.2.1.5 Edo Period

Figure 2.2.1.5a shows women in Edo Period Japan was ruled over by the Tokugawa shoguns and was “almost totally free of influence from abroad” (N. Yamanaka, 1982, p.38) during the Edo Period. The artistic style of the early Edo Period represented a continuation of Momoyama art which kimonos were featured with bold designs and gorgeous colours (H. Munsterberg, 1996, p.18). The most important change during that time was the widespread of kosode “through the influence exerted on fashion by courtesans,

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entertainers and Kabuki actors, who took to wearing increasingly elaborate and colorful kosode kimono” (N. Yamanaka, 1982, p.38).

2.2.1.6 Meiji to Modern

Figure 2.2.1.6a shows kimono in Meiji Period Meiji is a very important period as it gave a new definition to traditional kimono due to the westernization in Japan at the time. Japanese men first adopted Western clothing for business or military uniforms during the First World War. After the outbreak of Great Kanto Earthquake and the Shirokiya fire, Japanese women changed their clothing from traditional kimono to Western clothing because the kimono could endanger their lives because

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“its long sleeves and train prevented rapid movement” (T. Slade, 2009, p.57).

The modernization of women’s traditional costume became necessary for “expression of their new freedom” (H. Munsterberg, 1996, p.60) because of the emancipation of political agenda, the modernity of aesthetic demand, and the functional need for urban movements and activities such as sports (T. Slade, 2009, p.108).

It was a huge transformation for Japanese women to wear Western clothing instead of kimono because the body conscious aesthetics of Western clothing is totally different from the kimono which “wraps the body in smooth, straight lines, effective eliminating the figure underneath, the close-fitting bodice and bustle reduced the figure into a series of angles and curves” (T. Slade, 2009, p.104).

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Figure 2.2.1.6b shows modern kimono Yukata As “the focus of the fashion world shifted from kimono to Western clothing” (A. Ueda, 1994, p.114), Western clothing had become the everyday wear of Japanese women since the recent decades. A simpler and more practical kimono called yukata is worn by Japanese women nowadays for special occasions such as festivals and weddings (H. Munsterberg, 1996, p. 61-62). Yukata was titled as the New Kimono as it “combines traditional aesthetic effects with some of the conveniences of Western clothes” (p.62).

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2.2.2 The Aesthetics and Significations of Kimono

Figure 2.2.2a shows construction of a kimono Dōura Eri Fuki Furi Maemigoro upper lining on a woman's kimono collar hem guard sleeve below the armhole front main panel

Miyatsukuchi opening under the sleeve Okumi Sode Sodeguchi Sodetsuke Susomawashi Tamoto Tomoeri front inside panel sleeve sleeve opening kimono armhole lower lining sleeve pouch over-collar (collar protector)

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Uraeri

inner collar

Ushiromigoro back main section

The design of kimono consists of four elements. They are “the geometric use of standard fabric widths sewn with minimal cutting; an open, overlapping front; an attached neckband sewn around the front opening; and sleeves consisting of a width of fabric attached to the selvages” (L. Dalby, 1993, p.18)

As “the spiritual foundation of kimono culture is love, beauty, courtesy and harmony” (N. Yamanaka, 1986, p.12), kimono is a representation of elegance, timeless beauty, and sensuality. Its implications include “age, gender, season, formality and occasion” (L. Dalby, 1993, p.6)

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2.2.2.1 Shapes and Silhouette

Figure 2.2.2.1a Kimono Kimono is the appreciation of straight lines. No matter on a worn kimono or a folded and put away, the straight lines represent “good manners of the wearer” (N. Yamanaka, 1986, p.10) and “the wisdom of courtesy” (p.10).Since the kimono is cut in straight lines, its form is “a square-cut body with square cut sleeves” which the square cutting is a respect to all cloth-weaving people (H. B. Minnich, 1963, p.27). The loose fitting kimono disguises the proportion of the female body such that contours of the body is smoothen and hidden.

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2.2.2.2 The Kimono Fabric

Figure 2.2.2.2a & b kimono fabric “The formal kimono and obi belts were traditionally made of silk, silk brocade, silk crepes such as chrimen and satin weaves such as rinzu” (website: Japanese Kimono). Chrimen is a kind of kimono fabric made by a traditional Japanese weaving technique. Wrinkles were formed on the surface of the fabric from the weaving technique. For production and cost reasons, the modern kimonos are made with more casual types of fabric such as “rayon, cotton sateen, cotton, polyester and other synthetic fibers except for the traditional wedding kimono”(website: Japanese Kimono).

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2.2.2.3 Color Combinations

Figure 2.2.2.3a shows the coordination of color usage in kimono Different colors of kimonos have different meanings. “Black, which was associated with wisdom, was believed to be protection against evil. Purple represented elegance and was connected with the highest ranks of people. Browns and greys were the traditional colors for commoners: (website: Darkchilde).

In the past, “up to a dozen or more colorful layers of contrasting colored kimono would be worn” which is very different from

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today’s style with “a single layer on top of a slip style undergarment” (website: Japanese Kimono).

2.2.2.4 Prints and Patterns

Figure 2.2.2.4a & b shows the patterns of kimono fabric The prints on a kimono are usually different kinds of floral and leaf forms, as well as animals, birds, people, divine figures and geometric patterns” (H. Munsterberg, 1996, p.4-10). The pervasion of patterns on a garment explains the formality of it. “Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimono has free-style designs dyed over the whole surface or along the hem” (website: Japanese Kimono).

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2.3 Japanese Street Fashion

Figure 2.3a Japanese street fashion Japanese street fashion was developed from the subcultures of Japan. Harajuku is renowned for being “a narrow street packed with young fashionable people and lined with fashion boutiques and cafes” (website: Japanese lifestyle). The gather of all kinds of extreme and exaggerated street fashion makes it a perfect place for snapshots by magazine photographers and western

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tourists. The Lolita, Ganguro, Kogal, Bosozoku, Visual Kei, Cosplay, Decora and Kawai are the main kinds of Japanese street fashion.

2.4 Japanese Fashion Designer Brands

Figure 2.4a Collections from Japanese Fashion Brands and Labels In the early 1980s, the most famous Japanese designers were introduced to the Paris runway, the international arena. Pioneers such as Rei Kawakubo, Issey Miyake and Yohji Yamamoto were considered as avant-garde and they created an unconventional style “characterized by monochromatic, asymmetrical and baggy looks” (Y. Kawamura, 2004, p.125). Today,
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Tokyo has become one of the fashion capitals with the creation of innovative designs influenced by their own cultural background of appreciating asymmetry, simplicity, and incompleteness from the Buddhist aesthetics.

The current popular Japanese fashion brands and labels include Issey Miyaki, Kenzo, Comme des Garcons, Junya Watanabe, Yohji Yamamoto, Limi Feu, A Bathing Ape, Mercibeaucoup and Tsumori Chisato

2.5 Japanese Labels of Japanese Style Casual Wear

Figure 2.5a shows Japanese Style Casual Wear Items Japanese style casual wear refers to the casual daywear like tees and jeans combined with oriental prints for adding a touch of
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Japanese flavor. These prints are often applied with digital printing or embroidery. The types of prints include traditional cultural elements such as Ukiyoe, kimono patterns such as floral patterns and geometric patterns and even Japanese cartoons, comics or slogans. This kind of casual wear is available in certain Japanese labels and is obtainable in Hong Kong. They include Aya Ori, Buden Akindo, Kurochiku, Namitatsu and Tokyo Local Bazaar.

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CHAPTER 3

Methodology

3.1

Research Focus

The research will be conducted to investigate the recognition of the traditional Japanese costumes, the Japanese street fashion and the modern Japanese fashion brands. I would like to find out how much non-Japanese know about Japanese fashion and culture, and how they would like to define Japanese fashion. Their point of view shows how much Japanese culture has influenced local fashion and its culture. Qualitative research is carried out using literature review and questionnaires.

3.2 3.2.1

Questionnaire Survey Objectives

Questionnaire survey are used to find out the people’s recognition and acceptance of Japanese cultures, though

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understanding their point of views on the relationship between fashion and Japanese culture, their definition and interpretation of different kinds of Japanese fashion, and finally their attitudes towards a case study of Dior 2007 spring/ summer collection.

It is needed to clarify what people truly think about the influence of Japanese traditional cultures on fashion because it is essential to find out whether or not Hong Kong people welcome the Japanese cultures. It is even better if we know more before the adoption of it in design application since the market is influential to the trend and the sale of fashion.

3.2.2 Questionnaire Design The questionnaire was divided into four main parts. The first part was about the personal profiles of the respondents. The second part was to find out the recognition, the knowledge, the interest, and the attitude of the crowd towards Japanese cultures and Japanese fashion. Questions based on the general interests

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and interpretation of Japanese culture and Japanese fashion were set with examples and images for references. Different categories such as Japanese fashion from Japanese Street Fashion, Japanese Traditional Costumes, Japanese Designer Brands, and Japanese Style Casual Wear were included in this part of the questionnaire for comparison. The third part was to review how people react when Japanese cultures were used as inspirations from Western fashion designers. This was to test the acceptance of applying Japanese cultural elements on fashion design from a non-Japanese point of view. The last part was the comparison among different kinds of Japanese fashion and Western designer’s Japanese inspired fashion was analyzed in the questionnaire.

3.2.3 Sampling, Method and distribution Since the questionnaire survey was targeted to young people aged 18-25, the questionnaires were distributed randomly in

universities. Hence, the respondents would have different perspectives and interests towards fashion. The results would be more objective. Their monthly income should be similar and

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therefore the willingness of spending for the regarded clothing would reflect the possibility of Japanese related clothing in the market.

3.2.4 Pilot Test Questionnaire survey was performed to a couple of participants as a pilot test. The answers in the original questionnaire lacked choices for “neutral” and “none of the above”. This caused reluctance to proceed with the survey because the participants sometimes did not agree to any of the choices. So, these choices were added back to the questionnaire.

After receiving opinions from the test questionnaire, two missing sessions were added to cover a wider range of Japanese culture and fashion. They are about Japanese traditional culture and Japanese style casual wear. The new questionnaire contained a wider scope of research and was more appropriate after the amendments.

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The questionnaire was claimed to be too long and caused frustrations. To avoid quitting of questionnaire, a few questions were edited out for the final version.

3.2.5 Data Collection and Analysis To process the data analysis and presentation effectively, two major software packages were used – Microsoft Office Word and Excel. The collected data will be presented and organized in tables and diagrams for easy understanding and comparison.

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CHAPTER 4

Questionnaire Findings

4.1 Background of Respondents

Figure 4.1a shows the gender proportion of the participants in the questionnaire survey

Out of the 83 participants, 39.8% were male and 60.2% were female. Figure shows the education level distribution of the participants. 72.3% of the participants attained undergraduate degree education level. 12.1% of them attained associate degree

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or higher diploma. 10.9% of them attained master degree or postgraduate degree. The remaining 4.8% were belonged to secondary school education level.

92.8% of the participants were Hong Kong citizens. 2.4% were from China. 1.2% was from Japan and the remaining 3.6% were from overseas. At the time they fill in the questionnaire, 90.4% were living in Hong Kong. It remained the same 1.2% for Japan but the rest of 8.4% all belonged to living in overseas. A small part of the population lived in a foreign country and this might affect their concept and interest towards culture.

65.1% of the participants were interested in fashion while 34.9% of them were not. 18.1% of them were involved in the field of fashion design while 81.9% were not. This reflected the majority of this group of participants did concern for fashion which their likes and dislikes are crucial to the study. However, the small population of them being involved in the field of fashion design might result in the lack of knowledge in some aspects of the

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research.

Figure 4.1b shows the percentage of monthly income that people were willing to spend on fashion

48.2% of people, which is almost half, were willing to spend 0-20% of their monthly income on fashion. 34.9% of them were willing to spend 21-40% of their money on fashion. 10.8% of people fell into the category of 41-60% and 4.8% of people belonged to the range of 61-80%. The least people, 1.2% of the population, would spend 81-100% of their monthly income on fashion.

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Figure 4.1c shows the percentage of expenses on fashion that people were willing to spend on Japanese related clothing

49.8% which is almost half of the respondents were willing to spend 41-60% of their monthly fashion expenses on Japanese related fashion. 27.3% of people fell into the category of 61-80%. 9.3% of people chose to spend 81-100%. 8% of people would spend 0-20% and 5.6% of them would spend 21-40%.

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4.2 Japanese Traditional Culture

Rank 1 Rank 2 Rank 3 Unique Relaxing Elegant Conservative Sophisticated Magnificent Plain Vulgar Subtle Exaggerated Entertaining 22 9 24 3 4 5 1 2 7 4 2 16 5 15 8 5 16 4 1 9 0 4 17 9 4 4 7 9 10 3 5 7 8

Total 55 23 43 15 16 30 15 6 21 11 14

Table 4.2a shows the way Japanese traditional culture were thought to be best described

Respondents were asked to rank their first three choices of describing Japanese tradition culture from their own perception.

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The results of ranking the most appropriate descriptive wording used are listed as follows: For rank 1, “elegant” obtained the highest of 28.9% (24 out of 83 votes). For rank 2, “magnificent” obtained the highest of 19.3% (16 out of 83 votes). For rank 3, “unique” obtained the highest of 20.5% (17 out of 83 votes).

Hence, Japanese traditional culture was perceived to be elegant, magnificent and unique.

Figure 4.2b shows the kinds of Japanese traditional culture that people knew.
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A B C D E F G H I J K

Sado Ikebana Bonsai Ukiyoe Origami Ohanami Kabuki Noh Bunraku Geisha None of the Above

Respondents were allowed to select more than one for the different kinds of Japanese traditional culture they know. The popularity of such are listed as follows in descending percentage of votes: Origami received 15.9% of votes and was the most popular. Ohanami received 15.6% of votes and was the second most popular.

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-

Sado received 15.3% of votes and was the third most popular. Geisha received 12.7% of votes Kabuki received 11.7% of votes. Ikebana, Ukiyoe, Bonsai, Noh, Bunraku received less than 10% of votes

-

Only 4.9% of respondents claimed they did not know any kinds of the Japanese traditional culture.

Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Sado Ikebana Bonsai Ukiyoe Origami Ohanami Kabuki Noh Bunraku Geisha 22 4 3 7 18 19 3 2 1 4 11 18 7 5 13 11 8 1 2 7 13 9 7 4 16 11 6 2 4 11 11 10 5 8 12 13 9 4 3 8 9 6 12 7 3 6 11 5 7 17

Total 66 47 34 31 62 60 37 14 17 47

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Table 4.2c shows the kinds of Japanese traditional culture that people favored.

Respondents were asked to rank their first five favorite kinds of Japanese traditional culture. The results of the ranking are listed as follows: For rank 1, Sado obtained the highest of 26.5% (22 out of 83 votes). For rank 2, Ikebana obtained the highest of 27.1% (18 out of 83 votes). For rank 3, Origami obtained the highest of 19.3% (16 out of 83 votes). For rank 4, Ohanami obtained the highest of 15.7% (13 out of 83 votes). For rank 5, Geisha obtained the highest of 20.5% (17 out of 83 votes).

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4.3 Japanese Traditional Costume

Rank 1 Rank 2 Rank 3 Stylish Cute Elegant Trendy Sexy Conservative Sophisticated Magnificent Plain Vulgar Subtle Exaggerated 4 5 26 2 4 6 4 18 1 1 10 2 3 4 9 5 1 10 19 9 3 2 11 6 4 3 13 3 4 12 11 16 3 4 6 4

Total 11 12 48 10 9 28 34 43 7 7 27 12

Table 4.3a shows the way Japanese costume were thought to be best described.

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Respondents were asked to rank their first three choices of describing Japanese costume from their own perception. The results of ranking the most appropriate descriptive wording used are listed as follows: For rank 1, “elegant” obtained the highest of 31.3% (26 out of 83 votes). For rank 2, “sophisticated” obtained the highest of 22.9% (19 out of 83 votes). For rank 3, “magnificent” obtained the highest of 19.3% (16 out of 83 votes).

Hence, Japanese costume was perceived to be elegant, sophisticated and magnificent.

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Figure 4.3b shows the period of Japanese costume that people knew. A B C D E Heian Period Muromachi Period Edo Period Meiji to Modern None of the Above

Respondents were allowed to select more than one for the different periods of Japanese costume they know. The popularity of such are listed as follows in descending percentage of votes: “Meiji to Modern” received 26.5% of votes and was the most popular.

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-

“Edo Period” received 18.0% of votes and was the second most popular.

-

“Heian Period” received 12.0% of votes and was the third most popular.

-

“Muromachi Age” received less than 10% of votes. 33.3% of respondents claimed they did not know any of the periods of Japanese costume.

Rank 1 Rank 2 Rank 3 Rank 4 Total Heian Period Muromachi Period Edo Period Meiji to Modern 19 5 16 43 11 30 31 11 14 32 20 9 36 12 15 20 80 79 82 83

Table 4.3c shows the period of Japanese costume that people favored.

Respondents were asked to rank their first four favorite periods of Japanese costume. The results of the ranking are listed as follows:

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-

For rank 1, Meiji to Modern obtained the highest of 51.8% (43 out of 83 votes).

-

For rank 2, Edo Period obtained the highest of 37.3% (31 out of 83 votes).

-

For rank 3, Muromachi Period obtained the highest of 38.6% (32 out of 83 votes).

-

For rank 4, Heian Period obtained the highest of 43.4% (36 out of 83 votes).

Figure 4.3d shows the willingness of wearing traditional Japanese costume.

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A B C D E

Never Seldom Occasionally Regularly Always

A majority of respondents which included 83.1% would never wear traditional Japanese costume. 9.6 % of respondents would seldom wear it. 4.8% would occasionally wear it. Both “regularly” and “always” received the same but least votes which contained 1.2%.

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Rank 1 Rank 2 Rank 3 Interest to Japan Personal Interest Trend Cultural Backgroud Peer Influence Media 31 29 5 7 4 7 17 29 15 14 6 2 12 7 17 23 19 5

Total 60 65 37 44 29 14

Table 4.3e shows the reasons behind considerations of wearing or not wearing traditional Japanese costume.

Respondents were asked to rank their first three considerations of wearing or not wearing traditional Japanese costume. The results of ranking their priority are listed as follows: For rank 1, “interest to Japan” obtained the highest of 37.3% (31out of 83 votes). For rank 2, “personal interest” obtained the highest of 34.9% (29 out of 83 votes). For rank 3, “cultural background” obtained the highest of 27.7% (23 out of 83 votes).

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4.4 Japanese Street Fashion

Rank 1 Rank 2 Rank 3 Stylish Cute Elegant Trendy Sexy Conservative Sophisticated Magnificent Plain Vulgar Subtle Exaggerated Courageous Self-Expressive 7 8 3 1 0 1 2 2 0 5 3 28 11 17 6 2 4 6 8 0 0 4 0 2 0 17 24 10 14 6 0 5 0 2 3 1 3 2 4 11 14 18

Total 27 16 7 12 8 3 5 7 3 9 7 56 49 35

Table 4.4a shows the way Japanese street fashion were thought to be best described.

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Respondents were asked to rank their first three choices of describing Japanese street fashion from their own perception. The results of ranking the most appropriate descriptive wording used are listed as follows: For rank 1, “exaggerated” obtained the highest of 33.7% (28 out of 83 votes). For rank 2, “courageous” obtained the highest of 28.9% (24 out of 83 votes). For rank 3, “self-expressive” obtained the highest of 21.7% (18 out of 83 votes).

Hence, Japanese street fashion was perceived to be exaggerated, courageous and self-expressive.

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Figure 4.4b shows the kinds of Japanese street fashion that people knew. A B C D E F G H I Lolita Ganguro Kogal Bosozoku Visual Kei Cosplay Decora Kawai None of the Above

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Respondents were allowed to select more than one for the different kinds of Japanese street fashion they know. The popularity of such are listed as follows in descending percentage of votes: Lolita received 29.6% of votes and was the most popular. Cosplay received 27.5% of votes and was the second most popular. Kawai received 14.2% of votes and was the third most popular. Visual Kei, Kogal, Ganguro, Bosozoku, Ganguro received less than 10% of votes. Only 2.0% of respondents claimed they did not know any kinds of the Japanese street fashion.

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Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Lolita Ganguro Kogal Bosozoku Visual Kei Cosplay Decora Kawai 29 7 5 3 6 19 4 10 13 8 7 5 7 21 7 15 13 9 10 7 15 14 5 10 8 10 13 10 12 5 10 14 12 13 15 10 14 5 6 8

Total 75 47 50 35 54 64 32 57

Table 4.4c shows the kinds of Japanese street fashion that people favored.

Respondents were asked to rank their first five favorite kinds of Japanese street fashion. The results of the ranking are listed as follows: For rank 1, Lolita obtained the highest of 34.9% (29 out of 83 votes). For rank 2, Cosplay obtained the highest of 25.3% (21 out of 83 votes).

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-

For rank 3, Visual Kei obtained the highest of 18.1% (15 out of 83 votes).

-

For rank 4, Kawai obtained the highest of 16.9% (14 out of 83 votes).

-

For rank 5, Kogal obtained the highest of 18.1% (15 out of 83 votes).

Figure 4.4d shows the willingness of wearing Japanese street fashion A B C D E Never Seldom Occasionally Regularly Always

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A majority of respondents which included 78.3% would never wear Japanese street fashion. 12.1 % of respondents would seldom wear it. 6.0% would occasionally wear it. 2.4% would regularly wear and 1.2 % would always wear.

Rank 1 Rank 2 Rank 3 Interest to Japan Personal Interest Trend Cultural Backgroud Peer Influence Media 10 43 9 9 8 4 17 14 19 11 13 9 13 10 18 10 20 12

Total 40 67 46 30 41 25

Table 4.4e shows the reasons behind considerations of wearing or not wearing Japanese street fashion.

Respondents were asked to rank their first three considerations of wearing or not wearing Japanese street fashion. The results of ranking their priority are listed as follows: For rank 1, “personal interest” obtained the highest of 51.8%

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-

For rank 2, “trend” obtained the highest of 22.9% (19out of 83 votes).

-

For rank 3, “peer influence” obtained the highest of 24.1% (20 out of 83 votes).

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4.5 Japanese Designer Brands and Labels

Rank 1 Rank 2 Rank 3 Stylish Cute Elegant Trendy Sexy Conservative Sophisticated Magnificent Plain Vulgar Subtle Exaggerated 41 4 3 17 1 1 0 2 0 3 4 7 9 7 4 29 5 2 3 1 6 1 2 14 11 3 8 10 3 6 4 9 5 4 3 17

Total 61 14 15 56 9 9 7 12 11 8 9 38

Table 4.5a shows the way Japanese brands’ fashion collections were thought to be best described.

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Respondents were asked to rank their first three choices of describing Japanese brands’ fashion collections from their own perception. The results of ranking the most appropriate descriptive wording used are listed as follows: For rank 1, “stylish” obtained the highest of 49.4% (41 out of 83 votes). For rank 2, “trendy” obtained the highest of 34.9% (29 out of 83 votes). For rank 3, “exaggerated” obtained the highest of 20.5% (17 out of 83 votes).

Hence, Japanese brands’ fashion collections were perceived to be stylish, trendy and exaggerated.

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Figure 4.5b shows the kinds of Japanese fashion brands that people knew. A B C D E F G H I J Issey Miyake Kenzo Comme des Garcons Junya Watanabe Yohji Yamamoto Limi Feu A Bathing Ape Mercibeaucoup Tsumori Chisato None of the Above

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Respondents were allowed to select more than one for the different kinds of Japanese fashion brands they know. The popularity of such are listed as follows in descending percentage of votes: A Bathing Ape received 16.2% of votes and was the most popular. Kenzo and Comme des Garcons received 13.0% of votes and was the second most popular. Yohji Yamamoto received 11.5% of votes and was the third most popular. Issey Miyake received 11.2% of votes. Tsumori Chisato received 10.1% of votes. Mercibeaucoup, Junya Watanabe and Limi Feu received less than 10% of votes. Only 9.0% of respondents claimed they did not know any of the Japanese fashion brands.

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Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Issey Miyake Kenzo Comme des Garcons Junya Watanabe Yohji Yamamoto Limi Feu A Bathing Ape Mercibeaucoup Tsumori Chisato 2 11 7 8 6 14 5 10 10 6 7 8 7 10 11 9 10 8 15 11 13 9 12 5 8 3 5 7 7 7 16 11 12 12 9 13 8 13 12 10 11 13 10 8 6

Total 56 52 56

29

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35 49 45 46

Table 4.5c shows the Japanese fashion brands that people favored.

Respondents were asked to rank their first five favorite Japanese fashion brands. The results of the ranking are listed as follows: For rank 1, Issey Miyake obtained the highest of 19.3% (16

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-

For rank 2, A Bathing Ape obtained the highest of 16.9% (14 out of 83 votes).

-

For rank 3, Kenzo obtained the highest of 15.7% (13 out of 83 votes).

-

For rank 4, Comme des Garcons obtained the highest of 15.7% (13 out of 83 votes).

-

For rank 5, Mercibeaucoup obtained the highest of 18.1% (15 out of 83 votes).

Figure 4.5d shows the willingness of wearing Japanese fashion brands’ fashion collections.

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A B C D E

Never Seldom Occasionally Regularly Always

37.4%

would

never

wear

Japanese

fashion

brands’

fashion

collections. 33.7% of respondents would seldom wear it. 20.5% would occasionally wear it. 6.0% would always wear and 2.4 % would regularly wear.

Rank 1 Rank 2 Rank 3 Interest to Japan Personal Interest Trend Appreciation of Designers Cultural Backgroud Peer Influence Media 7 40 17 10 2 3 4 9 13 30 11 6 10 4 11 10 8 17 10 13 14

Total 27 63 55 38 18 26 22

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Table 4.5e shows the reasons behind considerations of wearing or not wearing Japanese fashion brands’ collections.

Respondents were asked to rank their first three considerations of wearing or not wearing Japanese fashion brands’ collections. The results of ranking their priority are listed as follows: For rank 1, “personal interest” obtained the highest of 48.2% (40out of 83 votes). For rank 2, “trend” obtained the highest of 36.1% (30 out of 83 votes). For rank 3, “appreciation of designers” obtained the highest of 20.5% (17 out of 83 votes).

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4.6 Japanese Style Casual Wear

Rank 1 Rank 2 Rank 3 Stylish Cute Elegant Trendy Sexy Conservative Sophisticated Magnificent Plain Vulgar Subtle Exaggerated 24 16 5 9 1 1 2 2 11 8 2 2 12 8 7 8 2 4 0 0 14 10 11 7 14 2 5 15 3 4 6 4 12 3 5 5

Total 50 26 17 32 6 9 8 6 37 21 18 14

Table 4.6a shows the way Japanese style casual wear were thought to be best described.

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Respondents were asked to rank their first three choices of describing Japanese style casual wear from their own perception. The results of ranking the most appropriate descriptive wording used are listed as follows: For rank 1, “stylish” obtained the highest of 28.9% (24 out of 83 votes). For rank 2, “plain” obtained the highest of 16.9% (14 out of 83 votes). For rank 3, “trendy” obtained the highest of 18.1% (15 out of 83 votes).

Hence, Japanese style casual wear was perceived to be stylish, plain and trendy.

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Figure 4.6b shows the willingness of wearing Japanese style casual wear. A B C D E Never Seldom Occasionally Regularly Always

A majority of respondents which included 45.8% would seldom wear Japanese style casual wear. 32.5 % of respondents would occasionally wear it. Both “regularly” and “always” received the same but least votes which contained 3.6%. Only 14.5% would never wear it.

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Rank 1 Rank 2 Rank 3 Interest to Japan Personal Interest Trend Cultural Backgroud Peer Influence Media 10 50 11 4 5 3 16 11 30 10 11 5 21 10 12 11 17 12

Total 47 71 53 25 33 20

Table 4.6c shows the reasons behind considerations of wearing or not wearing Japanese style casual wear.

Respondents were asked to rank their first three considerations of wearing or not wearing Japanese style casual wear. The results of ranking their priority are listed as follows: For rank 1, “personal interest” obtained the highest of 60.2% (50 out of 83 votes). For rank 2, “trend” obtained the highest of 36.1% (30 out of 83 votes). For rank 3, “interest to Japan” obtained the highest of 25.3% (21 out of 83 votes).

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4.7 Japanese Inspired Collection by John Galliano

Rank 1 Rank 2 Rank 3 Stylish Cute Elegant Trendy Sexy Conservative Sophisticated Magnificent Plain Vulgar Subtle Exaggerated 11 3 8 3 1 2 5 12 1 2 2 33 5 2 10 7 8 2 13 17 1 8 1 9 10 2 10 9 3 4 13 11 5 6 3 7

Total 26 7 28 19 12 8 31 40 7 16 6 49

Table 4.7a shows the way Dior 2007 S/S fashion collection was thought to be best described.

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Respondents were asked to rank their first three choices of describing Dior 2007 S/S fashion collection from their own perception. The results of ranking the most appropriate descriptive wording used are listed as follows: For rank 1, “exaggerated” obtained the highest of 39.8% (33out of 83 votes). For rank 2, “magnificent” obtained the highest of 20.5% (17 out of 83 votes). For rank 3, “sophisticated” obtained the highest of 25.7% (13 out of 83 votes).

Hence, Dior 2007 S/S fashion collection was perceived to be exaggerated, magnificent and sophisticated.

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Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Color Usage Prints & Patterns Fabrication Cut & Shape Accessories Makeup & Hairstyle 5 28 6 4 13 21 8 9 16 11 15 14 20 9 12 14 14 7 20 22 30 10 17 15 13 14 6 22 12 8

Total 78 69

68 76 61 63

Table 4.7b shows the aspects in Dior 2007 S/S fashion collection that were thought to be the most attractive.

Respondents were asked to rank the first five most attractive aspects in Dior 2007 S/S fashion collection. The results of the ranking are listed as follows: For rank 1, color usage obtained the highest of 36.1% (30 out of 83 votes). For rank 2, cut and shape obtained the highest of 25.3% (21 out of 83 votes).

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-

For rank 3, fabrication obtained the highest of 29.3% (16 out of 83 votes).

-

For rank 4, prints and patterns obtained the highest of 26.5% (22 out of 83 votes).

-

For rank 5, makeup and hairstyle obtained the highest of 26.5% (22 out of 83 votes).

Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Color Usage Prints & Patterns Fabrication Cut & Shape Accessories Makeup & Hairstyle 7 13 4 16 14 20 8 11 20 11 8 10 14 18 19 8 10 9 21 25 19 24 13 17 15 19 13 11 12 6

Total 72 77

65 71 60 70

Table 4.7c shows the aspects in Dior 2007 S/S fashion collection that were thought to be the most relative to Japanese culture.

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Respondents were asked to rank the first five aspects that were the most relative to Japanese culture in Dior 2007 S/S fashion collection. The results of the ranking are listed as follows: For rank 1, prints and patterns obtained the highest of 28.9% (24 out of 83 votes). For rank 2, cut and shape obtained the highest of 24.1% (20 out of 83 votes). For rank 3, fabrication obtained the highest of 24.1% (20 out of 83 votes). For rank 4, accessories obtained the highest of 22.9% (19 out of 83 votes). For rank 5, makeup and hairstyle obtained the highest of 30.1% (25 out of 83 votes).

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Figure 4.7d shows the willingness of wearing the Dior 2007 S/S fashion collection. A B C D E Never Seldom Occasionally Regularly Always

A majority of respondents which included 80.7% would never wear Dior 2007 S/S fashion collection. 13.3 % of respondents would seldom wear it. 4.8% would occasionally wear it. 1.2% would always wear it and “regularly” received no votes.

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Rank 1 Rank 2 Rank 3 Interest to Japan Personal Interest Trend Cultural Backgroud Peer Influence Media 13 42 10 8 5 5 18 15 30 7 6 7 18 8 12 15 17 13

Total 49 65 52 30 28 25

Table 4.7e shows the reasons behind considerations of wearing or not wearing Dior 2007 S/S fashion collection.

Respondents were asked to rank their first three considerations of wearing or not wearing Dior 2007 S/S fashion collection. The results of ranking their priority are listed as follows: For rank 1, “personal interest” obtained the highest of 50.6% (42out of 83 votes). For rank 2, “trend” obtained the highest of 36.1% (30 out of 83 votes). For rank 3, “interest to Japan” obtained the highest of 21.7% (18 out of 83 votes).

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4.8 Comparison among Different Kinds of Japanese Related Clothing

Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Traditional Japanese Costume Japanese Street Fashion Japanese Designers’ Fashion Collections Japanese Style Casual Wear Western Designer’s 9 15 23 16 18 20 23 16 17 9 20 17 18 20 7 11 15 12 15 30 23 13 14 15 19

Total 84

83

82

85

81

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Japanese Inspired Collection Table 4.8a shows the kinds of Japanese related clothing that people favored.

Respondents were asked to rank the first five most favorite Japanese related clothing. The results of the ranking are listed as follows: For rank 1, traditional Japanese costume obtained the highest of 27.7% (23 out of 83 votes). For rank 2, Japanese style casual wear obtained the highest of 27.7% (23 out of 83 votes). For rank 3, Western designer’s Japanese inspired collection obtained the highest of 27.7% (23 out of 83 votes). For rank 4, Japanese designers’ fashion collections obtained the highest of 24.1% (20 out of 83 votes). For rank 5, Japanese street fashion obtained the highest of 36.1% (30 out of 83 votes).

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Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Traditional Japanese Costume Japanese Street Fashion Japanese Designers’ Fashion Collection Japanese Style Casual Wear Western Designer’s Japanese Inspired Collection 5 6 9 13 45 2 17 29 25 8 1 12 28 30 14 6 43 14 11 9 69 5 3 4 7

Total 88

83

85

81

78

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Table 4.8b shows the kinds of Japanese related clothing that were thought to be the best representative for Japan.

Respondents were asked to rank the first five kinds of Japanese related clothing that best represented Japan. The results of the ranking are listed as follows: For rank 1, traditional Japanese costume obtained the highest of 83.1% (69 out of 83 votes). For rank 2, Japanese street fashion obtained the highest of 51.8% (43 out of 83 votes). For rank 3, Japanese style casual wear obtained the highest of 34.9% (29 out of 83 votes). For rank 4, Japanese designers’ fashion collections obtained the highest of 36.1% (30 out of 83 votes). For rank 5, Western designers’ Japanese inspired collection obtained the highest of 54.2% (45 out of 83 votes).

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Figure 4.8c shows the popularity for wearing Japanese related clothing. Respondents were allowed to select more than one kinds of Japanese related clothing that they would wear. The popularity of such are listed as follows in descending percentage of votes: “Japanese style casual wear” received 33.1% of votes and was the most popular. “Japanese designs’ fashion collections” received 23.9% of votes and was the second most popular. “Western designer’s Japanese inspired collection” received 16.6% of votes and was the third most popular. “Japanese street fashion” received 13.5% of votes “Traditional Japanese costume” received 12.9% of votes

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Figure 4.8d shows the popularity for purchasing Japanese related clothing A B C D E Traditional Japanese Costume Japanese Street Fashion Japanese Designers’ Fashion Collections Japanese Style Casual Wear Western Designer’s Japanese Inspired Collection

Respondents were allowed to select more than one kinds of Japanese related clothing that they would purchase. The popularity of such are listed as follows in descending percentage

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of votes: “Japanese style casual wear” received 36.2% of votes and was the most popular. “Japanese designs’ fashion collections” received 26.9% of votes and was the second most popular. “Western designer’s Japanese inspired collection” and “Japanese street fashion” received 12.8% of votes and was the third most popular. “Traditional Japanese costume” received 11.4% of votes

Figure 4.8e shows the willingness of wearing clothing with Japanese style.

96

A B C D E

Never Seldom Occasionally Regularly Always

42.2% of respondents would seldom wear clothing with Japanese style in general. 34.9 % of respondents would occasionally wear it. Both “regularly” and “always” received the same but least votes which contained 3.6%. Only 15.7% would never wear it.

Rank 1 Rank 2 Rank 3 Interest to Japan Personal Interest Trend Cultural Backgroud Peer Influence Media 14 41 14 5 6 3 12 15 27 10 11 8 21 11 19 11 8 13

Total 47 67 60 26 25 24

Table 4.8f shows the reasons behind considerations of wearing

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or not wearing clothing with Japanese style in general.

Respondents were asked to rank their first three considerations of wearing or not wearing clothing with Japanese style. The results of ranking their priority are listed as follows: For rank 1, “personal interest” obtained the highest of 49.4% (41out of 83 votes). For rank 2, “trend” obtained the highest of 32.5% (27 out of 83 votes). For rank 3, “interest to Japan” obtained the highest of 25.3% (21 out of 83 votes).

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CHAPETR 5

Analysis

5.1 Japanese Traditional Culture In the beginning of the questionnaire, the respondents would describe Japanese traditional culture as elegant, magnificent and unique, which was based on the more well-known Japanese traditional culture in Hong Kong. It was understandable why they had such impression on Japanese traditional culture because those were mostly art or performing art which emphasized elegance and beauty.

In the questionnaire survey, 95.1% of respondents were familiar with one or more kinds of Japanese traditional culture which reflected that Japanese traditional culture were very well-known in Hong Kong. Hong Kong is an environment under frequent promotion of Japanese traditional culture. Japanese department stores like Sogo and Japanese supermarket like Apita are located

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in crowded areas such as Causeway Bay, Tai Koo and Tsim Sha Tsui.

Products using Japanese cultural elements as a gimmick are advertised and sold allover Hong Kong. Such things include food and beverages, skincare products and cosmetics etc. Examples include Green Tea Mask, Cherry Blossom Lotion, and Cherry Blossom Perfume etc. Japanese cultural festivals are sometimes used in promotion for tourism business. For example, the annual cherry blossom festival in Japan during March is a way to attract Hong Kong tourists. Movies and books such as “Memory of a Geisha” filmed a Chinese actor Zhang Ziyi as the main character. Japanese Magazines such as Vivi and Mini are translated in Chinese and widely sold in Hong Kong, while those in original language are still welcomed by teenagers.

From the results, Sado, Ikebana, Origami, Ohanami and Geisha were the top five of the most favorite Japanese traditional culture. Ukiyoe, Bonsai, Noh and Bunraku are the less favored ones. This reflected that people prefer culture which is about tranquility

100

and nature.

5.2 Japanese Traditional Costume One third of respondents did not know traditional Japanese costumes in any period of time. The result is logical for the lack of knowledge in Japanese history and their traditional costumes. It reflected that Japanese culture and its fashion are influential to Hong Kong fashion only since the recent decades. As Hong Kong has its own culture and therefore the promotion of Japanese traditional culture and its festive events is scarce, leading to the unpopularity of traditional Japanese costumes. Since there is no suitable occasion for wearing traditional Japanese costumes like kimono, the market is really small and the sale of kimono is almost impossible in Hong Kong. Only some Uniqlo shops in Hong Kong sell inexpensive modern kimonos. This also explains why a majority of 83.1% of respondents refused to wear traditional Japanese costumes.

Although the respondents were unfamiliar with traditional

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Japanese costumes, they described the costumes as elegant, sophisticated and magnificent. The reasonable description reflected the intelligent design and styling of kimonos were giving viewers an idea of wealth and social status.

In the four given periods of traditional Japanese costumes, the respondents prefer the more modern ones than the older ones. Modern kimonos are less layered and less baggy, which are easier for movements and have a more contemporary style. It reflected that Hong Kong people accept aesthetics of modern Japanese instead of ancient Japanese.

5.3 Japanese Street Fashion Only 2% of respondents did not know any kinds of Japanese street fashion. Lolita, Cosplay and Kawai are more popular among the group of respondents because these styles were more common seen in Japanese comics and cartoons which belonged to a part of Hong Kong young people’s entertainment. When Hong Kong people were exposed to the images of comics and cartoon characters since they

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were young, it is natural for them to share the aesthetics and had interests in these styles. Visual Kei was another style preferred. Since it came from Japanese punk and gothic singers and bands like Malice Mizer, influx of Japanese music to Hong Kong explained its popularity.

Japanese street styles were referred as exaggerated, courageous, and self-expressive. As a majority of 78.3% would never wear Japanese street fashion, it reflected that they did not favor the exaggerated, courageous and self-expressive elements in their clothing. Apart from this, the style of Japanese street fashion was totally different from that of Hong Kong street fashion. In Harajuku, Japansese dressed in extreme styles to show off and stand out from each other. Unlike Japanese, only a minority of Hong Kong people prefer to stand out while most of them prefer a simple and ordinary way of dressing. As Japanese street fashion is uncommon in Hong Kong, it has only a small market which Punk, Lolita and Cosplay outfits are available in a few stores in places like Mong Kok.

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5.4 Designer Brands and Labels Japanese brands’ fashion collections were described as stylish, trendy and exaggerated. As there were only 9% of people who did not know any kinds of the Japanese fashion brands, these brands were well known in Hong Kong. Around two third of respondents would wear this kind of fashion which reflected that they welcome such fashion styles. When compared to the previous two styles, Japanese street fashion and traditional costumes, the rise of votes in this style was possibly because it was closer to the daywear of Hong Kong people and fitted their wardrobes better.

The top three popular fashion brands were Issey Miyake, A Bathing Ape and Kenzo. The play of prints and colors with simpler designs and shapes were the similarity among the three chosen brands, and this showed the interests and aesthetics of Hong Kong people.

Apart from personal interest and trend as factors behind their preference of styles, appreciation of designers was another consideration. Wearing in the name of the brand or the designer

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somehow represented the preference on fame and vanity than cultural aspects.

From the viewpoints derived from the questionnaire survey and according to the description of respondents, in comparison of Japanese street fashion and Japanese designer wear, the former is an expression of the inner self or the personality but the latter is a representation of a name, a brand or an identity. The rise of percentage for choosing the latter conceivably means Hong Kong people prefer to hide their own personality behind the given image of a brand than to express oneself through the way of dressing.

5.5 Japanese Style Casual Wear A majority of 85.5% of respondents would wear Japanese style casual wear which indicates the high popularity of this style among Hong Kong people. As described as stylish, plain and trendy, the Japanese style casual wear was in fact a combination of traditional Japanese cultural prints and modern but simple

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casual wear like tees and jeans. In comparison with Japanese brands’ fashion style mentioned previously, the high level of acceptance showed that Hong Kong people preferred simple designs and subtle expressions than exaggeration. Hong Kong is busy and fast paced. This explains the predomination of Japanese style casual wear by reason of convenience, easy mix-and-matching, and uniqueness from a touch of Japanese traditional culture.

5.6 Japanese Inspired Collection by John Galliano The respondents described Dior 2007 S/S collection to be exaggerated, magnificent and sophisticated. It was definitely an appropriate description for an expensive haute couture collection by Dior. As a majority of 80.7% would never wear the fashion from this collection, the drastic rise of refusal comparing to the previous styles reflected that Hong Kong people preferred being simple, trendy, stylish and modern instead of being exaggerated, sophisticated and magnificent.

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Another possible reason behind would be the aesthetic reasons. Western designers stressed on body conscious while Japanese fashion preferred to be body disguise. It was reasonable for Hong Kong people to share the aesthetics of Japanese when both are Asian. In addition, Hong Kong people had a body figure closer to the Japanese type than the Western type. Hence, the design by a Western designer might thought to be unpleasing to wear.

Color usage in Dior’s collection was thought to be the most attractive aspect but least relative to Japanese culture. This meant the color usage by Dior prevails over other aspects including Japanese cultural elements.

The silhouette and fabrication remained consistent for its popularity and relation to Japanese culture. It reflected that Hong Kong people appreciate the silhouette and fabrication derived from traditional Japanese costumes and they agree with the interpretation by John Galliano. Although prints and patterns were thought to be the most relative

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to Japanese culture, it was not very popular. The application of prints and patterns in Dior’s collection was in a larger scale and a larger proportion than ordinary Japanese kimono. This reflected Hong Kong people generally prefer prints in a smaller scale or perhaps a smaller proportion on the garment. This explained why the willingness of wearing Japanese style casual wear, which had small size and proportion of prints, was much higher than that of Dior’s collection.

5.7 Comparison among Different Kinds of Japanese Related Clothing From the questionnaire survey, traditional Japanese costume was voted to be the most popular and could best represent Japan among all Japanese related clothing. However, it was the least desirable to wear or to purchase. It reflected that Hong Kong people appreciate the costume as an art than a kind of fashion. Japanese style casual wear and Western designer’s Japanese inspired collection were the next two favorite styles. It shows the popularity in application of traditional Japanese cultural

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elements. The former style had a larger market because it was chosen to be the most desirable for wearing and purchasing. Comparing the results of Japanese traditional costumes, Japanese style casual wear and Western designer’s Japanese inspired collection, it could be deduced that simple, trendy and modern styles are more preferable than sophisticated and traditional style.

Japanese style casual wear and Japanese designers’ fashion collection were high in priority for wearing and purchasing. Although media was seldom thought to be the main reasons for the preferences on different kinds of Japanese related clothing, the Japanese magazines sold around Hong Kong did influenced Hong Kong people’s choices. Those Japanese magazines available in newspaper stores were usually either about casual wear or designer collections on the runway. When people were exposed to such news and information in their daily life through reading magazines, the Japanese aesthetics and concepts were gradually implanted in their minds. Therefore, it was easier for them to

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accept these two kinds of styles

It can be concluded that Hong Kong people appreciate Japanese traditional costumes and its culture. However, when such elements are to be applied on fashion, it is the most desirable to come with a trendy and modern style. Being sophisticated, magnificent and exaggerated accented on its dramatic and traditional flavor but somehow will become less acceptable by Hong Kong people.

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CHAPTER 6

Design Application

6.1 Theme

Figure 6.1a Sakura The theme of my collection is called “Ohanami”. Ohanami is a Japanese word for describing the cultural event of Sakura Festival. The Japanese gathered with their families and friends to appreciate sakura, the Japanese word for cherry trees, in every year’s Sakura Festival with a relaxing attitude. The collection is mainly about the relaxing attitude and the
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aloofness from the city life. 6.2 Inspirations The design collection is inspired by a Japanese traditional culture ohanami, which means flower viewing. This is about the appreciation of sakura (cherry blossom), an unofficial national flower of Japan. “Cherry blossom is an omen of good fortune and is also an emblem of love, affection and represents spring. Cherry blossoms are an enduring metaphor for the fleeting nature of life, and as such are frequently depicted in art” (Wikipedia). The symbolic meanings behind sakura fortified its significance in Japan. Therefore, sakura is one of the elements selected for design application on my design collection project.

6.3 Fabrication Based on the Japanese culture “ohanami”, photographs of cherry blossoms were chosen for digital printing on fabrics. The colors of a cherry blossom are in different shades of pink, and some as pale as white.

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Figure 6.3a & b creased and wrinkled fabric surface Textured fabrics were chosen for translating the Japanese themed designs. Different kinds of wrinkled or felted fabrics were chosen to imitate the surface appearance of Japanese Washi and Chirimen. The fabrics are mainly in cotton or polyester for a soft hand feel.

Figure 6.3c shows another printed fabric In my design application, the selected colors of the prints were a mix of pink and purple colors in different shades. Digital printing of cherry blossoms images on the selected textured

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fabrics was my approach to design fabric with Japanese traditional culture elements.

Figure 6.3d shows a cherry blossom graphic made in wool felting

Wool felting on printed fabric was another technique used. The fuzziness created by wool fibers enriched the texture of the cherry blossom with an extra soft handfeel. Shadings were created on the cherry blossom for a more 3-D effect.

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6.4 Placement of Prints

Figure 6.4a shows fabric with graphics located at the rim Instead of spreading allover the fabric, prints were allocated in areas such as the sides, the back, partially in the front and along the edge of the cut panels. The distribution of prints was designed to be more focused instead of being too busy. The placements of prints on three different outfits were in an order from the sides to the center. However, the resulting effects of the prints with cherry blossoms tuned in purplish and pink colors were too pale. It was a bit dull because the palely printed images used in a small the proportion and at subtle positions were unattractive to look at.

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6.5 Silhouette and Cutting

Figure 6.5a outfit A, outfit B, and outfit C (from the left) The three outfits consist of six pieces. All pieces can be mixed and matched with each other. The style was formed by matching a three dimensional piece as function of an accessory with a drapery piece as the main body. The top accessory part has a 3D form which was inspired by samurai’s costume. The drapery body was inspired by kimono therefore it took elements such as kimono sleeves and a kimono neckline. The appreciation of lines, asymmetry and fabric selvedges were again following the aesthetics of Japanese.

Following the concept of body disguise from Japanese aesthetics,

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all outfits were loosely fitted. However, to enhance femininity in the style, parts concerning the waistline were stressed in outfit C.

6.6 Styling

Figure 6.6a “Ohanami” collection styling photo A

Figure 6.6b “Ohanami” collection styling photo B
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Volumetric Geisha like hairstyle in huge buns were set on the models with the makeup full of shadows, stressing on the bone structure of the face. Cherry lips of Geisha were also applied on the make up.

Figure 6.6c & d “Ohanami” collection styling photo C & D The setting of the scenery with Tatami and Japanese props was to enhance the whole Japanese mood with a sense of relaxation and elegance.

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Chapeter 7

Conclusion, Limitations, and Recommendations

7.1 Conclusion The import of Japanese products and the availability of Japanese shops and stores revealed the Japanese influence on Hong Kong. In Hong Kong, although the different kinds of Japanese style clothing like Japanese street fashion and traditional costumes are uncommon, they are still obtainable for a small market of people. As mentioned before, several Uniqlo shops in Hong Kong are selling inexpensive modern kimonos. Japanese street fashion such as Punk and Lolita are sold in a few stores in Mong Kok. Young People dressed in Cosplay can be seen in the annual Hong Kong Comic Festival & Game Fair. Shops of Ki*La*Ra, a brand for kawai style casual wear for young women, applied Japanese cartoon character Hello Kitty on their garments. A very famous Japanese artist called Yayoi Kusama held an exhibition of her artwork in Harbour City and designed some accessories and shopping bags as

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souveniors for sale. Another famous pop artist, Murakami Takashi, injected a touch of Japanese Kawai style in the LV designs. This implies that Japanese culture is already somehow influential to Hong Kong fashion, and will be further influential as time goes on.

Japanese culture is influential to Hong Kong from aspects such as household needs to fashion. From the research and findings, the appreciation of traditional Japanese culture is rather welcomed and its popularity was mainly on traditional Japanese arts than its performing arts. The aesthetics of modern Japanese fashion were partially consistent with that of its traditional costumes and culture due to westernization of Japanese fashion. With the influx of Japanese clothing, products, news and updates, Hong Kong people are gradually exposed to Japanese cultural matter especially in recent decades. This explains why the majority of respondents show acceptance and appreciation towards traditional Japanese culture and its fashion. Furthermore, since the application of traditional Japanese cultural elements on

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modern fashion design based on the fashion designer’s own perception and interpretation, the fashion style from designers of different cultural background can vary a lot. Therefore, research on preference of the target market is one of the ways to raise popularity and prevails over other competitors.

7.2 Limitations In the study, there were several limitations. First of all, the understanding of Japanese culture depends on interpretations on research such as Literature Review, which is lack of in person experience. The viewpoints and perspective were totally depended on the non-Japanese which lacked objectivity on criticism and analysis. Second, the respondents of the questionnaire survey were randomly selected. Hence, the results were only drawn from a small population in Hong Kong and did not totally represent the general public since different people from their different respective backgrounds would cause deviation to the study. Third, although the questionnaire was aimed at comparing different kinds of Japanese related clothing, some of the types of clothing

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were meant for different wearing occasions. For example, the comparison between an haute couture collection and a casual daywear item is unfair. Last, since the application of Japanese cultural elements on fashion is little especially in Hong Kong, the question of whether traditional Japanese culture would be influential to modern fashion design is undetermined due to a lack of professional background and facts.

7.3 Recommendations It is recommended to learn about Japanese culture more deeply by interviewing a few Japanese from different aspects in the research from their design focus, concept and aesthetics to criticism on application of Japanese cultural elements from non-Japanese point of view. Furthermore, if in person visit to Japan is possible, it is suggested to go and experience the culture, and perhaps involve in such cultural practices. Questionnaires should have a clear division on the types of fashion for fair comparison, and interviews to Hong Kong designers, manufacturers and customers should be carried out in

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order to hear opinions out of the provided questions and answers. Through thorough understanding of the traditional Japanese culture and fashion in relation to the market of modern fashion design in Hong Kong, better understanding, application and editing on fashion design would be a key to market success.

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References

Books:

Dalby, L. (1993). Komono: Fashioning Culture. New Haven, Conn.: Yale University Press.

Eicher, J. B. (Eds.). (1995). Dress and Ethnicity: Change Across Space and Time. Oxford: Berg.

Inouye, C. S. (2008). Evanescence and Form: An Introduction to Japanese Culture. New York: Palgrave Macmillan.

Kawamura, Y. (2004). The Japanese Revolution in Paris Fashion. Oxford: Berg.

Minnich, H. B. & Nomura, S. (1963). Japanese Costume and the Makers of Its Elegant Tradition. Tokyo: Charles E. Tuttle Company.

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Munsterberg, H. (1996). The Japanese Kimono. New York: Oxford University Press.

Slade, T. (2009). Japanese Fashion: A Cultural History. Oxford: Berg.

Sosnoski, D. (Eds.). (1996). Introduction to Japanese Culture. Rutland: Tuttle Publishing.

Ueda, A. (Eds.). (1994). The Electric Geisha: Exploring Japanese Culture. Tokyo: Kodansha International.

Yamanaka, N. (1982). The Book of Kimono: The Complete Guide to Style and Wear. Tokyo: Kodansha International.

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Websites:

Geisha: a Beautiful Aspect of Japanaese Culture. (2005). Retrieved 4 April from ChinatownConnection website: http://www.chinatownconnection.com/geisha-japanese.htm

Ikebana. (1999). Retrieved 23 March, 2010, from Japanzone website: http://www.japan-zone.com/culture/ikebana.shtml

Ikebana. (2005). Retrieved 23 March 2010, from Picture Tokyo website: http://picturetokyo.com/en/culture/ikebana.html

Japanese Fabrics. (2001). Retrieved 23 March, 2010, from Fabric Tales website: http://www.fabrictales.com/index.html?ad

Japanese Fabrics. (2007). Retreived 4 April from Hizen Ya website: http://www.hizen-ya.co.uk/index.php?n=Accessories.Accessorie

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s

Japanese Fashion. (2010). Retrieved 4 April from Asian Fashion website: http://www.asianfashion.com/japanese-fashion/

Japanese Street Fashion. (2010). Retrieved 28 March from Japanese Lifestyle website: http://www.japaneselifestyle.com.au/

Johansson H. O. (1995). The Pictures of the Floating World. Retrieved 23 March, 2010, from Ukiyo-e website: http://www.ukiyo-e.se/

Kass McGann. (2002). A Brief History of Japanese Clothing. Retrieved 14 April from Reconstructing History website: https://www.reconstructinghistory.com/japanese.php?s=&c=8&d= 101&e=&f=&g=&a=206&w=2

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Kathleen M. Hewitt. (2004). Japanese Symobolism. Retreived 23 March from Tamari website: http://home.comcast.net/~temarigallery/

Kimono Fabric, Kimono Pattern, and How to Make a Kimono. (n.d.) Retrieved 4 April from JapaneseKimono website: http://www.japanesekimono.com/kimono_fabric.htm

Kitsuke Tutorial: Color Coordination Lesson. (2000). Retrieved 5 April from Immortal Geisha website: http://www.immortalgeisha.com/ig_bb/viewtopic.php?f=18&t=918 1&view=previous

Kyoto: Japanese Chado Tea Ceremony. (2007). Retrieved 23 March, 2010, from Travel Info website: http://www.khulsey.com/travel/japan_kyoto_tea-ceremony.html

Ming-Ling. (2002). Patterns: Large Patterns. Retrieved 4 April from mingling.net website:

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http://patterns.ming-ling.net/large.html

Nobuko Miyairi. (2001). Cherry Blossoms in Japanese Culture. Retrieved 9 April from Sakura website: http://www2.hawaii.edu/~nmiyairi/694/webliography/frame/inde x.html

Origami. (1999). Retrieved 23 March, 2010, from Japanzone website: http://www.japan-zone.com/culture/origami.shtml

Origami. (2005). Retrieved 23 March, 2010, from Picture Tokyo website: http://picturetokyo.com/en/culture/origami.html

Rie Hara. (2009). Ukiyoe: which is typical Art of Japan. Retrieved 4 April from Japanese Element Symbols website: http://hararie-japan-tokyo-tokyo.com/japanese_culture/2009/0 9/the-japanese-magazine-about-ukiyoe--part-2.html

Sado (or Chado). (1999). Retrieved 23 March, 2010, from Japanzone

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website: http://www.japan-zone.com/culture/sado.shtml

Sado. (2005). Retrieved 23 March, 2010, from Picture Tokyo website: http://picturetokyo.com/en/culture/sado.html

The Kimono and other Japanese Clothing. (n.d.) Retreived 4 April from darkchilde website: http://www.bookmice.net/darkchilde/japan/jkimono.html

Takiginoh. (2002). Retreived 18 March 2010, from Shinshiro website: http://www.city.shinshiro.lg.jp/data/en/sightseeing.html

Ukiyo-e. (1999). Retrieved 23 March, 2010, from Japanzone website: http://www.japan-zone.com/culture/ukiyoe.shtml

Ukiyo-e. (2005). Retrieved 23 March, 2010, from Picture Tokyo website: http://picturetokyo.com/en/culture/ukiyo-e.html

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Yutaka, kimono v hravych barvach. (2008). Retrieved 9 April from Jaonsko website: http://japonsko.hu.cz/moda/yukata-kimono-v-hravych-barvach

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APPENDIX

LIST OF TABLES AND FIGURES

Figure 2.1.1a Figure 2.1.2.1a Figure 2.1.2.1b

Japanese Traditional Culture Sado the gesture of the host while performing Sado

8 9 10

Figure 2.1.2.2a Figure 2.1.2.2b

Ikenbana “vertical-line” Ikebana arrangement

11 of 12

Figure 2.1.2.3a Figure 2.1.2.3b Figure 2.1.2.4a Figure 2.1.2.4b

Ukiyoe Unkiyoe Poster Origami

13 14 15

Origami balloons used as string 16 lights

Figure 2.1.2.5a Figure 2.1.2.5b Figure 2.1.3.1a

Ohanami Sakura Kabuki Actors

17 18 18

Figure 2.1.3.4a

Geisha

19 20 21 23 25 26

Figure 2.1.3.4b & c Geisha performing Sado Figure 2.1.3.4d Figure 2.2.1.1a Geisha Kimono in Heian Period

Figure 2.2.1.2a & b women and men in Kamakura Period Figure 2.2.1.3a & b women and men in costume for both Muromachi Period Figure 2.2.1.5a Figure 2.2.1.6a Figure 2.2.1.6b Figure 2.2.2a Figure 2.2.2.1a women in Edo Period kimono in Meiji Period modern kimono Yukata construction of a kimono Kimono Period and Momoyama

28 29 31 32 34 35

Figure 2.2.2.2a & b kimono fabric

Figure 2.2.2.3a

the coordination of color usage in 36 kimono

Figure 2.2.2.4a & b the patterns of kimono fabric Figure 2.3a Japanese street fashion

37 38

Figure 2.4a

Collections from Japanese Fashion 39 Brands and Labels

Figure 2.5a Figure 4.1a

Japanese Style Casual Wear Items the gender proportion of

40

the 47

participants in the questionnaire survey Figure 4.1b the percentage of monthly income 49 that people were willing to spend on fashion Figure 4.1c the percentage of expenses on 50

fashion that people were willing to spend on Japanese related clothing Table 4.2a the way Japanese traditional 51

culture were thought to be best described Figure 4.2b the kinds of Japanese traditional 52 culture that people knew Table 4.2c shows the kinds culture of Japanese 53 people

traditional

that

favored Table 4.3a the way Japanese costume were 56

thought to be best described Figure 4.3b the period of Japanese costume that 58 people knew Table 4.3c the period of Japanese costume that 59 people favored Figure 4.3d shows the willingness of wearing 60 traditional Japanese costume Table 4.3e the reasons behind considerations 62 of wearing or not wearing

traditional Japanese costume Table 4.4a the way Japanese street fashion were 63 thought to be best described Figure 4.4b the kinds of Japanese street fashion 65 that people knew Table 4.4c the kinds of Japanese street fashion 67 that people favored Figure 4.4d the willingness of wearing Japanese 68

street fashion Table 4.4e the reasons behind considerations 69 of wearing or not wearing Japanese street fashion Table 4.5a the way Japanese brands’ fashion 71 collections were thought to be best described Figure 4.5b the kinds of Japanese fashion brands 73 that people knew Table 4.5c the Japanese fashion brands that 75 people favored Figure 4.5d the willingness of wearing Japanese 76 fashion brands’ fashion collections Table 4.5e the reasons behind considerations 77 of wearing or not wearing Japanese fashion brands’ collections Table 4.6a the way Japanese style casual wear 79 were thought to be best described Figure 4.6b the willingness of wearing Japanese 81

style casual wear Table 4.6c the reasons behind considerations 82 of wearing or not wearing Japanese style casual wear Table 4.7a the way Dior 2007 S/S fashion 83

collection was thought to be best described Table 4.7b the aspects in Dior 2007 S/S fashion 85 collection that were thought to be the most attractive Table 4.7c the aspects in Dior 2007 S/S fashion 86 collection that were thought to be the most relative to Japanese

culture Figure 4.7d the willingness of wearing the Dior 88 2007 S/S fashion collection Table 4.7e the reasons behind considerations 89 of wearing or not wearing Dior 2007 S/S fashion collection

Table 4.8a

the

kinds

of

Japanese

related 91

clothing that people favored Table 4.8b the kinds of Japanese related 92

clothing that were thought to be the best representative for Japan Figure 4.8c the popularity for wearing Japanese 94 related clothing Figure 4.8d the popularity for purchasing 95

Japanese related clothing Figure 4.8e the willingness of wearing clothing 96 with Japanese style Table 4.8f the reasons behind considerations 97 of wearing or not wearing clothing with Japanese style in general Figure 6.1a Figure 6.3a & b Figure 6.3c Figure 6.3d Sakura 111

creased and wrinkled fabric surface 113 another printed fabric 113

a cherry blossom graphic made in 114 wool felting

Figure 6.4a

fabric with graphics located at the 115 rim

Figure 6.5a

outfit A, outfit B, and outfit C 116 (from the left)

Figure 6.6a

“Ohanami” collection styling photo 117 A

Figure 6.6b

“Ohanami” collection styling photo 117 B

Figure 6.6c & d

“Ohanami” collection styling photo 118 C & D

問卷 Questionnaire

本人是就讀理工大學時裝及紡織系三年級學生, 現正進行一個有關日本文化對時 裝之影響的問卷調查。 由於日本文化與日本產品於香港漸趨普及化, 此研究將分 析普羅大眾對日本文化及時裝的理解和態度。所有資料和數據將只用於學術用途上, 多謝合作! I am a final year student from Institute of Textiles and Clothing, The Hong Kong Polytechnic University. I am doing a survey about the influence of Japanese culture on fashion. Since Japanese culture and its products are becoming popular in Hong Kong, this study is mainly to analysis general public’s recognition and attitude towards Japanese culture and fashion. The data collected will be used for academic purpose only. Thank you for your participation.

個人資料 Personal Information

你的年齡 Your Age: □18 以下 Below 18 □18-25 □26-30 □31-35 □36-40 □40 以上 Above 40

你的性別 Your Gender: □男 Male □女 Female

你的學歷 Your Education Level:
□中學 Secondary □副學士/高級文憑 Associate/Higher diploma □大學學士 Undergraduate degree □碩士學位/研究生 Master degree/Postgraduate □其他 Others

你的國籍 Your Nationality: □香港 Hong Kong □澳門 Macau □中國內地 China □臺灣 Taiwan □日本 Japan □海外及其他 Overseas and Others

你對時裝是否有興趣? Are you interested in fashion? □是 Yes □否 No

你是否從事時裝設計相關行業? Are you involved in the field of fashion design? □是 Yes □否 No

你願意花費收入的多少百分比於時裝上? What is the percentage of your income you are willing to spend on fashion? □0-20% □21-40% □41-60% □61-80% □81-100%

你願意花費收入的多少百分比於有關日本的服裝上? What is the percentage of your income you are willing to spend on Japanese related clothing? □0-20% □21-40% □41-60% □61-80% □81-100%

對日本傳統文化和服裝的認識和接受程度 The Recognition and Acceptance of Japanese Traditional Culture and Costume

以下是一些日本傳統文化的照片: Below shows some photos of Japanese Traditional Culture:

你會覺得怎樣形容日本傳統文化最為貼切? (請用 1 至 3 順序排列你的首 3 個選擇) How will you best describe Japanese Traditional Culture? (Please rank from 1 to 3 for your first 3 choices)

□獨特的 Unique □休閑的 Relaxing □優雅的 Elegant □保守的 Conservative □高貴的 Sophisticated □華麗的 Magnificent □簡樸的 Plain □俗氣的 Vulgar □含蓄的 Subtle □誇張的 Exaggerated □娛樂性高的 Entertaining □其他:請注明 Others: Please Specify_________________

你認識哪種日本傳統文化? (可選擇多於一項 You may select more than one) Which kinds of Japanese Traditional Culture do you know? □茶道 Sado □花道 Ikebana □盆栽 Bonsai □浮世繪 Ukiyoe

□折紙 Origami □賞櫻 Ohanami □歌舞伎 Kabuki □能 Noh □文樂 Bunraku □藝伎 Geisha □其他: 請注明 Others: Please Specify_________________ □全部也沒有 None of the Above

你喜歡哪種日本傳統文化? (請用 1 至 3 順序排列你的首 3 個選擇) What is your favorite Japanese Traditional Culture? (Please rank from 1 to 3 for your first 3 choices) □茶道 Sado □花道 Ikebana □盆栽 Bonsai □浮世繪 Ukiyoe □折紙 Origami □賞櫻 Ohanami □歌舞伎 Kabuki

□能 Noh □文樂 Bunraku □藝伎 Geisha □其他: 請注明 Others: Please Specify_________________ □全部也沒有 None of the Above

以下是一些日本傳統服裝的照片: Below shows some photos of Traditional Japanese Costumes:

你會怎樣形容日本傳統服裝? (請用 1 至 3 順序排列你的首 3 個選擇) How will you describe the traditional Japanese costumes? (Please rank from 1 to 3 for your first 3 choices) □型格的 Stylish □可愛的 Cute □優雅的 Elegant

□時髦的 Trendy □性感的 Sexy □保守的 Conservative □高貴的 Expensive □華麗的 Magnificent □簡樸的 Plain □俗氣的 Vulgar □含蓄的 Subtle □誇張的 Exaggerated □其他:請注明 Others: Please Specify_________________ 你認識哪時期的日本服裝? (可選擇多於一項 You may select more than one) Which period of Japanese costume do you know? □平安時代 Heian Period (794-1192AD) □室町時代 Muromachi Age (1392-1573AD) □江戶時代 Edo Period (1603-1867AD) □明治時代至近代 Meiji to Modern □其他:請注明 Others: Please Specify □全部也沒有 None of the Above

你喜歡哪時期的日本服裝? (請用 1 至 4 順序排列你的首 4 個選擇) What is your favorite era of Japanese fashion? (Please rank from 1 to 4 for your first 4 choices) □平安時代 Heian Period (794-1192AD) □室町時代 Muromachi Age (1392-1573AD) □江戶時代 Edo Period (1603-1867AD) □明治時代至近代 Meiji to Modern □其他:請注明 Others: Please Specify

你會穿著傳統日本服裝嗎? □從不 Never □甚少 Seldom □偶爾 Occasionally □定期 Regularly □經常 Always

你考慮是否穿著傳統日本服裝的原因是甚麼? (請用 1 至 3 順序排列你的首 3 個選 擇) What are your reasons behind your considerations of wearing the traditional Japanese costume? (Please rank from 1 to 5 for your first 3 choices) □對日本的興趣 Interest to Japan □個人喜好 Personal Interest □潮流趨勢 Trend □文化背景 Cultural Background □同輩影響 Peer Influence □傳媒影響 Media □其他:請注明 Others: Please Specify_________________

對日本時裝的認識和接受程度 The Recognition and Acceptance of Japanese Fashion

以下是一些日本街頭服飾的照片: Below shows some photos of Japanese Street Fashion:

你會覺得怎樣形容日本街頭服飾最為貼切? (請用 1 至 3 順序排列你的首 3 個選擇) How will you best describe Japanese Street Fashion? (Please rank from 1 to 3 for your first 3 choices)

□型格的 Stylish □可愛的 Cute □優雅的 Elegant □時髦的 Trendy □性感的 Sexy □保守的 Conservative □高貴的 Sophisticated □華麗的 Magnificent □簡樸的 Plain □俗氣的 Vulgar □含蓄的 Subtle □誇張的 Exaggerated □有膽量的 Courageous □自我發揮性的 Self Expressive □其他:請注明 Others: Please Specify_________________

你認識哪種日本街頭服飾? (可選擇多於一項 You may select more than one) Which kinds of Japanese Street Fashion do you know? □Lolita

□Ganguro □Kogal □Bosozoku □Visual Kei □Cosplay □Decora □Kawai □其他: 請注明 Others: Please Specify_________________ □全部也沒有 None of the Above

你喜歡哪種日本街頭服飾? (請用 1 至 5 順序排列你的首 5 個選擇) What is your favorite Japanese Street Fashion? (Please rank from 1 to 5 for your first 5 choices) □Lolita □Ganguro □Kogal □Bosozoku □Visual Kei □Cosplay

□Decora □Kawai □其他: 請注明 Others: Please Specify_________________ □全部也沒有 None of the Above

你會穿著日本街頭服飾嗎? Will you wear Japanese Street Fashion? □從不 Never □甚少 Seldom □偶爾 Occasionally □定期 Regularly □經常 Always

你考慮是否穿著日本街頭服飾的原因是甚麼? (請用 1 至 3 順序排列你的首 3 個選 擇) What are your reasons behind your considerations of wearing the Japanese Street Fashion? (Please rank from 1 to 3 for your first 3 choices) □對日本的興趣 Interest to Japan

□個人喜好 Personal Interest □潮流趨勢 Trend □文化背景 Cultural Background □同輩影響 Peer Influence □傳媒影響 Media □其他:請注明 Others: Please Specify_________________

以下是一些日本時裝品牌的時裝系列照片: Below shows some photos of Japanese Brands’ Fashion Collections

你會怎樣形容日本時裝品牌的時裝系列? (請用 1 至 3 順序排列你的首 3 個選擇) How will you describe the Japanese Brands’ Fashion Collections? (Please rank from 1 to 3 for your first 3 choices) □型格的 Stylish □可愛的 Cute □優雅的 Elegant

□時髦的 Trendy □性感的 Sexy □保守的 Conservative □高貴的 Expensive □華麗的 Magnificent □簡樸的 Plain □俗氣的 Vulgar □含蓄的 Subtle □誇張的 Exaggerated □其他:請注明 Others: Please Specify

你認識以下哪位日本時裝品牌? (可選擇多於一項 You may select more than one) Which of the following Japanese Fashion Brands do you know? □Issey Miyake □Kenzo □Comme des Garcons □Junya Watanabe □Yohji Yamamoto

□Limi Feu □A Bathing Ape □Mercibeaucoup □Tsumori Chisato □其他:請注明 Others: Please Specify □全部也沒有 None of the Above

你喜歡哪位日本時裝設品牌? (請用 1 至 5 順序排列你的首 5 個選擇) What are your favorite Japanese Fashion Brands? (Please rank from 1 to 5 for your first 5 choices) □Issey Miyake □Kenzo □Comme des Garcons □Junya Watanabe □Yohji Yamamoto □Limi Feu □A Bathing Ape □Mercibeaucoup □Tsumori Chisato

□其他: 請注明 Others: Please Specify

你會穿著日本時裝設計師的時裝系列嗎? Will you wear Japanese Fashion Brands’ Fashion Collections? □從不 Never □甚少 Seldom □偶爾 Occasionally □定期 Regularly □經常 Always

你考慮是否穿著日本時裝設計師的時裝系列的原因是甚麼? (請用 1 至 3 順序排列 你的首 3 個選擇) What are your reasons behind your considerations of wearing the Japanese Fashion Brands’ Fashion Collections? (Please rank from 1 to 3 for your first 3 choices) □對日本的興趣 Interest to Japan □個人喜好 Personal Interest □潮流趨勢 Trend □對設計師的欣賞 Appreciation of Designers

□文化背景 Cultural Background □同輩影響 Peer Influence □傳媒影響 Media □其他:請注明 Others: Please Specify_________________

以下是一些帶有日本風格的便服的照片: Below shows some photos of Japanese style casual wear:

你會怎樣形容帶有日本風格的便服? (請用 1 至 3 順序排列你的首 3 個選擇) How will you describe the Japanese style casual wear? (Please rank from 1 to 3 for your first 3 choices) □型格的 Stylish □可愛的 Cute □優雅的 Elegant □時髦的 Trendy □性感的 Sexy

□保守的 Conservative □高貴的 Expensive □華麗的 Magnificent □簡樸的 Plain □俗氣的 Vulgar □含蓄的 Subtle □誇張的 Exaggerated □其他:請注明 Others: Please Specify_________________

你會否穿著帶有日本風格的便服? Will you wear the Japanese style casual wear? □從不 Never □甚少 Seldom □偶爾 Occasionally □定期 Regularly □經常 Always

你考慮是否穿著帶有日本風格的便服的原因是甚麼? (請用 1 至 3 順序排列你的首 3 個選擇) What are your reasons behind your considerations of wearing the Japanese style casual wear? (Please rank from 1 to 3 for your first 3 choices) □對日本的興趣 Interest to Japan □個人喜好 Personal Interest □潮流趨勢 Trend □文化背景 Cultural Background □同輩影響 Peer Influence □傳媒影響 Media □其他:請注明 Others: Please Specify_________________

有關西方時裝設計師對日本文化的演繹 Western Fashion Designer’s Interpretation on Japanese Culture

以下是設計師 John Galliano 將日本時裝重新演繹的 2007 春秋系列 Below shows the Japanese inspired 2007 Spring Summer Fashion Collection designed by John Galliano.

你會怎樣形容這個系列的時裝? (請用 1 至 3 順序排列你的首 3 個選擇) How will you describe the fashion collection? (Please rank from 1 to 3 for your first 3 choices)

□型格的 Stylish □可愛的 Cute □優雅的 Elegant □時髦的 Trendy □性感的 Sexy □保守的 Conservative □高貴的 Expensive □華麗的 Magnificent □簡樸的 Plain □俗氣的 Vulgar □含蓄的 Subtle □誇張的 Exaggerated □其他:請注明 Others: Please Specify_________________

這個系列的時裝中, 哪方面較能吸引你? (請用 1 至 5 順序排列你的首 5 個選擇) In this collection, which aspect attracts you more? (Please rank from 1 to 5 for your first 5 choices) □色彩 Color Usage □圖案 Prints and Patterns

□布料 Fabrication □剪裁 Cut and Shape □配飾 Accessories □化妝及髮型 Make-up and Hairstyle □其他:請注明 Others: Please Specify_________________

這個系列的時裝中, 你覺得哪方面富有日本文化色彩? (請用 1 至 5 順序排列你的 首 5 個選擇)In this collection, which aspects do you think related to Japanese culture? (Please rank from 1 to 5 for your first 5 choices) □色彩 Color Usage □圖案 Prints and Patterns □布料 Fabrication □剪裁 Cut and Shape □配飾 Accessories □化妝及髮型 Make-up and Hairstyle □其他:請注明 Others: Please Specify_________________

你會否穿著這個系列的時裝? Will you wear this fashion collection? □從不 Never □甚少 Seldom □偶爾 Occasionally □定期 Regularly □經常 Always

你考慮是否穿著這個系列的時裝的原因是甚麼? (請用 1 至 3 順序排列你的首 3 個 選擇) What are your reasons behind your considerations of wearing this collection? (Please rank from 1 to 3 for your first 3 choices) □對日本的興趣 Interest to Japan □個人喜好 Personal Interest □潮流趨勢 Trend □文化背景 Cultural Background □同輩影響 Peer Influence □傳媒影響 Media

□其他:請注明 Others: Please Specify_________________

有關日本服裝之比較 Comparison among Japanese Related Clothing

以西方人利用日本元素設計的時裝, 與日本傳統服裝比較, 你較喜歡哪種? In comparison with Japanese inspired collection designed by Western designers and traditional Japanese costumes, which do you prefer? □我只喜歡西方設計師演繹日本文化的時裝 I Only Like Western Designer’s Japanese Inspired Collection □我喜歡西方設計師演繹日本文化的時裝較多 I Prefer Western Designer’s Japanese Inspired Fashion More □兩者皆喜歡 I Like Both Kinds □我喜歡日本傳統服裝較多 I Prefer Traditional Japanese Costume More □我只喜歡日本傳統服裝 I Only Like Traditional Japanese Costume

你最喜歡哪種有關日本的服裝? (請用 1 至 5 順序排列你的選擇) What is your most favorite Japanese related clothing? (Please rank from 1 to 5 for your choices)□日本傳統服裝 Traditional Japanese Costume □日本街頭服飾 Japanese Street Fashion □日本設計師的時裝系列 Japanese Designers’ Fashion Collections □帶有日本風格的便服 Japanese style casual wear □西方設計師的日本題材時裝系列 Western Designer’s Japanese Inspired Collection

你會穿著哪種有關日本的服裝? (可選擇多於一項 You may select more than one) Which kinds of Japanese related clothing will you wear? □日本傳統服裝 Traditional Japanese Costume □日本街頭服飾 Japanese Street Fashion □日本設計師的時裝系列 Japanese Designers’ Fashion Collections

□帶有日本風格的便服 Japanese style casual wear □西方設計師的日本題材時裝系列 Western Designer’s Japanese Inspired Collection

你會購買哪種有關日本的服裝? (可選擇多於一項 You may select more than one) Which kinds of Japanese related clothing will you buy? □日本傳統服裝 Traditional Japanese Costume □日本街頭服飾 Japanese Street Fashion □日本設計師的時裝系列 Japanese Designers’ Fashion Collections □帶有日本風格的便服 Japanese style casual wear □西方設計師的日本題材時裝系列 Western Designer’s Japanese Inspired Collection

你覺得以下哪種服裝最能代表日本? (請用 1 至 5 順序排列你的選擇) Which of the following best represent Japan? (Please rank from 1 to 5 for your choices) □日本傳統服裝 Traditional Japanese Costume

□日本街頭服飾 Japanese Street Fashion □日本設計師的時裝系列 Japanese Designers’ Fashion Collections □帶有日本風格的便服 Japanese style casual wear □西方設計師的日本題材時裝系列 Western Designer’s Japanese Inspired Collection 全卷完 End of Questionnaire 謝謝! Thank You!