Written by Kezia Pribadi | Read in Indonesian

While we shall not judge a book by its cover, maybe we can judge a country by its fashion? More than any other countries, Japan’s unique fashion is a reflection of its one-of-a-kind culture and creativity.

Japan's innovative fashion-forward reputation is one that took more than 30 years of evolution. While its industry gained international acclaim in the 1980s with the debut of high-end designers such as Rei Kawakubo and Issey Miyake, we cannot forget Japan’s quirky street fashion featuring people with mutual like-mindedness and passion. It was more than just clothing; it was also a movement which allowed people to be creative and express the different sides of themselves. 

Let us hop on a journey to discover the different facets of Japanese fashion, through some of its most interesting subcultures. 

Gyaru

In the 1970s, American jeans company Lee’s released its women's jeans line in Japan called GALS. Pronounced “gyaru” by Japanese natives, the term was quickly adapted outside its original branding to describe a certain style. 

In 1995, Egg magazine was launched and became the number one source for gyaru fashion and lifestyle. The gyaru movement is about embracing expression. They take pleasure in being loud, standing out from the crowd and be sex positive. Meanwhile, kogyaru is said to start as jargon amongst bouncers to designate high school girls who tried to sneak into clubs. The culture was a grand culmination of four prominent late 80s-90s trends that have evolved into what is known as gal party culture. 

Celebrities such as singer Namie Amuro with her natural kogyaru appearance placed gyaru style into the mainstream’s consciousness. She had a natural tan and light brown hair, and wore white lipstick. 

The gyaru style is made up of multiple subcategories. The primary would be gyaru kei, which is commonly associated with gyaru girls who are just beginning their journey. Hime gyaru is a collective term for over-the-top styles. They are characterised by expensive styles of dressing and are influenced by the Rococo era, as the Japanese word hime translates to “princess”. They often wear pink or pastel-coloured dresses or skirts adorned with laces and bows. Roses, pearls and crowns are the common motifs. 

Kogyaru are high school girls who like to put a touch of delinquency to their uniforms. Yamamba or mamba is an extreme exaggeration of gyaru fashion; they have dark fake tan and wear suggestive clothing, white eyeshadow and white lipstick.

Hairstyling is also a part of the aesthetic for gyaru; dyed hair, with curled or straight and crimped style being the basic looks. Animal prints, denim pleated skirts and fuzzy leg warmers are other signature looks of gyaru. 

These styles come with its own set of controversies. Ganguro, mamba, b-kei and yamamba are known for heavy tanning and are often criticised because people assume that they are trying to be a different race. Gyarus wearing hairstyles that are unique to the Black community such as box braids and cornrows have also been accused of cultural appropriation. Despite all the controversies, gyaru remains one of the most popular and recognisable Japanese fashion subcultures.

Lolita 

Lolita began in the 1980s, in the busy streets of the Harajuku district. It was mainly popularised by brands such as Baby, The Stars Shine Bright and Metamorphose, and became more widely accepted when popular bands started adopting the stylistic elaborate clothing. 

The Harajuku Bridge is the hot spot for youths wearing Lolita clothing. As youths began adopting it, the fashion gained popularity, causing a surge in shops selling Lolita fashion. Magazines such as Gothic & Lolita, Bible and FRUiTS were also picking up the style and contributed to its spread.

As interest grew, the awareness of Lolita fashion began spreading to other countries. The style became an international hit as Lolita shops opened abroad, including Baby, The Stars Shine Bright in Paris (2007) and New York (2014).

Long curled hair, frilly dresses, delicate headdresses or elaborate bonnets, knee-high socks, round toe Mary Janes, blouses and puffy tulle slips, knee-length skirts and wigs are some of the signature items of this subculture. They may also wear Victorian-style underskirts. The exaggerated cuteness is heavily influenced by the Victorian and Rococo periods, and can be divided into three subcategories: sweet, classic and gothic Lolita.

Sweet Lolita favours pastel colours, such as baby blue, pale pink, butter yellow and white. This style has child-like elements, with candy and animal prints and bows, with chequered prints and frills.

Classic Lolita is reminiscent of the original Victorian and Rococo fashion: elegant and classy. Aesthetically, the silhouette features an A-line skirt usually longer than the usual Lolita skirts, with lace ruffles at the hem. It includes details such as ruffles and pintucks and is usually paired with high-heeled Mary Jane and Victorian-style boots. 

Gothic Lolita is characterised by long skirts, corsets, dark colours and gothic symbols such as crosses, bats, skulls, coffins, roses and castles, while following the basic Lolita silhouette of bell skirts and dresses worn with petticoats to give it the classic “cupcake” shape. Accessories for gothic Lolita include bows and black tights. The  jewellery usually has dark-coloured gems with silver and metal tones.

Visual Kei

Visual Kei is a music genre which has evolved into a subculture. The origins are a mix of glam rock, punk and new wave influences combined with kabuki theatre and shojo. 

The pioneer of this genre, an 80s band called X Japan, is also credited with coining the name, which was thought to be derived from their slogan: “Psychedelic violence crime of visual shock”. The style is known for their spiky hairstyles, androgynous clothes and outrageous makeup which could be interpreted as both warrior-like and feminine. 

By the 90s, more bands joined the Visual Kei movement, such as Dir En Grey and L’Arc-en-Ciel. The movement then became known for its fans who were passionate and immersed themselves in the culture and aesthetics. Dark, gothic, historical and traditional influences are common in this subculture, and a large part of the elements in the style are comparable to Western rocker styles. 

Visual Kei blurs the line of genders; they are expressive and are not afraid to cross-dress and highlight their feminine side. The colour scheme is mainly black, mixed with bright colours such as red and purple. They use leather jackets similar to the ones used by American biker gangs, only longer and cover the body more.

The more gothic version of the style may include dark lace embroideries, cobweb-like fabrics, skulls and crowns. The punk aesthetic takes on a different element by playing with plaid prints, stripes and ripped jeans with heavy belts adorned with huge buckles. Ostentatious accessories are also part of the look; popular choices are biker chains, cuffs, rings, as well as studded bracelets. The outfit is completed with a varied choice of shoes which includes platform lace-up boots, classic creeper shoes, Doc Martens and winklepickers.

The final distinctive trait is the makeup: heavy use of eyeliner and mascara with purple, red, or black lipstick. This suggests an emphasis on androgyny, where more feminine qualities are meant to be pronounced.

The fascination with niche fashion in Japan lies between dynamic dichotomies: innovation and tradition, simplicity and elaboration, self-expression and conformity. The intricate contrasts create a sartorial landscape unique to Japan. It is an offering of endless exploration and appreciation. There is tradition in a Kimono, excitement in street style and subtle sophistication in minimalist design. This dynamic trend-setting landscape is a testament to Japan’s uncanny ability to preserve its heritage while continuously embracing changes.

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