the influence of traditional japanese culture on modern fashion design

7/27/2019 THE INFLUENCE OF TRADITIONAL JAPANESE CULTURE ON MODERN FASHION DESIGN

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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


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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


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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.


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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.


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CONTENTS

Page

ACKNOWLEDGEMENTS

ABSTRACT

CHAPTER 1 INTRODUCTION 1

1.1 Background of Study 21.2 Objectives 41.3 Scope of Study 41.4 Methodology 5

CHAPTER 2 LITERATURE REVIEW

2.1 Japanese Traditional Cultures 8

2.1.1 Introduction 8

2.1.2 Japanese Traditional Arts 9

2.1.2.1 Sado 9

2.1.2.2 Ikebana 11

2.1.2.3 Ukiyoe 13

2.1.2.4 Origami 15


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2.1.2.5 Ohanami 17

2.1.3 Japanese Traditional Performing Arts

2.1.3.1 Kabuki 18

2.1.3.2 Geisha 19

2.2 Japanese Traditional Costumes

2.2.1 The Different Eras 22

2.2.1.1 Heian Period 23

2.2.1.2 Kawakuma Period 25

2.2.1.3 Muromachi Period 26

2.2.1.4 Momoyama Period 27

2.2.1.5 Edo Period 28

2.2.1.6 Meiji to Modern 29

2.2.2 The Aesthetics and Signification of

Kimono 32

2.2.2.1 Shapes and Silhouette 34

2.2.2.2 The Kimono Fabric 35

2.2.2.3 Color Combinations 36

2.2.2.4 Prints and Patterns 37

2.3 Japanese Street Fashion 38


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2.4 Japanese Fashion Designer Brands 39

2.5 Japanese Labels of Japanese Style Casual

Wear 40

CHAPTER 3 METHODOLOGY

3.1 Research Focus 42

3.2 Questionnaire Survey

3.2.1 Objectives 42

3.2.2 Questionnaire Design 43

3.3.3 Sampling, Method and distribution 44

3.3.4 Pilot Test 45

3.3.5 Data Collection and Analysis 46

CHAPETR 4 FINDINGS OF QUESTIONNAIRE

4.1 Background of Respondents 47

4.2 Japanese Traditional Culture 51

4.3 Japanese Traditional Costume 56


4.5 Japanese Designer Brands and Labels 71

4.6 Japanese Style Casual Wear 79


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4.7 Japanese Inspired Collection by John

Galliano 83

4.8 Comparison on Different Kinds of Japanese

Related Clothing 90

CHAPTER 5 ANALYSIS

5.1 Japanese Traditional Culture 99

5.2 Japanese Traditional Costume 101


5.4 Japanese Designer Brands and Labels 104

5.5 Japanese Style Casual Wear 105

5.6 Japanese Inspired Collection by John

Galliano 106

5.7 Comparison on Different Kinds of Japanese Related

Clothing

108

CHAPTER 6 DESIGN APPLICATION

6.1 Theme 111

6.2 Inspirations 112

6.3 Fabrication 112


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6.4 Placement of Prints 115

6.5 Silhouette and Cutting 116

6.6 Styling 117

CHAPTER 7 CONCLUSION, LIMITATIONS AND RECOMMENDATIONS

7.1 Conclusion 119

7.2 Limitations 121

7.3 Recommendations 122

APPENDIX

REFERENCES


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CHAPTER 1

INTRODUCTION

1.1. Background of StudyJapan 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 todays 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 peoples 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. ObjectivesJapanese 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 StudyJapanese 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 markets 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 peoples 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 ones 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 Geishas

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 Geishas 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. Munsterbergs description of Momoyama Period as one of the

most brilliant and artistically productive in Japans 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 womens 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

Dura upper lining on a woman's kimono

Eri collar

Fuki hem guard

Furi sleeve below the armhole

Maemigoro front main panel

Miyatsukuchi opening under the sleeve

Okumi front inside panel

Sode sleeve

Sodeguchi sleeve opening

Sodetsuke kimono armhole

Susomawashi lower lining

Tamoto sleeve pouch

Tomoeri 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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todays 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 FocusThe 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 Questionnaire Survey3.2.1 ObjectivesQuestionnaire survey are used to find out the peoples

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 designers

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 Total

Unique 22 16 17 55

Relaxing 9 5 9 23

Elegant 24 15 4 43

Conservative 3 8 4 15

Sophisticated 4 5 7 16

Magnificent 5 16 9 30

Plain 1 4 10 15

Vulgar 2 1 3 6

Subtle 7 9 5 21

Exaggerated 4 0 7 11

Entertaining 2 4 8 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 outof 83 votes).

- For rank 2, magnificent obtained the highest of 19.3% (16out of 83 votes).

- For rank 3, unique obtained the highest of 20.5% (17 outof 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 Sado

B Ikebana

C Bonsai

D Ukiyoe

E Origami

F Ohanami

G Kabuki

H Noh

I Bunraku

J Geisha

K 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 kindsof the Japanese traditional culture.

Rank 1 Rank 2 Rank 3 Rank 4 Rank 5 Total

Sado 22 11 13 11 9 66

Ikebana 4 18 9 10 6 47

Bonsai 3 7 7 5 12 34

Ukiyoe 7 5 4 8 7 31

Origami 18 13 16 12 3 62

Ohanami 19 11 11 13 6 60

Kabuki 3 8 6 9 11 37

Noh 2 1 2 4 5 14

Bunraku 1 2 4 3 7 17

Geisha 4 7 11 8 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 83votes).

- For rank 2, Ikebana obtained the highest of 27.1% (18 out of83 votes).

- For rank 3, Origami obtained the highest of 19.3% (16 out of83 votes).

- For rank 4, Ohanami obtained the highest of 15.7% (13 out of83 votes).

- For rank 5, Geisha obtained the highest of 20.5% (17 out of83 votes).

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Stylish 4 3 4 11

Cute 5 4 3 12

Elegant 26 9 13 48

Trendy 2 5 3 10

Sexy 4 1 4 9




Plain 1 3 3 7

Vulgar 1 2 4 7

Subtle 10 11 6 27


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

described.

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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 outof 83 votes).

- For rank 2, sophisticated obtained the highest of 22.9% (19out 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 Heian Period

B Muromachi Period

C Edo Period

D Meiji to Modern

E None of the Above


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 mostpopular.

- Heian Period received 12.0% of votes and was the third mostpopular.

- 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 19 11 14 36 80

Muromachi Period 5 30 32 12 79

Edo Period 16 31 20 15 82

Meiji to Modern 43 11 9 20 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% (43out of 83 votes).

- For rank 2, Edo Period obtained the highest of 37.3% (31 outof 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% (36out of 83 votes).

-Figure 4.3d shows the willingness of wearing traditional

Japanese costume.

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A Never

B Seldom

C Occasionally

D Regularly

E 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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Interest to Japan 31 17 12 60

Personal Interest 29 29 7 65

Trend 5 15 17 37

Cultural Backgroud 7 14 23 44

Peer Influence 4 6 19 29

Media 7 2 5 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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Stylish 7 6 14 27

Cute 8 2 6 16

Elegant 3 4 0 7

Trendy 1 6 5 12

Sexy 0 8 0 8



Magnificent 2 4 1 7

Plain 0 0 3 3

Vulgar 5 2 2 9

Subtle 3 0 4 7


Courageous 11 24 14 49

Self-Expressive 17 10 18 35

Table 4.4a shows the way Japanese street fashion were thought

to be best described.

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describing Japanese street fashion from their own perception.



- For rank 1, exaggerated obtained the highest of 33.7% (28out of 83 votes).

- For rank 2, courageous obtained the highest of 28.9% (24out 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 Lolita

B Ganguro

C Kogal

D Bosozoku

E Visual Kei

F Cosplay

G Decora

H Kawai

I None of the Above

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different kinds of Japanese street fashion they know. The


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 kindsof the Japanese street fashion.

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Lolita 29 13 13 8 12 75

Ganguro 7 8 9 10 13 47

Kogal 5 7 10 13 15 50

Bosozoku 3 5 7 10 10 35

Visual Kei 6 7 15 12 14 54

Cosplay 19 21 14 5 5 64

Decora 4 7 5 10 6 32

Kawai 10 15 10 14 8 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 of83 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 outof 83 votes).

- For rank 4, Kawai obtained the highest of 16.9% (14 out of83 votes).

- For rank 5, Kogal obtained the highest of 18.1% (15 out of83 votes).

Figure 4.4d shows the willingness of wearing Japanese street

fashion

A Never

B Seldom

C Occasionally

D Regularly

E Always

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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.




Trend 9 19 18 46



Media 4 9 12 25


or not wearing Japanese street fashion.


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%69


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- For rank 2, trend obtained the highest of 22.9% (19out of83 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


Stylish 41 9 11 61

Cute 4 7 3 14

Elegant 3 4 8 15

Trendy 17 29 10 56

Sexy 1 5 3 9




Plain 0 6 5 11

Vulgar 3 1 4 8

Subtle 4 2 3 9


Table 4.5a shows the way Japanese brands fashion collections

were thought to be best described.

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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 outof 83 votes).

- For rank 2, trendy obtained the highest of 34.9% (29 outof 83 votes).

- For rank 3, exaggerated obtained the highest of 20.5% (17out 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 Issey Miyake

B Kenzo

C Comme des Garcons

D Junya Watanabe

E Yohji Yamamoto

F Limi Feu

G A Bathing Ape

H Mercibeaucoup

I Tsumori Chisato

J None of the Above

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different kinds of Japanese fashion brands they know. The


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 mostpopular.

- 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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Issey Miyake 16 12 8 10 10 56

Kenzo 11 9 13 11 8 52

Comme des

Garcons

12 13 12 13 6 56

Junya

Watanabe

3 5 7 7 7 29

Yohji

Yamamoto

13 9 12 5 8 47

Limi Feu 2 6 10 7 10 35

A Bathing Ape 11 14 6 10 8 49

Mercibeaucoup 7 5 7 11 15 45

Tsumori

Chisato

8 10 8 9 11 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% (1675


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

- For rank 3, Kenzo obtained the highest of 15.7% (13 out of83 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% (15out of 83 votes).

Figure 4.5d shows the willingness of wearing Japanese fashion

brands fashion collections.

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A Never

B Seldom

C Occasionally

D Regularly

E 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.




Trend 17 30 8 55

Appreciation of Designers 10 11 17 38



Media 4 4 14 22

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or not wearing Japanese fashion brands collections.


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 of83 votes).

- For rank 3, appreciation of designers obtained the highestof 20.5% (17 out of 83 votes).

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4.6 Japanese Style Casual Wear


Stylish 24 12 14 50

Cute 16 8 2 26

Elegant 5 7 5 17

Trendy 9 8 15 32

Sexy 1 2 3 6



Magnificent 2 0 4 6

Plain 11 14 12 37

Vulgar 8 10 3 21

Subtle 2 11 5 18


Table 4.6a shows the way Japanese style casual wear were thought

to be best described.

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describing Japanese style casual wear from their own perception.



- For rank 1, stylish obtained the highest of 28.9% (24 outof 83 votes).

- For rank 2, plain obtained the highest of 16.9% (14 out of83 votes).

- For rank 3, trendy obtained the highest of 18.1% (15 outof 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 Never

B Seldom

C Occasionally

D Regularly

E 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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Trend 11 30 12 53



Media 3 5 12 20

Table 4.6c shows the reasons behind considerations of wearing

or not wearing Japanese style casual wear.


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 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


Stylish 11 5 10 26

Cute 3 2 2 7

Elegant 8 10 10 28

Trendy 3 7 9 19

Sexy 1 8 3 12




Plain 1 1 5 7

Vulgar 2 8 6 16

Subtle 2 1 3 6


Table 4.7a shows the way Dior 2007 S/S fashion collection was

thought to be best described.

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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% (33outof 83 votes).


- For rank 3, sophisticated obtained the highest of 25.7% (13out of 83 votes).

Hence, Dior 2007 S/S fashion collection was perceived to be

exaggerated, magnificent and sophisticated.

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Color Usage 30 17 13 6 12 78

Prints &

Patterns

10 15 14 22 8 69

Fabrication 5 13 16 20 14 68

Cut & Shape 28 21 11 9 7 76

Accessories 6 8 15 12 20 61

Makeup &

Hairstyle

4 9 14 14 22 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% (30out 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% (16out of 83 votes).

- For rank 4, prints and patterns obtained the highest of26.5% (22 out of 83 votes).

- For rank 5, makeup and hairstyle obtained the highest of26.5% (22 out of 83 votes).


Color Usage 19 13 15 13 12 72

Prints &

Patterns

24 17 19 11 6 77

Fabrication 7 14 20 14 10 65

Cut & Shape 13 20 11 18 9 71

Accessories 4 8 8 19 21 60

Makeup &

Hairstyle

16 11 10 8 25 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 of28.9% (24 out of 83 votes).

- For rank 2, cut and shape obtained the highest of 24.1% (20out of 83 votes).

- For rank 3, fabrication obtained the highest of 24.1% (20out of 83 votes).

- For rank 4, accessories obtained the highest of 22.9% (19out of 83 votes).

- For rank 5, makeup and hairstyle obtained the highest of30.1% (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 Never

B Seldom

C Occasionally

D Regularly

E Always


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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Trend 10 30 12 52



Media 5 7 13 25


or not wearing Dior 2007 S/S fashion collection.


of wearing or not wearing Dior 2007 S/S fashion collection. The




- 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


Traditional

Japanese

Costume

23 13 14 15 19 84

Japanese

Street

Fashion

11 15 12 15 30 83

Japanese

Designers

Fashion

Collections

20 17 18 20 7 82

Japanese

Style Casual

Wear

20 23 16 17 9 85

Western

Designers

9 15 23 16 18 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 highestof 27.7% (23 out of 83 votes).

- For rank 2, Japanese style casual wear obtained the highestof 27.7% (23 out of 83 votes).

- For rank 3, Western designers Japanese inspired collectionobtained the highest of 27.7% (23 out of 83 votes).

- For rank 4, Japanese designers fashion collections obtainedthe 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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Traditional

Japanese

Costume

69 5 3 4 7 88

Japanese

Street

Fashion

6 43 14 11 9 83

Japanese

Designers

Fashion

Collection

1 12 28 30 14 85

Japanese

Style Casual

Wear

2 17 29 25 8 81

Western

Designers

Japanese

Inspired

Collection

5 6 9 13 45 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 highestof 83.1% (69 out of 83 votes).

- For rank 2, Japanese street fashion obtained the highest of51.8% (43 out of 83 votes).

- For rank 3, Japanese style casual wear obtained the highestof 34.9% (29 out of 83 votes).

- For rank 4, Japanese designers fashion collections obtainedthe highest of 36.1% (30 out of 83 votes).

- For rank 5, Western designers Japanese inspired collectionobtained 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 wasthe most popular.

- Japanese designs fashion collections received 23.9% of

votes and was the second most popular.

- Western designers Japanese inspired collection received16.6% 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 Traditional Japanese Costume

B Japanese Street Fashion

C Japanese Designers Fashion Collections

D Japanese Style Casual Wear

E Western Designers Japanese Inspired Collection

Respondents were allowed to select more than one kinds of

Japanese related clothing that they would purchase. The


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of votes:

- Japanese style casual wear received 36.2% of votes and wasthe most popular.

- Japanese designs fashion collections received 26.9% ofvotes and was the second most popular.

- Western designers Japanese inspired collection andJapanese 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.

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A Never

B Seldom

C Occasionally

D Regularly

E 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.




Trend 14 27 19 60



Media 3 8 13 24

Table 4.8f shows the reasons behind considerations of wearing

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or not wearing clothing with Japanese style in general.


of wearing or not wearing clothing with Japanese style. The




- 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

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and nature.


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.


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 peoples 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 reflecte

the influence of traditional japanese culture on modern fashion design

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