By toshidama

There is a long tradition of puppetry in Japan that stretches back to the seventeenth century. Puppet theatre predates kabuki theatre and informed much of the style, dramas and conventions that kabukiadopted and made its own. Not only does puppet theatre (bunraku) have an important place in Japanese culture but so do its close relatives: the extraordinary lifelike tableaux of life size dolls, called Iki-Ningyo, that were the craze in Edo Japan in the nineteenth century. These staggeringly naturalistic creations are pictured in woodblock prints by Kuniyoshi and other ukiyo artists, although in most cases there is little way of telling that the figures acting out popular melodramas are in fact not human.

Traditional Japanese puppetry requires three active participants: the puppeteers, dressed in black robes identifiable on ukiyo prints by the mysterious black veils over their faces; the storytellers who narrated stories of modern melodrama and tragedy or else legends of heroic samurai; and the shamisen players – the shamisen being a plucked, stringed instrument like a long double bass. Bunraku reached its peak of sophistication in the coming together of these elements and the technological advances of the puppets themselves. These became larger in the eighteenth century and required three puppeteers to operate them. The heads were exquisitely and realistically carved, often with moveable features, elaborate costumes and articulated fingers and thumbs. Typically the stage of a bunraku performance is wide and narrow with the puppeteers quite visible; as in the kabuki theatre, there would be costume and scene changes and also head changes to some puppets to show aging or dramatic changes in expression. The puppeteers were highly skilled taking up to ten years to master the complex and lifelike movements. The bunraku plays really got going under the writing skills of the great playwright Chikamatsu  (1653 – 1724). His domestic dramas that brilliantly captured the loves, lives and often suicides of contemporary Edo people tended to be more popular than the conventional epic dramas and so began the long tradition of scripts passing back and forth between the puppet theatre and the kabuki theatre. Inevitably with the phenomenal rise of kabuki  in the nineteenth century, bunraku was marginalised and finally found a specialist home in Osaka.

The figures were modelled with absolute attention to character and realism, from clothing to artefacts, as in these wrestling men to the left.  The performances proved so massively popular that they were quickly followed by outlandish tableaux of exotic figures (pictured above by Kuniyoshi) which showed what people of other countries might look like -  incidentally, this gives a good idea of how insular and isolated the Japanese were at this time. Perhaps more common were lifelike representations of popular heroes and men and women of courage, disaster, suicide and thwarted love. The print below by Kunisada shows the housewife Mayazumi who contributed to the disaster relief fund of one of Edo’s many natural disasters. These figures with their glass eyes and individually set human hairs of ordinary people living their lives were not only popular in Japan; they were widely exported to the big international exhibitions all over the world. Iki-ningyo became one of the early means for which Europe and America viewed the newly opened Japan. Sadly not many of these delicate sculptures survive but there is an interesting account of the ongoing restoration of one of them at the Victoria & Albert Museum London here.

Like kabuki, the bunraku puppet theatre and the iki-ningyo died out during the period of Meiji modernisation in the late nineteenth century. Advanced technologies including film and photography became more popular and these extraordinary art forms died out. Japanese fascination for mimesis and technical excellence has continued however. The video below shows a contemporary automaton maker from Japan, continuing his family’s traditions of making extraordinary working models of people shooting arrows or drawing calligraphy for example. The incredible expertise that is used is in a direct tradition from the tableaux of Edo Japan in the previous two centuries.

To bring this tradition right up to date there are of course the contemporary Japanese sex dolls and companion dolls which although bleaker in their intended use, nevertheless retain the same demanding skills of realism and likeness that has been a Japanese obsession for so long. If you get the chance, look out for Hirokazu Kore-Eda’s 2009 film Air-Doll which tells the story of a man falling in love with his living doll and the doll subsequently coming to life. Using silicone and miniaturized motors instead of gofun and papier-mache, current Japanese robot and doll technology remains outstanding and continues to push the limits of art’s ability to mimic nature.

More Information about TOSHIDAMA GALLERY 

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Please visit http://toshidama.wordpress.com and http://toshidama.blogspot.jp/ for more articles and information. 

Please visit http://toshidama-japanese-prints.com/  -   On our site you will see a wonderful selection of Japanese woodblock prints for sale. Ukiyo-e (the Japanese name for woodblock prints of the 18th and 19th centuries) are beautiful, collectible and a sound financial investment.

http://toshidama.wordpress.com/2012/05/15/mimesis-bunraku-puppets-and-living-dolls/

By toshidama

In this case not necessarily the physical body – I’m thinking here of the cultural body and how that relates to the people. When we look at the extraordinary corpus of Japanese woodblock prints from the nineteenth century we are struck firstly by its hermeticism. This is a sealed culture (literally, until the 1850’s), and one where there existed a complete set of cultural values, mythologies and beliefs further into the modern age than with any other comparable modern culture. This floating world, balanced for so many decades on the cusp of magic and technology reveals the visible disintegration of the body (as culture) and the mind (the feelings) of the people.

The unique isolation of Japan in the early modern world allows us an insight into the disjuncture between life and spirit in western cultures. Japan’s intrinsic culture and belief – like Roman and pre-christian beliefs in the west was pantheistic. The Japanese believed that all things – objects, the natural world, buildings, villages – were invested with kami. Kami is a complex idea, the word is both noun and adjective and as a noun means a powerful being like a god or deity. As an adjective, kami might translate as holy or mystical – mysterious or otherworldly. For some people the term might just mean magic or magical. This mysterious phenomenon underpins every aspect of Japanese culture and explains many of the ritualistic practices of the Japanese way of life, but also the untrammelled superstition that runs through every myth, folktale and unofficial history of people and events in Japanese history. Without an understanding of kami, the meaning of ukiyo prints, of kabuki plays and of the iconography of Japanese art is lost or hidden. There is not the space here to begin to classify the orders of kami let alone their countless manifestations. Because the beliefs of Japanese religion – both Shinto and to a lesser extent Buddhist – are evolved rather than revealed (that is, revealed by a prophet, as in Christianity or Islam), the classification of hierarchies can be confusing and conflicting. Deities may for example have less kami, (and therefore influence) than mortals who have achieved mythological status over time or through the influence of sects, shrines, folktales or Imperial influence.

A good example of this is the Empress Jingo. Jingo (Jingu) is certainly a real historical figure but is imbued with the attributes of a goddess and famed for her conquest of parts of Korea in the 3rd century. Having fallen pregnant, she is said to have tied a girdle of stones to her waist and delayed the birth of her son by three years. In the case of Jingo we can see how fact and mythology become contained within the same myth. These fantastical stories, common to nearly every well known historical figure have become woven into the fabric of myth and magic, creating inseparable distinctions between fact and fiction. Less outlandish might be the very real and well documented, 12th century samurai warrior Minamoto no Yoshitsune. Yoshitsune has parallels with the English Folk hero Robin Hood; and his is a tragic and very famous story in Japan. His father was persecuted by the rival Taira Clan and Yoshitsune was brought up in a monastery. Legend has it that he was then taught the secrets of fighting by Tengu(mythical forest creatures) before taking up rebellion against his father’s old enemies. Yoshitsune is usually pictured fighting the warrior monk Benkei at Gojo Bridge. Benkei, known as a phenomenally strong man and warrior, has secured the bridge with the intention of relieving 1000 samurai of their swords. Yoshitsune is his 1000th victim. Yoshitsune, though slight, defeats the giant man using Tengu fighting skills. Benkei becomes his loyal protector and between them they lead an armed rebellion against the Taira, establishing Yoshitsune’s brother as the first national Shogun.

In Yoshitsune’s legend there is historical fact, well attested by contemporary accounts; tremendous exaggeration – his famous eight boat leap, his fight with Benkei; and outright mythology – his education with the mythical forest creatures the tengu. Yoshitsune’s story is typical of the fabric of Japanese folk history and one that would have been very familiar with ordinary, superstitious Japanese. Ukiyo prints further embellished and reinforced the more colourful episodes of these histories with often lurid and miraculous scenes of fights with gigantic spiders, winged tengu, disembodied and gigantic heads of demons and terrifying monsters of the sea and forest. The religious belief in ghosts, demons and goblins has its roots in Chinese Daoism. The Japanese co-opted many of the characteristics of Daoist superstition into their own creation myths and to fill otherwise dull episodes in the lives of important figures. Hence there are numerous accounts of warrior heroes fighting with tengu (forest goblins), oni(wild demons) and kappa (water devils) – these Chinese characters easily combining with the indigenous Shinto beliefs. As memories of the ancient past diminished, the popular superstition of more recent possessions and hauntings came to dominate popular culture and entered into the mainstream of woodblock prints and kabuki theatre.

It was not only heroes and magicians that preoccupied the Japanese populace: perhaps more immediate and more pressing were the kami associated with animals, place and objects, a powerful superstition that penetrates right to the modern age. Nearly every indigenous animal (and some that are not native) is associated with magical powers, either directly or indirectly. The most powerful are also associated with the Chinese zodiac. Special superstitions surround the fox, the hare and the badger. The most confusing of these is the fox, often seen in Japanese woodblock prints and on its own associated with magic, good, evil, deceit and shape shifting. The fox appears in some of the great art of Japan, as in Hiroshige’s haunting and masterful New Year’s Eve Foxfires at the Changing Tree, Oji – here associated with marsh gas fires thought to presage magical events. The fox in Japanese mythology can be immensely wise, acquiring nine tails by the end of its long life but also assuming the shape of travellers on the road and of beautiful and seductive women.

If all this were not enough to worry about, objects could also take on malevolent and mysterious lives to harass the innocent or the unwary. In Japanese prints vengeful spirits can occupy hanging lanterns or appear as great skulls in the snowy landscape. Even umbrellas  were invested with their own soul at a certain age. These Tsukumogami, (Kami of tool) included any object of use that was more than 100 years old. This 10th century folk myth was given greater credence after it was co-opted by the proselytising sect of Shingon Buddhism and persists to this day in popular culture and quaint ceremonies carried out to console lost or damaged household objects.

Belief in Kami, in magic, in the supernatural has animated Japanese art for centuries. In the work of Kuniyoshi for example, his outstanding imaginative use of these myths contributed to his phenomenal success and the richness and vibrancy of his most arresting images (see top of page). So too in the work of his most gifted pupil Yoshitoshi. The print illustrated left of Hakamadare Yasasuke and Kidomaru Fighting with Magic from 1887 is one of the finest of Yoshitoshi’s magical subjects. Conforming to the tradition of mortals with exceptional Kami, it illustrates a follower of the 10th century warlord Minamoto no Yorimitsu, fighting with what might be another aspect of himself by use of supernatural means: the upper figure transforming into a gigantic snake, the lower meanwhile invoking a cloud of  tengu through incantation. The print has everything required of a folk history – magical creatures, sorcerers, historic characters, demons, terror and kami. This print was made twenty years after the great Japanese leap into the modern world, yet it would have been clearly understood by the large audience that it was designed for. Japanese culture was embedded in the natural world, in natural magic. This animism was also embedded in its official and Imperial history and in the official religions of Buddhism and Shinto. The distinctions that we habitually make between the real and the imagined simply did not exist in nineteenth century Japan. Thought, action and phenomena were intimately connected with the individual, and with their conscience and their contract with culture and society. Commerce, capitalism and communications severed this bond between town and country, between art (in its broadest sense) and life. What replaced this evolved belief system appears to be panic, alienation and industrialisation. Happily, these myths linger on in attenuated form. Casual research of Japanese mythology will these days lead to any number of manga and anime sites where the hybrid descendants of Yoshitsune, Benkei, Hideyoshi and Kidomaru are still wreaking magic and evil in the settings of junior high school and downtown Tokyo.

More Information about TOSHIDAMA GALLERY 

https://twitter.com/Toshidama

Please visit http://toshidama.wordpress.com for more articles and information. 

Please visit http://toshidama-japanese-prints.com/  -   On our site you will see a wonderful selection of Japanese woodblock prints for sale. Ukiyo-e (the Japanese name for woodblock prints of the 18th and 19th centuries) are beautiful, collectible and a sound financial investment.

http://toshidama.wordpress.com/2013/05/08/magic-in-japan-the-body-of-the-people/

Tomoko Hara and Sarah Deschamps

Modern Tokyo Times

Ron Herman just increased its clout in Japan further by opening two new stores in two trendy areas in Tokyo and Osaka. The Grand Front Osaka was bound to hit a chord with exquisite companies and clearly Ron Herman didn’t want to pass such a golden opportunity. Therefore, Ron Herman’s first venture into the fashion scene of Osaka is based in this amazing new concept which is located in the heart of this amazing city. Meanwhile, in Tokyo a new Ron Herman store opened in Tokyo Midtown in the Roppongi area.

These two new stores opened in late April 2013 and this brings the number to eight stores in trendy Japan for Ron Herman. This delightful company is run by Sazaby League, Ltd. Therefore, while venturing into the Roppongi fashion scene is interesting by itself, it more significant that this brand is now open to the public in Osaka.

Osaka fashion and style is amazing because you have ample fashion districts in this ultra modern part of Japan. Indeed, if fashion companies are intent on developing throughout Japan then clearly Tokyo and Osaka are the prime cities because of their collective economic power and ample fashion districts. It is hoped that the venture into Grand Front Osaka will be the start of something fresh in this part of Japan.

Zara Home also opened a new store in Grand Front Osaka because of the prestigious nature of this new concept in the heart of this flourishing city. This company is firmly established in Europe, Middle East, North America and South America and they also have a major presence in China and Japan. The international nature of Zara Home is abundantly clear because they have so many stores open throughout the world.

A PR representative of this company stated that “Grand Front is a favorable location with attractive Umeda clientele. One ‘home’ can be completed with ZARA HOME items.” For individuals who have never visited Umeda and the surrounding fashion districts then clearly this area must be put high on your list if you have the opportunity to visit this part of Japan. The buzzing vibes of Shinsaibashi, Namba and Umeda are truly exuberant because of exquisite fashion which runs throughout many fashion districts in vibrant Osaka.

Zara Home also opened a new store in LaLaport Yokohama in order to enhance their growing influence within the Japanese market. Lifestyle lovers will certainly enjoy this new store because of the quality products on sale and the array of imagination which goes into their respective stores.

Lee Jay Walker gave guidance to both main writers

http://www.zarahome.com/ Zara Home

http://www.ronherman.com/ Ron Herman

http://en.fashion-headline.com/ Fashion Headline for the latest Tokyo and Japan vibes

http://en.fashion-headline.com/article/2013/05/07/868.html Fashion Headline and Zara Home

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

The boy Emperor Antoku tragically perished before reaching seven years of age because of the political convulsions of the late twelfth century in Japan. His death and that of loyalists within the Taira says much about the cultural mindset which would remain embedded within Japan long after the fatal year of 1185. Likewise, the innocence of Emperor Antoku means that within the historical annuls of Japan the boy Emperor remains within the psyche of individuals who adore the history and culture of Japan.

Sadly, the treacherous betrayal of the Taira general is also a permanent reminder that often the bigger enemy is closer to home. Indeed, while the Crusades is often seen in a warlike clash between Christianity and Islam this negates the ample treachery which took place on both sides of the fence. After all, many a Christian and Muslim leader double-crossed the so-called noble cause and other branches of both faiths were treated with equal disdain within their respective faiths.

Emperor Antoku was born in late 1178 but sadly for this young child it was a period of major animosity between the warring clans of Minamoto and Taira (Heike). The ill-winds of war and the tragic fate which awaited Emperor Antoku meant that everything was outside his scope. Instead, he relied heavily on close guardians and the fluctuating military scene. Therefore, his life was one of duty and learning the ways of refinement while being a figurehead without any power because of his age and the reality of the day.

In another article about Emperor Antoku I state that “The Taira had collapsed because of various factors. This applies to enormous discontent, power control mechanisms being challenged by traditional elites, new forces within the Minamoto powerbase, ill-fortune based on the effects of nature, the loss of a powerful leader within the Taira clan and a whole host of other factors. All this culminated in the battle of Dan-no-ura and the ending of the life of the child Emperor Antoku.”

Before the battle of Dan-no-ura the writing was on the wall for the Taira clan because the Minamoto clan had been reinvigorated internally. Equally important, the Taira reign created many enemies because of the power mechanisms employed.

Britannica states that the Taira “…were defeated in two successive battles…one at Ichinotani, west of the city of Kōbe in Settsu Province, and the other at Yashima Island, along the Inland Sea in Sanuki Province (present Kagawa Prefecture). Forced to flee further west, the Taira family was finally completely destroyed in 1185 in the great sea battle of Dannoura, which occurred off the eastern end of the strait that separates Kyushu from Honshu. In this battle the emperor Antoku drowned, taking with him the great sword that was one of the Imperial Treasures of Japan…”

The ill-fated battle happened in the Shimonoseki Strait on April 25 in the year of 1185 whereby Emperor Antoku would perish. Treachery was at hand because a Taira general notified the Minamoto clan about which ship Emperor Antoku was based. Once this knowledge was passed over, then the Minamoto clan set about targeting this ship.

Toshidama Gallery states that “…the Minamoto were led by the legendary warrior Minamoto no Yoshitsune. The turning point in the ferocious battle came when a senior Taira general defected to the Minamoto and identified the ship containing the child Emperor Antoku and his family. The Minamoto archers turned their arrows on the flagship, sending it out of control. As the battle turned against them, sensing defeat, Antoku and his grandmother jumped to their deaths saying, “In the depths of the ocean we have a capital;” followed shortly by their loyal Taira samurai. The Taira threw the crown jewels overboard with them. The royal sword was never recovered. At the close of the engagement, the warrior Taira Norimori placed a heavy anchor on his armour and followed the rest into the sea…”

Different versions exist about what really happened because other historians focus on the death of his grandfather which enforced his grandmother to do desperate things. Alongside this his grandmother fully understood that the Taira would become supplanted by the Minamoto clan. Therefore, it seems most likely that Emperor Antoku even had his death controlled by a family member who believed that she had no other option.

It is ironic that while the Taira clan employed brutal methods during their period of power they ironically did not kill Minamoto Yoritomo in 1159 because of his young age. However, the Minamoto had no qualms in attacking the ship of Emperor Antoku. This reality meant that “an act of compassion” would come back to haunt the Taira clan.

Some historians state the age of death at six, seven and eight given the distance in time.

http://www.toshidama-japanese-prints.com/item_510/Kuniyoshi-The-Ghosts-of-the-Taira-Clan-Attacking-Yoshitsunes-Ship-in-Daimotsu-Bay-in-1185.htm

http://www.britannica.com/EBchecked/topic/580849/Taira-Family

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Michel Lebon and Tomoko Hara

Modern Tokyo Times

Lolita fashion began to sprout up in Japan in the late 1970s to early 1980s and over time you have had many offshoots within the “Lolita fashion style.” The clothing image and aesthetics relate to France and the United Kingdom within the realm of all the positives of the Rococo and Victorian periods. Irrespective if the vibe of today hides the real reality of the Victorian period and Rococo period, the role of fashion is to transcend this and to create an image of cuteness, positivity and pure class.

Since the early period which evolved around a small number of individuals this fashion style continues to develop and grow. Therefore, despite this fashion style being relatively obscure in the initial period and being extremely minor in the field of everyday fashion in Tokyo, Osaka, Kobe, and other cities, this style is increasingly popular worldwide. Also, you have special areas in Tokyo, Osaka, and other major cities in Japan which cater and are influenced by Lolita fashion.

Lolita fashion unlike kawaii culture, the punk period, and various other trends, is relatively constrained within certain boundaries. However, despite this you have various styles within the Lolita fashion style. Also, like all fashion trends, it is clear that the natural beauty of many Lolita outfits is being utilized by other fashion styles when it comes to creativity.

Kansai was the initial bedrock of Lolita fashion in Japan but in time areas and companies would adopt this style in parts of Tokyo. Early boutiques which began this movement many decades ago applies to Milk and Pretty (known as Angelic Pretty in time), Pink House, The Stars Shine Bright, and Metamorphose temps de fille.

In time music groups who liked the Lolita image would help this fashion status and Lolita went from obscure shops and a small client base to major powerful stores today in Japan. Most notable, would be Marui One in Shinjuku where you will find beautiful boutiques selling Lolita fashion, kawaii fashion, and other trends emanating from Japan.

Despite the name Lolita having sexual connotations in Western culture this fashion scene is not about looking sexy. Lolita is about elegance and cuteness and sometimes you may see images of Lolita style fashion with ladies in long boots and so forth, but this is outside of the Lolita image and style. Therefore, Lolita on the whole expresses the beauty of the fashion designs and cuteness of both the design and the individual (some Lolita styles are not based on this) who feels special in elegant clothes.

Just like other fashion trends some people will just love the special feel of wearing sophisticated clothes and looking different. However, for others, they will also like the lifestyle associated with Lolita and this applies to philosophy and living in a world based on beauty and other aspects of this movement.

Of special appeal to both writers of this article is Classic Lolita because unlike Sweet Lolita and other areas of this fashion, Classic Lolita suits a wider age group and connects more strongly with aspects of Victorian fashion. This applies to floral patterns and looking classy rather than being focused on cuteness and bold colors.

In contrast to Classic Lolita you have Sweet Lolita which certainly suits the younger generation because this style is based on more expressive styles and is more “child-like” in the positive sense. Therefore, outfits relating to Sweet Lolita are very popular in the colors pink, white, and powder blue. Also, light make-up and a natural approach suits the style of clothing and often you will see hairstyles with lovely bouncy curls and stylish pony tails.

Kuro Lolita (Black Lolita) is a fascinating style based on the co-ordinates of black and the style of this fashion looks very elegant. Also, if an individual is new to Lolita fashion then Kuro Lolita is a great starter because this style isn’t so complex. Despite this, the Kuro Lolita and the Classic Lolita look are extremely classy and both styles suit the images of the Victorian period.

Most intriguing from a Japanese cultural point of view is Wa Lolita because this fuses the culture where Lolita fashion took off. Therefore, you have a fusion of Lolita with the styles of yukata and kimono outfits and when this style works it really looks exquisite and graceful.

Also, just like the special fabrics used for a lovely kimono you also have flower prints with great detail and other aspects of the kimono and yukata style. Kanzashi hairclip styles based on flowers also works beautifully and creates a lovely Japanese style within the Lolita fashion range.

Overall, Lolita fashion keeps on evolving and for the puritans it isn’t all positive because Ero Lolita and Cosplay Lolita are going in the wrong direction and have little to do with the real fashion image. Other styles of Lolita apply to Gothic, Casual, Country, Shiro, Hime, Punk, Kodona, Aristocrat, Sailor, and several others.

The website http://www.lolitafashion.org/ Lolita Fashion is very good for information about the different styles. Also, the Lolita Fashion website shows many beautiful images and if you prefer other styles of Lolita than mentioned in this article, then please check the images and information from this website.

Lolita is very varied and the elegant nature of the vast majority of these different styles means that many fashion designers will borrow from the creativity of Lolita fashion.

Lee Jay Walker gave support to both main writers

http://www.lolitafashion.org/

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Michel Lebon

Modern Tokyo Times

The continuing expansion of Hennes & Mauritz AB (H&M) throughout Japan is clear to all fashion lovers in this nation. At first H&M focused heavily on Tokyo and Kanto which is the natural route into the Japanese fashion market. However, the pulling power of Osaka and the Kansai region soon materialized and in 2012 the Nagoya area followed the logical path of expansion. This reality means that 2013 will also witness new ideas from the trendy H&M brand in Japan.

H&M in countless surveys done by Modern Tokyo Times did extremely well because this dynamic company was ranked high on the list. These surveys relate to female fashion in trendy Tokyo and were aimed at younger ladies. Therefore, the age groups selected mainly focused on the range of 18 to 34 years of age.

It is clear that when H&M entered the Japanese market fully in 2008 that this company had great vision and natural self-confidence. This isn’t surprising because H&M was already a big hit throughout Europe and North America. Given this reality, then H&M had already achieved a buzz within Japan before opening their first store. Not surprisingly, many fashion lovers were waiting in anticipation because of the freshness of this company and its sheer innovation.

Several years later then in numerous surveys throughout Tokyo the company H&M was extremely high on the fashion radar. It didn’t seem to matter which district was picked because the same conclusion highlighted the power of this company within the Tokyo fashion market. This reality meant that in surveys taken in Ginza, Harajuku, Ikebukuro, Omotesando, Daikanyama and other powerful fashion districts in the capital of Japan, many trendy ladies selected H&M.

In another article by Modern Tokyo Times related to H&M it was stated that “The “fast fashion” brand of H&M is extremely popular for younger Japanese individuals because this company is trendy and affordable at the same time. H&M first moved to Japan in 2008 in trendy Ginza in Tokyo and since this time the company continues to grow and attract new shoppers. Therefore, the new outlet in Nagoya, which is based within the Matsuzakaya department store, is further evidence of the gradual move to other parts of Japan and this is most welcome.”

The second major area of expansion for H&M was the Kansai region and with great emphasis being put on the powerful Osaka and Kobe area. Osaka is a mega-city and areas like Namba, Umeda and many others, are awash with the finest in Japanese and international boutiques. Indeed, Osaka should be much higher on the international fashion map. This notably applies to the sheer size of the population and the purchasing power of individuals throughout this major economic hub which encompasses Osaka, Kobe and Kyoto.

The amazing “fast fashion” brand of H&M meant that it could enter the Ginza market with ease in Tokyo despite the leafy nature of this buzzing part of the capital city. Ginza is famous for the crème de la crème of fashion boutiques whereby the price range is often very pricey. This is only to be expected given the companies located in Ginza and Yurakucho. However, H&M took this in their stride and soon became a powerful brand within the high octane nature of Ginza fashion.

For now the rise of H&M is continuing in Japan because this company connected with Japanese ladies very quickly. H&M plays to the strengths that this company is blessed with and when extreme confidence is added to this, then clearly you have powerful forces at play. Therefore, for fashion lovers who adore H&M in Japan they will be eagerly awaiting new fresh ideas in 2013 from this innovative fashion company.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Hiroshi Saito

Modern Tokyo Times

In Japan you have a very natural relationship between modern and powerful train stations and the world of fashion. Indeed, many major train stations in Tokyo and Osaka, and throughout Japan, are real eye-openers to the world of fashion in the land of the rising sun. Therefore, for individuals who travel to Japan for the first time, then this reality will really stand out.

This relationship doesn’t only apply to renting retail space. More important, many major train companies own or joint-own major Japanese department stores. For example, Lumine department store was established by JR East in order to utilize the best of both worlds. After all, when you have millions of people passing through the main stations of Tokyo then this makes perfect sense.

Shinjuku and Ikebukuro are major train stations in Tokyo whereby millions of people pass through every day. People either work in these vibrant districts or individuals go shopping in these powerful parts of Tokyo. Likewise, vast numbers of people are passing through or internal and external tourists are visiting these trendy districts for various reasons.

In Ikebukuro you will find the stylish Lumine department store very close to Tobu department store on the west side, while on the east side of the train station complex you will find Seibu department store. All these amazing department stores are connected to the respective train lines which serve this train station. Within all these department stores you will find adorable fashion which applies to Japanese and international boutiques. Also, in Tobu department store and Seibu department store you can by a whole array of different products.

Likewise, in the buzzing city of Osaka you will find amazing shopping malls within major train stations or connected to various train stations within the same complex. For example in Namba, which is one of the most stylish areas in this amazing city, the fashion angle is simply fantastic and extremely trendy. Therefore, it is clear that places like Namba Walk caters for exquisite fashion and for people to enjoy eating at the many restaurants within the same vicinity. This feature is clearly popular because vast numbers of people do their shopping within Namba Walk and other amazing shopping malls which can be found within the same environment.

In Shinjuku in Tokyo major train companies like the Odakyu Group and many others like Lumine, all vie for a slice of the fashion market. The Odakyu train company was originally focused on the train sector but in time this company changed alongside the usage of the name. Now in modern times the Odakyu Group can be found in the train sector, finance, real estate, personal storage, bus service, fiber optic networking and a whole array of other areas related to business. Given the powerful nature of this company, then the Odakyu department store caters for the crème de la crème of fashion boutiques and other stores related to lifestyle.

Therefore, within the Odakyu department store in Shinjuku you will find amazing companies like Cartier, Chanel, Shiseido, Jill Stuart, Rolex, Louis Vuitton, Tiffany & Co, Omega, Seiko, Shu Uemura and so much more. These companies provide places for people to shop for exquisite fashion, amazing watch companies and exquisite cosmetic brands.

Not only this, but the same Odakyu Group owns My Lord in Shinjuku which caters for trendy young fashion lovers. This means that the Odakyu Group is providing two fantastic department stores which are aimed at different age groups and fashion styles. Therefore, this shows the innovation of fashion and the strong connection with the train sector which understands the need to diversify. Similarly, you will find Lumine department stores within the Shinjuku train complex and other companies which mix both sectors.

Also, within walking distance outside you will have an amazing fashion angle within Tokyo and Osaka respectively – and throughout Japan. For example, in trendy Osaka you will find amazing shopping malls within and surrounding Umeda train station. Therefore, the ultra-modern train stations in major cities throughout Japan are connected with the fashion sector and being places to relax.

In the United Kingdom you have major train stations like Euston in London, Manchester Piccadilly, Paddington in London and so forth. However, while you will find some areas to buy fashion the scale is much smaller and not based on major international brands. Also, local people don’t want to relax in these train stations and go shopping, eat scrumptious food and so forth. However, in Tokyo and Osaka it is very different because major train stations are powerful fashion hubs and places whereby you can relax. Indeed, within the train station complex of Ikebukuro and connected with the Lumine and Tobu department stores, you also have a cinema within the same shared environment.

Overall, major train stations are powerful hubs of fashion. Also, in Tokyo it is clear that major train groups have established their own department stores in order to utilize the people who use their respective train companies. Obviously, because major train stations like Shinjuku and Ikebukuro serve several different train companies, then passengers of all these train networks can utilize the fashion angle of several train companies. Likewise, powerful department stores that are solely based within the fashion sector also make the most of the same environment.

Modern Tokyo Times fashion images

Lee Jay Walker gave guidance to both main writers

http://www.odakyu-dept.co.jp/foreign/en/index.html

http://www.lumine.ne.jp/shinjuku/

http://www.tobu-dept.jp/ikebukuro/

http://www.hankyu-dept.co.jp/english/index.html

http://www2.seibu.jp/usrinfo/index.html

http://www.shinjuku-mylord.com/

http://www.infomapjapan.com/sight_Namba.phtml

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Michel Lebon and Tomoko Hara

Modern Tokyo Times

Tokyo and Osaka are amazing mega-cities whereby the fashion and beauty scene is always changing. Osaka is a hidden gem within Japan because this amazing city doesn’t hit the lofty international headlines like Tokyo. However, Osaka and the conurbation area which incorporates Kobe is one enormous zone which can compete favorably with all major international zones of trade and commerce.

The fashion and beauty angle in Osaka is equally amazing and each year you have new amazing developments in the realm of modern architecture. Tokyo is the usual stepping stone for international boutiques to enter the Japanese fashion sector but Osaka is powerful in its own right.

Forever 21 opened its first flagship store in Osaka on April 20 this month in the Dotonbori district. The new venture witnesses the first business dealing between Forever 21 and Parco and this bodes well for future dealings. Internationally, Forever 21 is currently blessed with 500 stores. Therefore, given the power of Osaka within the Kansai region then the new Dotonbori opening may become a future stepping stone for this stylish company within this vibrant part of Japan.

Jacob Cohen which is a stylish jeanswear and upper sportswear company opened today in the trendy Roppongi district. The sales manager, Marco Tiburzi, stated that “We also aim at increasing our presence in new markets such as former Russian countries as well as growing in the Far East. We are interested in expanding, though we want to do it gradually without going against our own identity.” Once more, it would appear that Tokyo is the stepping stone for not only Osaka but also for China because it is known that Jacob Cohen hopes to enter the Chinese market over the next few years. Roppongi is known for its international flavor therefore this district appears to be a natural suit for Jacob Cohen.

In the same fashion district of Roppongi a new Alexander McQueen accessories store opened to the general public earlier this month. The Alexander McQueen brand is famous because of exquisite elegance. Therefore, the new store will sell a variety of adorable goods ranging from bags, leather goods, jewelry, scarves and other lovely products.

Tokyo and Osaka fashion is always forward thinking and this applies to the Japanese and international angle. Also, with Planet Blue also entering the Roppongi fashion scene, then clearly many developments are taking place in this vibrant district alongside the mentioned openings of Alexander McQueen and Jacob Cohen. In the meantime new mega developments in Osaka are ongoing in many sectors and clearly the fashion angle is a lovely way to escape all the stresses of life.

Lee Jay Walker gave guidance to both writers

http://www.alexandermcqueen.co.uk/alexandermcqueen/en_GB Alexander McQueen

http://www.jacobcohen.it/#/home Jacob Cohen

http://www.forever21.co.jp/ Forever 21

http://en.fashion-headline.com/ Fashion Headline

http://www.sportswearnet.com/businessnews/pages/protected/Jacob-Cohen-bets-on-export-and-hires-Lorenza-Chiavarini_6630.html

http://www.parco.co.jp/group/en/pdf/press_120719.pdf

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Tomoko Hara

Modern Tokyo Times

Nishikawa Sukenobu was born in 1671 and until his death in the middle of the eighteenth century, this stunning artist opened up aspects of the role of women in Japanese society. Also, with Sukenobu being based in Kyoto then this provides a rarity within the ukiyo-e art movement. Therefore, with Sukenobu being based in the imperial city of Kyoto this provided him with more freedom and his thinking would be influenced by the environment he resided in.

It is stated about this stunning artist that his images of women were more natural and unassuming and this fact left a lasting legacy. From the political point of view, he appears to have been disenchanted with bakufureforms which were infringing on artists. However, instead of accepting these reforms he appears to have rebuked the bakufu by expressing his thinking through his artwork.

Jenny Preston, School of Oriental and African Studies, University of London, comments that “Between 1710 and 1722, Sukenobu published some fifty erotic works; following the Kyôhô reforms of 1722 outlawing erotica, he began producing works generally categorized as fûzoku ehon — versions of canonical texts, poems and riddles, all executed in a contemporary idiom. This study contends that these works were an expression of political disaffection; that Sukenobu used first the medium of the erotic, then the image-cum-text format of the children’s book to articulate anti-bakufu and pro-imperialist sentiment.  This radical re-reading of Sukenobu’s work is supported by close reference to the literary output of his numerous collaborators, to contemporary diary and pamphlet literature, and to the corpus of Edo and Kyoto machibure edicts. The study will hopefully shed new light on the role of popular art in the eighteenth century, and its profound political engagement.”

The research by Jenny Preston is very important because it highlights that artists couldn’t be fully constrained by bakufu reforms in their entirety. If, like stated, he had pro-imperial sentiments then this confirms his attachment to Kyoto and the power mechanisms of this city. Also, it shows that the bakufu would tolerate certain dissent in this period but at the same time central institutions were worried about the impact of art when it was deemed unsavory to the sentiments of the bakufu.

The University of Alberta Art Collection website comments that “Nishikawa Sukenobu was a Japanese woodblock print designer, book illustrator and painter. Unlike most of his contemporaries, who worked out of Edo, Sukenobu was based in the imperial capital, Kyoto. He produced book illustrations for the celebrated Kyoto publisher Hachimonjiya Jishō, as well as drawings for several kimono pattern sample books which portray scenes of women choosing kimonos. Sukenobu is best known for his orihon (folded books) and for his unsurpassed skill in presenting graceful and charmingly realized beauties. Sukenobu’s work greatly influenced numerous artists throughout the history of ukiyo-e.”

This bio by the University of Alberta is just highlighting brief facts about Sukenobu but it is clear that this individual artist is viewed with great acclaim when it comes to his depiction of women. Also, the Kyoto angle is highlighted and clearly Sukenobu is opening up a window to the fashion styles of this period in Kyoto. Similarly, he is providing a glimpse into the world of Kyoto with regards to the role of women in society.

Therefore, irrespective if the glimpse is limited or based on a male perception, it is still of cultural importance because his images are very realistic. For this reason, Sukenobu is of great importance because he opens up the keys to imperial Kyoto and the freedoms of women within certain areas of life.

His artwork called Appreciating 100 Women (Hyakunin joro shinasadame) is highly acclaimed because he covers a broad spectrum of different themes. This focus also highlights that his world was very rich and that he could mix easily irrespective of the situation. Therefore, Hyakunin joro shinasadame focuses on issues from the empress to ladies who were employed in the sex trade. Also, irrespective of the subject matter in this series of images, the importance is the style he did this in because the images are very realistic and this reality is what makes his work so powerful.

In another article about Sukenobu which was published by Modern Tokyo Times it was stated that “…with Sukenobu focusing on women from various different classes then he opens up the reality of old Japan. This in itself is very fascinating because it provides glimpses into the Edo period and this applies to stratification, roles of women, and freedom of women in Japan in this period. Therefore, the Hyakunin joro shinasadame is very important with regards to not only art but because it also relates to social issues and thought patterns of the day.”

“Sukenobu also highlights aspects of fashion with regards to elegant kimono designs. Indeed, many kimono-makers commissioned Sukenobu because of his creativity and the fact that he focused heavily on beautiful women and their lifestyle. Therefore, kimono-makers believed rightly that he could focus on new textile designs and this fact highlights the popularity of his work.”

The political angle to Sukenobu is also extremely fascinating and the same applies to the huge cultural differences within Japan. Imperial Kyoto had many different political intrigues and the world of Sukenobu meant that he was mainly an “outsider” in the world of ukiyo-e.

Lee Jay Walker gave support to the article

http://www.scholarsresource.com/browse/artist/2142567952　

http://collections.museums.ualberta.ca/uaac/uaac/details.aspx?key=18058&r=1&t=1

http://www.soas.ac.uk/jrc/awards-and-grants/kayoko-tsuda-bursary-recipients.html

leejay@moderntokyotimes.com　

http://moderntokyotimes.com　

Lee Jay Walker

Modern Tokyo Times

The Kyoto Seishu Netsuke Art Museum is a specialist museum which highlights the amazing beauty and craftsmanship of netsuke. Currently, the Spring Exhibition on the Theme of “Next Stage” runs until April 30and the next exhibition will start in July. If individuals reside in Kyoto or will be visiting this amazing city; then clearly this enchanting museum is most rewarding because of the many angles to netsuke.

Netsuke (http://www.netsukekan.jp/en/) began by being based on practicality and flourished during the Edo period. This practical angle applies to traditional robes being made without pockets. Not surprisingly, this created problems because personal items couldn’t be stored away. Therefore, from this humble beginning a new art form would entail whereby great craftsmanship would take netsuke into a different dimension. Indeed, this great skill is still in great demand today therefore the Kyoto Seishu Netsuke Art Museum’s 2,500-piece collection dates from the Edo period to the present period.

It is stated on the Kyoto Seishu Netsuke Art Museum that “Netsuke were invented out of the necessity of preventing items that were hung on the person and carried, such as inro (a pillbox), yatate (a portable writing set), cigarette cases and pouches from being lost or stolen. People would hang items from their obi (sash) with a string and attach a netsuke to the other end of the string as a fastener. Materials such as animal bones, including ivory and bull horns, ceramic and metals were used to make netsuke and they were finely sculptured by Japanese craftsmen.”

Netsuke became extremely popular during the Edo period and the gradual evolution of this intriguing aspect of Japanese culture would witness amazing craftsmanship. The museum in Kyoto therefore highlights the many intriguing angles to netsuke. This is backed up by providing fabulous exhibitions whereby the general public can see and feel the richness of this cultural trait.

The International Netsuke Society states that “All three objects (netsuke, ojime and the different types of sagemono) were often beautifully decorated with elaborate carving, lacquer work, or inlays of rare and exotic materials. Subjects portrayed in netsuke include naturally found objects, plants and animals, legends and legendary heroes, myths and mystical beasts, gods and religious symbols, daily activities, and myriad other themes. Many netsuke are believed to have been talismans. These items eventually developed into highly coveted and collectible art forms. Today we see a broad range from “folk art” carvings to levels of sophistication some consider to be fine art.”

When visiting the Kyoto Seishu Netsuke Art Museum people will be inspired by the awesome backdrop and setting of this exquisite museum. On the website of this museum it is stated that “The museum building is believed to have been built as the residence of the Kanzaki Family, one of the Mibu Goshi, in 1820. The residence of the Kanzaki Family was designated by Kyoto City as a tangible cultural property.” Therefore, the exquisite design and ambience is a treasure to behold.

During each respective exhibition you will have approximately 400 items on show which highlight the amazing skill and broad nature of netsuke. At the same time, the adorable setting and rich architecture will enable visitors to take a step back in time. Therefore, the “real Kyoto” can be felt deeply and the same applies about understanding the refined craftsmanship of Japanese specialists.

Muneaki Kinoshita, Director of the Kyoto Seishu Netsuke Art Museum, comments that “I began to think that I had to help the people of Japan preserve this wonderful, traditional Japanese art. The Kyoto Seishu Netsuke Art Museum is the fruit of my dream. The museum was opened in the autumn of 2007, by restoring the only existing samurai residence in Kyoto. Masterpieces selected from my collection are exhibited during the provided period of time in each season.”

The current exhibition runs until April 30 and the next exhibition will start in July. Therefore, if people reside in the Kyoto area or will visit this city of amazing high culture then the Kyoto Seishu Netsuke Art Museum is a must place to visit.

http://www.netsukekan.jp/en/ Kyoto Seishu Netsuke Art Museum – In English

http://www.netsukekan.jp/ Kyoto Seishu Netsuke Art Museum – In Japanese

http://www.netsukekan.jp/en/access/ Access information

All images belong to the Kyoto Seishu Netsuke Art Museum who gave Modern Tokyo Times permission to highlight this stunning museum

Sarah Deschamps and Kanako Itamae

Modern Tokyo Times

The Japan Department Stores Association announced more positive news for department stores in this country. It was reported that annual sales at major department stores grew collectively by 3.9% in March 2013.  This follows on from the first two months of 2013 which also showed economic growth. However, the growth figure in March outstrips the two previous months and clearly the current year is starting on a positive note.

In Tokyo the sales growth from the previous period twelve months ago was a very vibrant 6.4% in March. The figure in February was a respectable 2.5% but clearly the pace of growth is currently growing. Of course, the saying says that “one swallow doesn’t make a summer” therefore it is too early to predict the rest of 2013. In saying that, the signs look positive because within the political and banking structures of Japan you are witnessing fresh signs of hope.

Major cities like Kobe, Osaka, Nagoya, Sendai, Yokohama, and many others, highlight their own vibrant features within the fashion and retail sector in Japan. Emphasis and focus is often aimed at the Tokyo market but this distorts the real picture because the economic zone linking Kobe and Osaka is extremely powerful. Also, Kobe often creates new vibes before they enter the Tokyo scene. Similarly, in Osaka the vibes of Shinsaibashi, Namba, and other powerful districts, are a wonder to behold because of the notable sophistication and strong independent vibes which exist throughout this mega-city.

Takashimaya Department Store is reported to have witnessed a healthy internal sales figure of 5% in March from the previous year. This follows on from reaching a consolidating profit of 20% for this company in 2012. Takashimaya is also hoping to expand further in Asia therefore a new vibrancy is on the horizon within this company.

At the same time new international companies are entering the Japanese market. For example Steven Alan and Planet Blue have just entered the trendy Tokyo fashion scene in 2013. Therefore, with new international developments shaping the fashion scene in Japan it clearly highlights that this nation remains to be a major magnet for global fashion companies. In a sense, the fashion sector often beats to a different drum in Japan because quality is highly valued at all times therefore luxury brands value the Japanese “apple pie” greatly.

Timothy Schepis at (http://www.tokyofashiondaily.com/) Tokyo Fashion Daily states that “Driving sales across Japan`s department stores in March was women`s apparel, jewelry, and timepieces which increased a huge 34.9%.”

It is hoped that the current economic outlook within the fashion and department sector will continue to flourish in the following months. If this happens, then a new vibrant period will hopefully trigger new independent trends and enable up and coming designers to get a fair crack at the whip. Of course, nothing can be taken for granted but the signs look optimistic.

Lee Jay Walker gave guidance to both writers

Modern Tokyo Times images 

http://en.fashion-headline.com/ Fashion Headline

https://twitter.com/tokyofashndaily Tokyo Fashion Daily

http://www.rttnews.com/2096399/japan-department-store-sales-growth-quickens-in-march.aspx?type=alleco

http://www.tokyofashiondaily.com/2013/04/japans-department-stores-up-in-march.html

leejay@moderntokyotimes.com

http://moderntokyotimes.com