Tomoko Hara and Sarah Deschamps

Modern Tokyo Times

Richard Gordon Smith was born in 1858 and died in 1918 and during his lifetime he wrote a delightful book called the Ancient Tales and Folklore of Japan. He was known for being a very keen sportsman, traveler and naturalist and apparently from a well-to-do family but near the end of his life poverty appears to have set in. In terms of Japanese folklore, then Smith was fascinated by this area whereby he adored local folklore, myths and traditions. Therefore, he combined his knowledge by travelling extensively throughout Japan and this can be witnessed by his intriguing book titled Ancient Tales and Folklore of Japan.

It is easy in the modern world to be constrained by political correctness and to lose the real imagination of the old world. However, the world that Smith knew was based on imperialism, superstition, religion, major class divisions and so forth. Yet in the realm of folklore and religion then the mind collectively was on another dimension compared with the modern world whereby science and modernity seeks to crush the intrigues of the old world. Of course, folklore to Harry Potter can impinge strongly on young children in the modern world before the reality of life crushes many dreams of the magical world. Despite this, the Japan that Smith witnessed will have been on a very different spiritual level and the same applies to the power of mythology and folklore.

The Sacred Text website (http://www.sacred-texts.com/shi/atfj/) highlights the beauty of the book written by Smith. It also becomes apparent that many local mythologies are widely imbued within his book. Therefore, for people who adore mythology and the splendid reality of the richness of Japanese culture, then clearly this book will enrich the reader greatly. Likewise, for many Japanese individuals they will see a new world that may appear distant today in modern Japan. However, if you scratch beneath the surface then somehow many old ways still survive irrespective of how the stories are changed in order to suit modern sensibilities.

Indeed, the beauty of the Ancient Tales and Folklore of Japan is that it was written over one hundred years ago. This reality means that the writer and people which provided deep knowledge for Smith belonged to a world of mystery. Thereby, the setting of each folklore story is shaped by the living connection of the day.

Japanese animation also keeps alive many aspects of Japanese folklore and ghost stories within many themes. Indeed, if you watch classics like Spirited Away by Hayao Miyazaki then you can feel the power of Shintoism and Japanese folklore within many angles of this adorable animation film. In this sense, the old world is speaking to a new generation through a different medium whereby the world of dreams and mythology are still powerful. Only the connection is missing in relationship to the real power of the world of Smith – whereby many aspects of Japanese mythology played a powerful role within the mysteries of the spirit world – and other important areas.

Therefore, by reading Ancient Tales and Folklore of Japan you can enrich your knowledge of Japanese folklore, while entering a passage into the world of Meiji Japan (1868-1912). Smith wrote from the heart and without any constraints therefore the language of the book is also enriched by this reality.

Lee Jay Walker gave guidance to both main writers

http://www.amazon.com/Ancient-Tales-Folklore-Richard-Gordon/dp/0946495785 Ancient Tales and Folklore of Japan by Richard Gordon Smith

http://www.sacred-texts.com/shi/atfj/ Ancient Tales and Folklore of Japan by Richard Gordon Smith

http://books.google.co.jp/books/about/Ancient_tales_and_folklore_of_Japan.html?id=HlAqAAAAYAAJ&redir_esc=y Ancient Tales and Folklore of Japan by Richard Gordon Smith

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Hiroshi Saito and Kanako Itamae

Modern Tokyo Times

Takashimaya Co. is one of the major department stores in Japan and despite the challenging international economy they have plans to expand within Asia over the next few years. Currently the internal economy of Japan appears to be picking up based on the policies of the Bank of Japan in early 2013.  Despite this, many areas of the  international economy remains sluggish but irrespective of this Takashimaya plans to expand.  Positive early results related to sales in the first few months of 2013 in Japan also point to a nice springboard for future international expansion.

This company was founded in 1829 and since this time many changes have impacted on Takashimaya. Like any major company within such a competitive sector then many major highs and lows have happened.  At the same time periods of low growth and stagnation have also been a reality. This often coincided with the internal mechanisms of the Japanese economy. However, despite everything fresh ideas and more international knowledge meant that new openings have maintained this company through thick and thin.

It is difficult to imagine the luxury fashion floors within this elegant department store and then equate this with being founded during the Edo period. Yet this is the richness of this exquisite department store which originates from Kyoto.

In the modern world of high octane fashion and enormous competition the Takashimaya department store can be found throughout Japan. International wise they have stores in France, Singapore and Taiwan. The American adventure wasn’t successful. However, like all pitfalls any good company worth its salt will reinvigorate itself and this is what Takashimaya appears to be able to do. After all, the longevity of this company speaks for itself.

Takashimaya’s China venture whereby around three to four department stores were planned between the middle of 2012 until 2016 did raise some alarm bells last year because of negative events between China and Japan. This applies to the ongoing tensions between China and Japan, attacks against Japanese companies during heightened nationalist sentiments last year, the slowing economy in China towards the end of 2012 and fears that the market is already saturated. Therefore, it will be interesting to see if Takashimaya changes some of their long-term ambitions in relation to this but in early 2013 the situation appears more stable than in the middle of 2012. Of course, Takashimaya will continue to monitor this issue which is outside their remit because of the political dimension between China and Japan.

According to internal analysts within Takashimaya they forecast an internal shortfall which will be matched by projected growth in their international stores and within its group business. The President of Takashimaya, Koji Suzuki, informed The Asahi Shimbum in 2012 that “We plan to invest to renovate department stores in Japan, but we will not be able to keep (domestic department store) sales from falling…We will maintain sales with our overseas and group businesses.”

In Tokyo Fashion Daily the highly respected Timothy Schepis reports that “For the six month period from May to August 2012, Takashimaya will report a 16% increase in consolidated operating profit of 10.5 billion yen…The increase in consolidated operating profits comes amid sluggish sales at Japan’s department stores – still Takashimaya’s operating revenue also increased 2% to finish at 420 billion yen for the same six month period.”

However, in early 2013 Takashimaya appears to be doing much better than thought possible by the president of this company in the middle of 2012. Modern Tokyo Times states in another article about Takashimaya that “…it was reported that a bullish 17% profit margin occurred between April and November 2012. Now it is apparent that consolidated operating profit for the entire year was 20% and with recent figures indicating further growth in March 2013, then it is hoped that this economic growth is pointing in the right direction for the entire sector in Japan. After all, in recent times the sale figures were often sluggish at Takashimaya because of the overall economy being negative, internal issues, unable to keep costs down, this sector being extremely competitive and other important factors.  However, now it would appear that Takashimaya is turning the corner.”

Takashimaya department stores are famous because of the exquisite brands which can be found in all their respective stores. Therefore, this company is hoping to expand within China, south-east Asia and Vietnam. If you adore luxury fashion, a whole array of quality products, scrumptious food and so much more, then clearly Takashimaya will cater for you.

http://www.takashimaya.co.jp/shinjuku/store_information/index.html

http://twitter.com/tokyofashndaily

http://moderntokyotimes.com/2013/04/11/japan-fashion-news-takashimaya-department-store-and-strong-growth/

http://www.tokyofashiondaily.com/2013/04/takashimaya-hits-record-high-for-first.html　

http://www.tokyofashiondaily.com/2012/09/takashimaya-up-in-first-half.html

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Kanako Itamae

Modern Tokyo Times

Tokyo lifestyle is extremely rich and choosing an ideal location to reside depends greatly on the demands of the individual. However, if you like the hustle and bustle of a very powerful area in Tokyo then Ikebukuro is a great choice. Also, the great thing about Ikebukuro is that the price mechanism varies accordingly and in the backstreets you will also find a more tranquil way of life.

The fashion angle of Ikebukuro is extremely powerful and this applies to department stores which include Lumine, Esola, Tobu Department Store, Seibu Department Store, Marui, Parco and several others. This means that Ikebukuro feels extremely young and vibrant in the main shopping areas of East and West Ikebukuro. The central theme is the huge train station which links so many department stores and aspects of culture in Ikebukuro.

Ikebukuro is blessed with several universities and you also have other institutions which are nearby. This once more means that this vibrant part of Tokyo is blessed with enormous pulling power when it comes to commerce, fashion, education and other important areas of modern life. The same applies to Ikebukuro being the “gateway” which links Saitama with this powerful commercial area and this fact can’t be overlooked. Therefore, many individuals who reside in Saitama will pick Ikebukuro being their first major shopping destination in Tokyo. Similarly, many Tokyoites will also pick Ikebukuro because of the fashion angle and the vibrancy of the nightlife but clearly the Saitama factor is enormous.

West Ikebukuro provides a different angle because it is more cosmopolitan and the abundance of fashion is amazing. This applies to utilizing the adorable Tobu Department Store which caters for amazing fashion brands, crafts, delicious food, and so much more. Also, for expats you have a fine selection of international cheese, wine, beer, and other products to make you feel like “home from home.”

Tobu Department Store also connects with Lumine Department Store in several places and both entities enrich each other. After all, both department stores have unique features and for young ladies who adore fashion then Lumine is one of the most popular department stores in Tokyo. Of course Tobu Department Store provides adorable boutiques for people of both sexes and different age groups. However, the price mechanism and nature of boutiques are different with Tobu Department Store having many exclusive boutiques and being more conservative. Meanwhile the trendy buzz and vibe of Lumine appeals greatly to younger ladies (also caters for male fashion) because this company understands the latest trends. Therefore, Lumine selects powerful shops-in-shop companies to be based in their department stores in order to meet the demands of the younger generation.

Esola is another lovely department store for ladies and Marui is also based in West Ikebukuro. Marui like Lumine is also in high demand for fashion lovers throughout Tokyo because both stores are extremely trendy. Meanwhile Esola provides a lovely elegant feel because despite have many exquisite boutiques, it isn’t too sizeable and this provides a lovely shopping experience. Also, within each department store they cater for other products and you have so many places to eat in the same buildings. This is an added bonus because people can unwind with friends and so forth by relaxing in stylish restaurants where the food is scrumptious.

Tokyo Metropolitan Art Space will re-open this autumn in 2012 and once the new design is on view then people will be able to relax in a stylish arena which caters to the cultural angle of Ikebukuro. Japan Traditional Craft Center in Ikebukuro is also a must place to visit for adorable Japanese crafts. This building is connected to Tobu Department Store and opposite Lumine. The Japan Traditional Craft Center provides a wealth of amazing products and this lovely shopping experience is richly rewarding.

In East Ikebukuro you have Parco Department Store and Seibu Department Store along with a host of other fashion companies in the streets of this side of Ikebukuro. Parco is another vibrant fashion zone for the younger generation meanwhile Seibu Department Store caters for a wealth of diverse products. Also, Seibu Department Store is blessed with stunning boutiques and clearly it is a great place to shop.

Also, on this side of Ikebukuro is Sunshine City which caters for shopping, entertainment, an aquarium, museums, observation deck, and hotel facilities. Sunshine City is an enormous attraction and the streets nearby provide a vibrant atmosphere. This applies to anime stores, entertainment, restaurants, nightlife, independent boutiques, and so much more.

Overall, the lifestyle of Ikebukuro is richly rewarding because this part of Tokyo provides so many options to enjoy. Not only this, the housing areas are relatively quiet and relaxing despite being very close to the buzzing central area. Ikebukuro is also very close to Shinjuku, Ueno, Shibuya, Harajuku, and other major parts of Tokyo. The price mechanism of the housing also means that this part of Tokyo is more affordable than most but of course you can also find places which are extremely expensive therefore much depends on your purchasing power. Yet when it comes to being a desirable place to reside in Tokyo then Ikebukuro provides a wealth of options.

All photo images taken by Modern Tokyo Times 

Lee Jay Walker gave guidance to both writers

www.smackyglam.com　 –  Smacky Glam

http://www.esola-ikebukuro.com/　

http://orizzonti.co.jp/category/actuel/　

http://www.barbie-stores.com/　

http://www.bluebellmarket.net/index.html　

http://www.palgroup.co.jp/brands/doudou/　

http://www.turnojeana.jp/　

http://www.frees-mart.com/index.html　

http://m-muriel.jp/index.html　

http://www.elleva.jp/　

http://www.frame-works.co.jp/index_n.html　

http://blog-s.frame-works.co.jp/　 Spick and Span official blog

http://www.jolly-boutique.com/　

http://www.world.co.jp/opaqueclip/　

http://royalflash-jp.com/pc/home.html　

http://sanyo-i.jp　   -  Sanyo i Store (Sanyo Shokai Ltd)

http://www.parco.co.jp/customer/ikebukuro/IkebukuroPARCO_FloorGuide.pdf

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Lee Jay Walker

Modern Tokyo Times

Henri de Toulouse-Lautrec (1864-1901) adored Japanese ukiyo-e and many famous international artists also fell in love with this art form. Toulouse-Lautrec and his lifestyle would certainly have fit in well with the environment of Yoshiwara in Tokyo, which is famous for prostitution. Indeed, several ukiyo-e artists depicted scenes in this famous district including Hiroshige and Utamaro. Therefore, Toulouse-Lautrec would have felt like being “home from home” because Yoshiwara and Montmartre shared many common features in the past.

Rene Princeteau gave art lessons to Toulouse-Lautrec when he was young and the background of his family is one of wealth. Indeed, he was born into an aristocratic family but tragedy impinged on Toulouse-Lautrec when he was a teenager because he broke both legs. The severity of the accidents meant that his legs stopped growing and this created “many internal demons.” This is based on the fact that his body continued to develop like normal therefore throughout his short life he could never fully come to terms with this situation.

The artistic turning point for Toulouse-Lautrec came in 1882 because he went to Paris in order to study conventional art. He soon met important artists like Vincent Van Gogh and the art of Edgar Degas inspired him greatly in this period. Therefore, the lore of Impressionist art enticed him greatly and because of this he gave up his studies in conventional art.

Toulouse-Lautrec who was born in the south of France now found himself in Montmartre in Paris. The environment was completely different because this area had a buzzing nightlife across the whole spectrum. This applies to cabarets, restaurants, dancing clubs with sexual connotations, cafes, brothels, and other areas of life.

The trappings of this new environment enticed Toulouse-Lautrec because he soon joined the bohemian community. During the evening period he would drink and natter with friends. However, despite enjoying himself Toulouse-Lautrec would also draw sketches and then work on altering these by turning them into lithographs and paintings. This became most rewarding for Toulouse-Lautrec because the environment created passion, innovation, and ideas, which were then expressed through his artwork.

Dieter Wanczura, www.artelino.com, comments that “The lithographs of Lautrec show the famous personalities of the French Belle Epoque. Lautrec knew them all personally- singers and dancers like Yvette Guilbert, May Belfort, Jane Avril or the poet Aristide Bruant. Many of these lithographs were commissioned by these artists for posters or theater billboards or as illustrations for magazines.”

Dieter Wanczura further comments that “The impressionists saw Ukiyo-e art (Japanese woodblock prints) and were impressed. And like so many other artists of the late nineteenth century, Lautrec had started collecting Japanese art. At that time, everything Japanese was en vogue – very fashionable.”

“Japanese printmaking had a very pervasive influence on his style. For Toulouse Lautrec movement and forms were important. His compositions, unusual perspectives and the use of large areas of flat color are undoubtedly inspired by Japanese woodblock prints.”

Western art impacted on Japanese art in the same period and likewise the Paris scene was awash with ukiyo-e prints. Therefore, new ideas were going in both directions but cultural differences meant that aspects of the cultural settings were very different. Also, individual artists, irrespective of nationality, had unique aspects which applied to their respective thought patterns and upbringings.

Artists like Van Gogh, Claude Monet, Paul Gauguin, Toulouse-Lautrec, Edgar Degas, and many others, were influenced by Japonisme (Japonism). However, Japonisme was based on the eye and not the concept or rich traditions which had evolved in Japan. Also, ukiyo-e is extremely broad when it comes to subjects that were covered and individual artists had their own unique styles and ways. Yet despite this, Japonisme certainly inspired many artists and for Toulouse-Lautrec ukiyo-e was like Montmartre. This applies to opening-up a new world of art and thought patterns which would enhance his creativity and style.

If you visit that Van Gogh (www.vangoghgallery.com) Gallery website it is stated that “Japanese art, especially Japanese woodcuts, became a great influence on Van Gogh. When Van Gogh moved to Paris in 1886 he was introduced to impressionism and also explored Japonism. Van Gogh admired the bold designs, intense colors, and flat areas of pure color and he also appreciated the elegant and simple lines.”

It is abundantly clear that Toulouse-Lautrec would fully understand the words of Van Gogh because he was also transformed in Paris. In another article I wrote about Japanese art I comment that “Ukiyo-e and western art went in both directions but the initial contact period will have been based on a mirror which can’t fully show the complexion of the individual because of all the steam. Irrespective of this, it is clear that both traditions led to new creativity.”

Sadly, for Toulouse-Lautrec, the lifestyle that altered his artistic path in Paris also became self destructive. Therefore, alcohol abuse and other negative areas all climaxed in his early death at the age of 36. In many ways Toulouse-Lautrec always had “two worlds which were pulling in opposite directions.” The first world applies to coming from a wealthy family but having poor health for the majority of his life. While the second world applies to being extremely creative because of the environment of Paris but the same environment led to his early death based on alcohol abuse and other factors.

Irrespective of everything, Toulouse-Lautrec leaves a lasting legacy because of the richness of his art and he also opens up the world of Montmartre.

http://www.artelino.com/articles/toulouse_lautrec.asp

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Hiroshi Saito

Modern Tokyo Times

The different vibes of Tokyo fashion are always in heavy demand both internally and internationally therefore the Style Arena website is a must place to check continuously for latest images and news. Images on Style Arena highlight the “real Tokyo” and the interactive knowledge of the respective individuals being highlighted provides powerful information. This applies to the current trends and favorite boutiques of each respective individual. Therefore, Style Arena provides a stylish fresh approach with complete professionalism at all times.

Style Arena http://www.style-arena.jp is currently highlighting Japanese Punk vibes in the New Tribe sector. Once more, each image highlights the stunning and changing fashion vibes of a craze which is reaching the streets of Tokyo from an independent angle. This complements the mainstream reality of much of Style Arena which focuses on powerful fashion districts within buzzing Tokyo.

The five main fashion districts whereby photos are uploaded frequently apply to Daikanyama, Ginza, Harajuku, Omotesando and Shibuya. These five delightful districts provide a lovely ambience to Style Arena based on the distinctiveness of each fashion zone.

After all, the buzzing independence of Harajuku is internationally famous therefore vast numbers of fashion lovers all over the world are fascinated by the unique vibes emanating from this fashion district. Meanwhile, Shibuya is also recognized for being a vibrant youth district for fashion lovers and whereby “Shibuya girls” are known by their own special styles and delightful haircuts. Of course, in Harajuku and Shibuya you also have exquisite mainstream fashion and a plethora of boutiques catering for different styles.

Daikanyama is very different because this fashion district is quaint and off the beaten track for international fashion lovers who visit Tokyo for the first time. However, within Tokyo this lovely district is known for independent fashion styles, elegance and having a warm atmosphere. Also, the lifestyle of Daikanyama is highly desirable therefore this place is in high demand when it comes to a place to call home. Therefore, by providing images of individuals who adore the Daikanyama fashion scene, it is interesting to note the differences in favorite boutiques and trends among some of the people interviewed,

Ginza and Omotesando are two districts which are known for the crème de la crème of Japanese and international fashion. This reality means that you will find many adorable European and American boutiques which mix freely with exquisite Japanese boutiques. These two fashion districts are extremely wealthy and the architecture is also another lovely feature of Ginza and Omotesando. 

Tokyoites are fully aware that Harajuku, Omotesando and Shibuya naturally flow together alongside Aoyama which is another amazing fashion district. In the backstreets of Omotesando and Harajuku you will also find independent styles and the vibes of American street fashion can be felt heavily in the backstreets of Omotesando. Therefore, you have a lovely synergy to the entire area which links these fantastic fashion zones into one enormous fashion hub.

Daikanyama is not so far away from Shibuya by train therefore Ginza is the one fashion district which is highlighted by Style Arena which stands out by its location. Like already stated, Ginza and Omotesando share many similar themes when it comes to high fashion. However, with the interplay between Omotesando and Harajuku being so strong and the same applies to Shibuya in terms of distance; then the focus on Ginza does provide another lovely angle to Style Arena.

In another article by Modern Tokyo Times about Style Arena it was stated that “Style Arena is extremely easy on the eye and clearly all the appropriate information is provided. This applies to respective individuals who highlight their favorite fashion companies and other important areas. The photo images also highlight many different angles and clearly great care is being taken. However, it is the easy available information which provides the “in boutiques” which is a huge winner.”

Overall, Style Arena is a must place to visit for fashion lovers who adore the rich angle of this sector in Tokyo. At all times this website is updated with lovely images and latest news whereby other fashion districts are highlighted. The user friendly nature of Style Arena and the language angle which reaches out internationally sums up the entire professionalism of this exquisite website.

Lee Jay Walker gave guidance to both main writers.

http://www.style-arena.jp

http://www.style-arena.jp/street/individual/dt/5533

http://www.style-arena.jp/street/individual/dt/5541

Images in this article are not from Style Arena.  Please click on the Style Arena website to view the latest trends of Tokyo. These images belong to MODERN TOKYO TIMES

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Sarah Deschamps and Michel Lebon

Modern Tokyo Times

Tokyo tourism provides an abundance of options because this highly developed city caters for so many tastes. This applies to amazing Japanese gardens, stunning art galleries, high octane fashion districts, a paradise for gamers, the beautiful Tenno palace, the beach of Odaiba and Rainbow Bridge, Meiji Shrine, mountain range of Takao, and so much more. Therefore, tourists who visit Tokyo are spoilt for choice in this amazing city.

However, in this article the emphasis is on Asakusa because this lovely district is famous for the stunning Buddhist temple called Senso-ji. This notable landmark in Tokyo is dedicated to the revered bodhisattva Kannon. Also, you have other beautiful temples in Asakusa and throughout the year you have various festivals which highlight the richness of Japanese culture.

The first temple on this site was built in 645 but prior to this the year of 628 is essential because of what happened according to legend. This applies to two fishermen who were fishing in the Sumida River when they suddenly found a statue of the revered Kannon (Goddess of Mercy). Hajino Nakamoto fully understood the importance of the statue and in time a temple was built honoring Kannon in Asakusa.

Sadly, during World War Two the vast majority of this temple was destroyed during carpet bombings. However, the rebirth of this temple mirrored the rebirth of Tokyo and Japan. Therefore, throughout the centuries this fascinating Buddhist temple played an important role in the history of Tokyo and political leaders throughout the ages respected the sanctity of this stunning place.

The Shinto shrine of Nishinomiya Inari Shrine is also located in the same part of Asakusa and this highlights the fusion of both faiths. Therefore, the Sanja Matsuri (Three Shrine Festival) incorporates this shared religious environment each year when approximately 1.5 million to 2 million individuals visit this festival. This highlights that while Tokyo is ultra-modern, it is also clear that the “old world” still survives during powerful festivals like the Sanja Matsuri.

During the golden period of Asakusa in the first five to six decades of the twentieth century, this district was famous for traditional Japanese theater, the highly regarded Denkikan cinema, and other forms of entertainment. Asakusa is also the oldest geisha district in Tokyo and you still have working geisha in modern times. You also have many traditional ryokan (guest houses) homes in this district and this further creates the cultural aspect of Asakusa.

The Kappabashi-dori is another intriguing place to visit because of the many Japanese kitchenware stores to be found. Many Tokyoites visit because of this factor and clearly Asakusa is a million miles away from the area of Shibuya which is famous for young fashion lovers. However, it is the richness of this diversity which makes Tokyo such a fascinating place to visit.

The Japan National Tourist Organization comments that “Numerous shops along Nakamise-dori Street, which runs along the approach way to Senso-ji Temple, carry a variety of small articles made of Japanese-style paper and other traditional goods such as folding fans. It is a lovely shopping street that attracts many foreign visitors.”

Overall, if you want to feel the richness of Buddhism and Shintoism in Tokyo then Asakusa enables this. At the same time, you can feel “old Tokyo” and envisage the power of the Buddhist faith, the Shinto faith, ukiyo-e, traditional Japanese theatre, geisha, and other powerful cultural traditions. Therefore, if you are going to visit Tokyo in the near future this part of Tokyo is highly recommended.

Lee Jay Walker gave support to both writers

http://www.jnto.go.jp/eng/location/regional/tokyo/asakusa.html

http://moderntokyotimes.com

Kanako Itamae and Michel Lebon

Modern Tokyo Times

Benetton entered the Japanese market over 30 years ago therefore this company is firmly established throughout Japan. It is clear that Benetton believed in the viability of the land of the rising sun before the vast majority of other fashion companies which entered at a later date. However, the enormous competition throughout this sector means that reinvigoration is needed at all times because fashion trends are never static. Likewise, new boutiques, vibes and the growing power of social media keeps on changing this sector.

Last year Benetton decided on changing part of its strategy in Japan in order to increase sales and profit margins. This new policy was focused on opening new smaller stores in order to maintain the visibility of Benetton and to attract new customers which are passing through major train stations. Given the power of major train stations in relation to the fashion scene in Japan then clearly having smaller stores in and around significant train stations does makes complete sense.

Alessandro Benetton, President of the highly acclaimed Benetton Group, stated in 2012 that “I would call them kiosks more than stores.” However, within the powerful fashion scene of major cities throughout Japan then clearly these “small stores” have remarkable appeal with other major fashion outlets. This reality means that Benetton is changing with the times and meeting the natural conditions of Japan.

If individuals don’t fully understand the Japanese market then it is easy to not know the dynamics of fashion within major train stations or connected directly. For example, in Ikebukuro and Shinjuku in Tokyo these train stations are awash with fashion. This applies to inside the train station or being connected with these stations which serve millions of people daily. Therefore, you will find many adorable boutiques within these two train stations, which are also connected with major department stores like Lumine and so many others which share the same environment. The same applies to other major cities throughout Japan like Kobe, Nagoya, Osaka, Sendai and a host of other powerful cities.

Of course the Benetton Group is firmly established within Japan and internationally because of the adorable fashion products they produce. Yet the need for visibility, convenience and adapting to the ever changing market in Japan is essential. For this reason the Benetton Group is hoping to re-connect with established customers and new clients who shop freely within or close by major train stations, by appealing through smaller shops.

Benetton stores which are already firmly established throughout major cities in Japan will hopefully gain from the knock-on-effect of greater visibility and attracting new customers. It is reported that the first new small store will open in trendy Shibuya in Tokyo.

Timothy Schepis (http://twitter.com/tokyofashndaily) at Tokyo Fashion Daily comments that “Even with 4 billion yen in sales in 2011 Benetton Japan’s sales are still struggling.  To help counter their decreasing sales Benetton will open smaller, more efficient retail doors selling the minimum with the maximum exposure.”

Benetton Japan is being fully supported back in Italy because it is clear that reinvigoration is needed. It is hoped that the new smaller stores will generate a fresh impetus alongside creating greater visibility. Therefore, many people are waiting for the results of this concept later in 2013 when fiscal results are announced. Hopefully, Benetton is on a winner because this company is part and parcel of the fashion scene within Japan.

http://www.benetton.com/

http://www.tokyofashiondaily.com/2012/09/eki-benetton.html　

leejay@moderntokyotimes.com

http://moderntokyotimes.com

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 

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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

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Lee Jay Walker

Modern Tokyo Times 

Claude Monet was very important within French Impressionism and despite new artistic movements like Cubism and Fauvism altering the artistic landscape, he remained firmly committed to Impressionist art. Another major art theme which would shape Claude Monet was Japanese ukiyo-e because he was smitten by this art form when he witnessed it with his own eyes. Therefore, Claude Monet utilized these two powerful art movements and the upshot of this was stunning fresh art pieces which remain etched within the memory.

The Impressionist art movement altered the artistic world dramatically because this art form created a new energy. However, for Claude Monet, and others, Impressionism was also a philosophy which embedded new ideas and how the world was viewed from different perspectives.

Claude Monet was born in 1840 in Paris and died in 1926. Throughout his long life he created extremely stunning art pieces and Claude Monet is also internationally admired. From an early age Claude Monet adored art and in the early period he took lessons from Jacques-Francois Ochard. However, his early mentor who taught him about using oil paints was Eugene Boudin, a fellow artist, whom he met when still a teenager. Claude Monet and Eugene Boudin also benefited from the influence of Johan Barthold Jongkind.

The year 1857 was very dramatic and full of sadness for Claude Monet because his mother passed away. From this period to the early 1860′s he witnessed many highs and lows because other family members were opposed to his strong focus on art. In the early 1860′s he served in the French army in Algeria and was meant to have stayed for seven years. However, after suffering from typhoid fever he was allowed to leave after two years because of the actions of his aunt and the reported prompting of Johan Barthold Jongkind.

Claude Monet in 1862 could once more fully concentrate on art but he wasn’t interested in following traditional art. He now became a student under Charles Gleyre in the dynamic city of Paris. In time he would meet powerful artists like Alfred Sisley, Pierre-Auguste Renoir and Frederic Bazille. These artists were focused on new approaches to art and in time the Impressionist movement would radically alter the artistic landscape. Therefore, because of these individuals and others who were dedicated to new artistic concepts, a rich flow of art would galvanize the art world which remains vibrant today.

The 1870′s was a  period of change for the people of France because the Franco-Prussian war of 1870-1871 and the revolutionary fervor which gripped Paris, led to many upheavals. During the same period Claude Monet was touched by Japanese print making called ukiyo-e. This love affair would stay with him for the rest of his life. However, the death of his wife from tuberculosis in 1879 after several years of illness shattered Claude Monet because he doted on Camille Doncieux.

Turning back to the impact of Japanese art on Claude Monet the writer Don Morrison, Time Magazine, comments in his article (Monet’s Love Affair with Japanese Art) that “One day in 1871, legend has it, a French artist named Claude Monet walked into a food shop in Amsterdam, where he had gone to escape the Prussian siege of Paris. There he spotted some Japanese prints being used as wrapping paper. He was so taken by the engravings that he bought one on the spot. The purchase changed his life — and the history of Western art.”

“Monet went on to collect 231 Japanese prints, which greatly influenced his work and that of other practitioners of Impressionism, the movement he helped create. Under the new Meiji Emperor, Japan in the 1870s was just opening to the outside world after centuries of isolation. Japanese handicrafts were flooding into European department stores and art galleries. Japonisme, a fascination with all things Japanese, was soon the rage among French intellectuals and artists, among them Vincent van Gogh, Edouard Manet, Camille Pissarro and the young Monet. Perhaps for that reason Impressionism caught on early in Japan and remains ferociously popular there.”

While it is known that Claude Monet adored ukiyo-e you still have major debates about how Japanese prints influenced him personally. This topic is still up in the air because many art experts have wide differences of opinions related to this issue.

On the following website (http://www.intermonet.com/japan/) it is stated that “Art historians do not agree about this point: was Monet really under Japanese influence, or did he seek confirmations of his own research in Eastern art?”

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“However, an attentive eye can establish interesting connections. The influence of the prints on Monet’s art can be noted in the subjects he chose, in the composition, in light……But Monet knew how to be inspired without borrowing. His paintings diverge, from the prints by many aspects. The Japanese artists liked to feature the anecdotic or dramatic moments, Monet concentrated on light, which was the very subject of the canvas – the object was no more than (a) medium to convey the plays of light.”

Art historians can either play up or play down the influence of ukiyo-e within the art of Claude Monet. However, he was clearly charmed by the ukiyo-e of individuals like Hokusai, Hiroshige, and Utamaro. This isn’t open to debate because not only did Claude Monet buy vast amounts of ukiyo-e art prints but he also created a Japanese garden in his cherished home. He and many other important Impressionists were clearly inspired by many aspects of ukiyo-e.

Despite this the cultural dimension could never be bridged because of different thought patterns and factors behind both respective art movements. However, the richness of ukiyo-e and the freshness of this style did reinvigorate many artists in Europe and North America. Therefore, while the degree of influence may vary to respective artists who adored ukiyo-e, it is clear that new artistic concepts within ukiyo-e did inspire new thinking within many Impressionists.

Don Morrison comments that “Perhaps the greatest gift Japan gave Monet, and Impressionism, was an incandescent obsession with getting the play of light and shadow, the balance of colors and the curve of a line, just right — not the way it is in reality, but the way it looks in the artist’s imagination. “I have slowly learned about the pattern of the grass, the trees, the structure of birds and other animals like insects and fish, so that when I am 80, I hope to be better,” Hokusai wrote 16 years before his death at age 89. “At 90, I hope to have caught the very essence of things, so that at 100 I will have reached heavenly mysteries. At 110, every point and line will be living.” Monet spent the last decades of his life painting his water lilies, and then painting them again, until he lost his sight in quest of an elusive, transcendent perfection that might best be called Japanese.”

The love affair that Claude Monet found with Japan in his lifetime remains powerful in modern Japan. After all, without a shadow of a doubt Claude Monet is one of the most popular artists in this country. Therefore, the “love affair” worked both ways and this “spark” remains extremely “bright” today in the land of the rising sun.

http://www.time.com/time/magazine/article/0,9171,1573943,00.html#ixzz1uXJiJOmX

http://www.intermonet.com/japan/

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Kanako Itamae and Sarah Deschamps

Modern Tokyo Times

Tokyo fashion is internationally famous and the fashion districts of Aoyama and Daikanyama highlight the vibrancy of this amazing city. Daikanyama is a magnet for people aged in their twenties and thirties. Likewise the prime Aoyama market is known to apply to people aged between 25 and early forties. However, the age group is not “set in stone.” Therefore, the Aoyama fashion scene with its rich sophistication will attract individuals who are older than 40 years of age. After all, fashion is not about robotic age groups it is about style, feeling comfortable, enhancing inner confidence, belonging, being individualistic, expressing yourself, and a host of other powerful factors.

In Daikanyama you have many popular shops which attract people to this fashionable part of Tokyo. These shops include Bonjou Recors, Loveless, Actus, Alfredo Bannister, Evisu, Hollywood Ranch Market, Via Bus Stop, Tsumori Chisato, Silas and Maria, United Bamboo, Arigato, APC, Hemisphere, Denime and many others.

The adorable independent feel to Daikanyama and the closeness to Ebisu is a wonderful treat for fashion lovers. Indeed, the “European fashion district” in Daikanyama is blessed with delightful boutiques. Also, the layout of Daikanyama means that you can relax and enjoy the atmosphere. Equally important is the special vibe of this trendy district which is located in a prime part of Tokyo.

In Aoyama you have the crème de la crème of Japanese and international fashion companies. The architecture of major boutiques and department stores is equally stunning. Therefore, fashion in Aoyama caters for individuals who adore famous brands and exquisite companies which cater for luxury.

Aoyama is blessed with amazing boutiques which would grace any powerful city in the world. The partial list of adorable boutiques in Aoyama applies to Prada, Vivienne Westwood, Comme des Garcons, Gucci, Roberto Cavalli, 10 Corso Como, Stella McCartney, Red Valentino, Paul Smith, Helmut Lang, Donna Karan, Michael Kors, L’eclaireur, Issey Miyake, A Bathing Ape, Jil Sander, Yohji Yamamoto, Artisan, Hanae Mori, Mark Jacobs, Tsumori Chisato, Costume National, Carbane de Zucca, Diane Von Furstenberg, Undercover, Frapbois, Design Works, Deuxieme Classe, and many other delightful boutiques like Cynthia Rowley.

Not surprisingly, Aoyama is known for being graceful, elegant, stylish, chic, sophisticated and full of panache. Individuals also have exquisite shopping malls to visit like Boutique W, Dress Camp, Flair Aoyama, and Loveless. This dimension means that people are spoilt for choice. Therefore, if individuals are new to Tokyo and they adore fashion then a visit to Aoyama is a must.

In both districts you have so many scrumptious restaurants to visit, relaxing café bars and a mixture of places to wine and dine. Tokyo fashion is known internationally because of the diverse nature of fashion in this ultra-modern city. A visit to Aoyama and Daikanyama will confirm this and the same applies to visiting the rich mosaic of fashionable districts in this delightful capital city.

Lee Jay Walker gave support to both main writers

All images taken by Modern Tokyo Times 

leejay@moderntokyotimes.com

http://moderntokyotimes.com