Home & People

Press, 18 October 1978, Page 6

Home & People

Of the many changes Japan has undergone since its defeat in 1945, one of the most pronounced is in the field of fashion. Indeed, the fashion changes reflect much of the blending between Japan and the West following Tokyo’s export-ori-entated economic boom.

Old Japanese grandmothers dressed in typical kimonos can be seen politely showing dismay at the masses of young people strutting through crowded streets in the latest Western fashions Or fads.

They include followers of trends such as “punk,” young couples conscious of their sex and newlyweds anxious to impress in haute couture designs.

A further sign of the times is the increasing space allotted by big department stores to designer copies of clothes and accessories carrying labels of famous fashion houses, such as Dior, Nina Ricci and Yves St Laurent. Japan’s exposure to Western fashion dates back to the middle of last century when the country first opened its doors to the outside worldWith the appearance of gaijin (foreigners), came attempts to emulate foreign mechanisation, dress and manners. Before that, the kimono was the everyday dress. It still survives today as one of the longest-lived fashions in history. Its form has remained basically unchanged as a square-cut wraparound, often highly

decorated, with the emphasis on coolness. The Allied occupation after World War II furthered the infusion of Western ideas in dress, providing a better defence against the hot summers and cold winters.

While there is probably a kimono in every closet today, the dress has virtually been cast aside by the younger generation, except for festive and ceremonial occasions, such as weddings and funerals.

Fashion-conscious teenagers, quick to jump on the bandwaggon of latest fads, are influenced greatly' by the entertainment world. ~

The girl who is ready to marry lives with “her family, paying a relative pittance for maintenance, and having the freedom to spend money to adorn herself to attract men. The newly-wed is still in pursuit of fashion, but this interest tends to wane once she starts a family. Motives for fashionbuying are emotional and fill a need for self-pride. Snob appeal is apparent. Today, with the group ethic still deeply ingrained, when a designer of “new look” becomes accepted, it is with a passion unrivalled in many other spheres. Literally thousands of people jump on the bandwaggon.

Who are the fashion dictators? Historically in the West, changes made by retailers have rested ultimately on the consumers. But the reverse is true in Japan, where the retailer is

the trend setter and educator. Mass communication, travel and the recent emergence of fashion publications in Japan have helped the domestic consumer keep abreast of Western trends. But what has happened is a dictatorship of fashion — when it comes to dress, West is best. Many Japanese designers complain of frustrations when trying to be accepted in their homeland. Some of them are employed to copy Western designs and channel their talents towards corporate profits rather than creative expression. Only a handful of Japanese designers have “made it” at home. They include Jun Ashida, a designer from the Imperial family, who has also found success in the international arena. Another is Yukiko Hanai, who started as a fashion illustrator and now combines her own textile designs with silhouette patterns tailored especially for the Japanese figure.

Most designers have had to export their talents to either Paris or New York before gaining even a semblance of acceptance in Japan as designers of international standing. They include Hanae Mori, Issey Miyake and Kenzo. One designer says he believes the art of designing in Japan is not recognised as creativity, but as a means of profitability. Issey Miyake sees a lack of socalled spiritual freedom among Japanese consumers.