Synchronised Subversion

SYNCH RON I S E D SUBVERSION: Japanese Subcultures + Uniformed Rebellion An essay by Josephine Rout, Curator at the V&A museum

In their seemingly incongruous mix of festival costume and school uniforms, manic movement and raucous noise, Miss Revolutionary Idol Berserker is a glorious celebration of Japanese Idol culture.

The extent to which Japanese schoolgirls have become fashion leaders worthy of worship is evident in Idol culture. Young pop-stars, most often female, are treated with a level of devotion that borders on religious. A homage to otagei, obsessive dance routines performed by pop idol fans, Toco Nikaido’s work begs the question, is this frenetic fandom or the height of subcultural style?

Dance and dress, from the festival, via the school to the street, have long been two of the most important means by which to create camaraderie in Japan. In the late 1970s, groups of youth dressed in brightly-coloured robes

and jumpsuits descended upon Harajuku’s hongosha tengoku (pedestrian heaven) for one reason - to dance in a carefully choreographed manner. Although short-lived, this subcultural group, known as the bamboo shoot tribe (takenoko-zoku), were the first to establish Harajuku as a destination for subversive style.

With their outfits inspired by Heian period (794-1185) court dress, and devout attention to their detailed dance moves and adolescent disregard for authority, the takenoko-zoku combined fashion flair with festival fervour.

Image: Takenoko-zoku (© wiki-commons)

Certainly, ‘uniform culture’, so deeply ingrained through the education system, lends itself to the development of robust subcultural styles. Unlike conformity prescribed by an institution, or bound by etiquette, subcultural uniforms are a matter of choice. This attempt to express one’s individuality represents a desire to both distinguish oneself from the general public, but also to create an alternative sense of communality.

The Lolita subculture, for example, defined by their taste for excessive cuteness, is now a global community.

Sweet Lolita outfit by Baby, the Stars Shine Bright, Japan, 21st century © Victoria and Albert Museum, London

Up until this point, Japan had successfully projected an image of itself as a neatly ordered nation, populated with besuited businessmen and uniformed students. The takenoko-zoku, and the female dominated subcultures that would follow, sought to deconstruct this homogenous entity by adding another dimension to this: that of bizarre and crazy street style. Such subversion is generally construed as the natural reaction to the rigid nature of Japanese society and intense pressures to conform, yet there is a tendency to view Japanese subcultures as somehow less authentic than those found in Europe or America. Often, this is due to the misconception that they are merely style, without musical affiliation or political drive to give them substance. Indeed, it is the apparent uniformity and seemingly two-dimensional nature of these styles that is cited as making them less credible, yet this it is precisely what makes them so unique.

Acceptance is based on devotion and by adopting the sartorial codes of the group, one is accepted and appreciated. The level of comfort found in these communities reflects the intimate nature of the family. These are essentially chosen kin; people with whom members feel a spiritual connection and in whose company they feel safe.

Fireworks at Ryōgoku Bridge by Utagawa Toyokuni (1769-1825), Japan, 1820-25 © Victoria and Albert Museum, London

However, notions of conformity and controlled dress had existed long before the introduction of Western-style school uniforms. Rules regarding dress and colour, date back to the seventh century when Prince Shōtoku, following the Chinese system, organised the court into twelve ranks to be distinguished by the colour of the headdress. Publication of the Engishiki, a book of laws and regulations in 926 A.D. further instituted conformity, carefully managed so as to maintain the social order.

Dress codes continued to punctuate the sartorial history of Japan through the development of sumptuary laws. These laws were attempts by the ruling Shogun to limit ostentatious display, particularly by wealthy merchants. Limited as they were to dark browns, greys and indigo, urban commoners subverted the rules by lining their kimono jackets with silk and developing fashions around what it was they could wear.

In this highly controlled environment, seasonal and religious festivals (matsuri) were the few occasions where there was a semblance of freedom and the social classes were allowed to mingle. Current festival is dress is based on the proto-uniforms of the working class, consisting of boldly decorated cotton kimono jackets (happi) and headbands.

The introduction of Western style school uniforms, in particular the now iconic sailor suit for girls, was successful partly because they were synthesised into this system of dress codes.

Despite academic pressures and regulations, school remains an idealised time – one of youth, friendship and freedom from responsibility.

Japanese schoolgirls © Josephine Rout

As an object of tradition, the school uniform promotes both nostalgia and continuity, thus making any sartorial transgression even more rebellious. While there are limited ways in which students can subvert the dress codes enforced on them, what they can do is make this subversion fashionable in its own right.

While at university, Toco Nikaido and her performance group Banana Gakuen played on this by performing in schoolgirl uniforms. The uniforms, worn throughout their turbulent shows, display the almost talismanic qualities that young women have imbued them with.

Far from being made submissive, the wearing of a school uniform whereby they are customised and spoiled, is an act of defiant femininity.

MISS REVOLUTIONARY IDOL BERSERKER runs 22 June - 2 July at the Barbican - the Pit. Part of #LIFT2016 liftfestival.com