It is intended for our joint research to collect the documents indicating the relationship of Japanese fashion and pop culture after World War Ⅱ. The genre that I collected is divided into six, and, as for the "the postwar times", "theory", "administration" are documents to study the background of the relationship of Japanese fashion and pop culture and, as for the "pop-music" "visual culture" "animation /comics/video-game" are mutual documents to show with the fashion concerned. According to the collection document, firstly, the pop culture has a strong spread power to youth people. Secondly, the pop culture has power to operate the impression of fashion. Thirdly, the pop culture becomes the database of various styles..
1 0 0 0 OA ファッションの情動性が人間の心理生理に与える影響
Fashion brings pleasure to people and provokes strong emotions in them. It is difficult to reveal any physiological effects that fashion may have on the human body. These days, methods which objectively measure the effects of stimulation on the physiological activity of the human body have been developed. In this study we evaluate how fashion affects the psychological and physiological activity of the human body and attempt to measure the effects that wearing clothes or looking at fashionable clothes have on this activity. For this, we conducted four different types of research. First, we invited experts in the psychological and physiological research fields to give lectures. It became clear through their lectures that psychological surveys related to fashion and self- conception, and multiple physiological indices of stress tests were important. Second, we reviewed psychological research about fashion in journals and reports over the past 30 years and lectures given by researchers. Although much research had been done, we found that the types of people used for the research were limited, and questionnaires were not uniform. It became clear that it is important to clarify the physiological variability that fashion has on depressed subjects and to learn more about the psychological effects of fashion on various types of people. We also learned that using multiple physiological indicators for stress experiments is important, and that psychological research focusing on the impressions that fashion forms and the relationship between self-concept and fashion are needed.Third, we extracted questions about fashion consciousness, pleasantness and stress from literature over the last 30 years and considered their psychological effects. From these, a questionnaire was compiled. Finally, we conducted several psychological tests and wearing tests using physiological markers to clarify how fashion affects the human body. We found that when people wear their favorite clothes, stress caused by anxiety decreases, the parasympathetic nervous system is activated, and salivary sIgA concentration increases. Other experiments showed that salivary alpha amylase activity increases due to stress caused by wearing thongs, panniers or other minimal coverings. It was suggested that people’s level of emotion can be determined by measuring psychological and physiological markers
The purpose of this joint research is to examine the image of “Artist” in modern Japan, an image which was different from traditional literati and imported from West just like the Art itself. Late Meiji and early Taisho period saw a surge of modernism in art and literature in Japan and special attention is paid to the significance of artists’ fashion including “nude”. Major modernists in the 1920s and the 1930s such as Ryusei Kishida, Kaita Murayama, Kyojiro Hagiwara, Tomoyoshi Murayama and so on were multi-talented and transcended traditional boundaries of genres of arts and some of them attracted public attention for their fashion and thus were widely publicized as a fashion leader. These no doubt contributed to the formation of the general image of “Artist”. Our purpose is to investigate modern fashion in terms of general art(s) history, taking into consideration western original models and its transformations in modern Japan, its reception of general public and so on. Though not every aim of this joint research set initially up has attained, our researches for them have been steadily done. It is noteworthy that taking up as a subject of joint research work “separate” phenomena hitherto seen in histories of art and literature, each member of this research group and participants in its seminar as well came to grasp social and historical significances of close relations between fashion and creative activities of artists and literary figures. The most important and common view we shared as a conclusive understanding in our researches should be summarized: as Prof. Toby Slade pointed out at one of our seminars, fashion in modern Japan was as an aesthetic and social phenomenon or cultural institution rather than a practical utilitarian tool of life. That is the reason why we have discussed clothes of Artist (among others) as a way of artistic expression with social significance. The other aspect we should like to emphasize in our joint research is that we have considered the fashion in modern Japan in terms of viewpoints from within and without, that is, on and/or from Europe and America and pre-war Asian colonies. Here are our main subjects that members of this joint research have taken up respectively: 1) Tomoyoshi Murayama in “Bubikopf” (okappa or bobbed hair style) wore a knit cap and a Rubashka or Russian blouse and these made Murayama famous as an artist and a fashion leader. 2) Women moved in the society with bobbed hair and in western clothes when female writers in the early Showa era such as Chiyo Uno and Fusa Sasaki were cutting-edge professional women. 3) Leftist painters in 1920s painted workers in so-called “Nappa-fuku” or blue work clothe and they themselves wore after factory workers and around 1930 young people such as “Marx Boy” and “Engels Girl” in blue-color clothe.
1 0 0 0 OA 明治維新期におけるフランスからの男子服意匠の導入の歴史
本研究は我が国の洋装文化形成の最初期において、礼服・軍服などの男子服意匠の導入に大きな影響を与えた幕末から維新期にかけての日仏間の交流の実態と意義を明らかにすることを目的とする。そのため、パリの服飾専門学校、AICP校*に現存する日本由来の資料を手掛かりに、幕末の将軍徳川慶喜と明治天皇の洋装に関連する資料を調査・収集し、日仏関係者による交流の具体的経緯と男子服意匠の導入経過の解明を目指した。その結果、軍事博物館(パリ)などの調査から、ナポレオンⅢ世から寄贈された慶喜の軍服、明治天皇の礼服の意匠、慶喜の実弟昭武と関わるパリのテーラーなどに関する事実が明らかになった。*Académie Internationale de Coupe de Paris