Harajuku Street Fashion

HARAJUKU STREET FASHION – KOREAN ONLINE FASHION SHOP

Harajuku Street Fashion

harajuku street fashion

    street fashion

  • Street fashion is a term used to describe fashion that is considered to have emerged not from studios, but from the grassroots. Street fashion is generally associated with youth culture, and is most often seen in major urban centers.
  • Japan began to emulate Western fashion during the middle of the 19th century. By the beginning of the 21st century it had altered into what is known today as ‘street fashion’.

harajuku street fashion – Style Deficit

Style Deficit Disorder: Harajuku Street Fashion – Tokyo
Style Deficit Disorder: Harajuku Street Fashion - Tokyo
The Harajuku neighborhood of Tokyo has become an international style mecca, a street-level fashion scene prowled by major designers looking for inspiration, and whose local, cutting-edge labels enjoy global cache. Style Deficit Disorder is the first book to explore this remixed, fast-forward fashion hotbed, profiling its most daring and influential designers, labels, stylists, and shops (including Comme des Garons, Hysteric Glamour, Super Lovers, A Bathing Ape, and Laforet). Featuring nearly 200 photos, essays by key Japanese fashion editors, and commentary by Edison Chen, Patricia Field, John Galliano, Shawn Stussy, Shu Uemura and others, this is a must-have, insider’s look at an international fashion and pop culture epicenter, past, present, and future.

Harajuku Street Fashion – Boy & Girl

Harajuku Street Fashion - Boy & Girl
Street fashion in Harajuku – this time a Japanese guy and girl during the summer of 2009. He’s wearing a hat, t-shirt, long shorts, and shiny black shoes. She’s wearing a skirt, vest, and heels.

Cute Harajuku Street Fashion

Cute Harajuku Street Fashion
A Japanese guy and girl with cute fashion on the street in Harajuku. Photo was taken in the summer of 2009.
harajuku street fashion

harajuku street fashion

Fruits
This is a collection of 45 Tokyo street fashion portraits from Japan’s premier fanzine. “Fruits” was established in 1994, by photographer Shoich Aoki, initially as a project to document the growing explosion in street fashion within the suburbs of Tokyo. The magazine has since grown to cult status and is now avidly followed by thousands of Japanese teenagers who also use the magazine as an opportunity to check out the latest styles and trends. The average age of the kids featured in the magazine is between 12 and 18 years and the clothes they wear are a mixture of high fashion – Vivienne Westwood is a keen favourite – and home-made ensembles which, when combined, create a novel, if not hysterical, effect. This collection of postcards represents a documentation of the changing face of street fashion throughout the 1990s.

If you ever wondered where the catwalk got its claws, then the portraits gathered in photographer Shoichi Aoki’s book Fruits, from the streets of Harajuku in Tokyo, point the way to an extraordinarily imaginative and invariably stunning glut of mongrel fashion heists. A best-of collection from the fanzine of the same name, and published for the first time outside Japan, Fruits keeps its style clean: front-on, razor-sharp images, ranging from the deadpan to the manic, of the sharpest collages of sartorial influence that, usually, little money can buy. From off the peg to off the wall, kitsch to bitch, each person bears a combination and philosophy as distinctive as DNA. All shades of aesthetic are raided, with exquisite, scrupulous attention to detail. Punk is a favorite, as is, appropriately, Vivienne Westwood, alongside Milk and Jean-Paul Gaultier, and the occasional Comme des Garcons. Many of the outfits, though, are second-hand or self-assembly, such as a skirt drooping petals of men’s silk ties, Wa-mono, when tradition Japanese clothes are topped with, say, an authentic bowler hat, EGL (elegant gothic Lolita), and a swathe of tartans, pinks, and turquoises. The most malleable feature, unsurprisingly, is hair, with dreadlocks, mohicans, back-combing, and crops dyed an irradiated spectrum. While the eye is drawn, obediently, to the mannequins, the background is often worth a look, either for the vending machines against which a number are shot, or the ubiquitous Gap store and bags, a constant reminder of the global mass market.
One enterprising man wears a genuine British paperboy’s delivery bag, and, to pick but one profile, Princess, 18, is trying to be a doll and is currently preoccupied with body organs. Mmm. All the subjects are asked the source of their clothes, as well as their “point of fashion” and “current obsession.” The scope for sociopsychological discussion is vast, particularly with the preponderance of infantilization, through dolls, bonnets, pop socks, and Barbie, but this is a joyous documentation of the innovative, celebrating the inspirational polytheism of street fashion, captured with provocative, political zeal. Best let the street cats prowl. –David Vincent

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