Professional Documents
Culture Documents
7– 28
DOI: 10.2752/175174111X12858453158066
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© 2011 Berg.
“Lolita”:
Imaginative Self
and Elusive
Consumption
Osmud Rahman, Liu
Wing-sun, Elita Lam and
Chan Mong-tai
Introduction
Hong Kong. In recent years, many Lolita events and activities have been
held in this region, including Lolita fashion shows, Lolita dramas, and
the Kamikaze Girls’ movie (about Lolita and Yankee), which was shown
in the 31st Hong Kong International Film Festival. In addition, many
local artists, singers, and celebrities (e.g. 2R, I Love You Boys, Twins,
Kelly Chan, and Isabella Leong) have been inspired by this subculture
style and have dressed as Sweet Lolita or GothLoli on many occasions.
In order to understand the emergence and significance of this sub-
culture in Hong Kong, we adopted the approach of daily observations
and ethnographic interviews to uncover the underlying motives of those
engaged in the Lolita subculture. The objective of this study is to inves-
tigate the significance of this subculture in Hong Kong in general, and
Lolita behaviors and attitudes in particular.
Subcultures
they wear a Sweet Lolita outfit, they may feel juvenile, sweet, cute, and
ingenuous and may even fantasize about being a little girl. In addition,
some people also believe that wearing Lolita clothes can help them stop
thinking about their current problems. Through Lolita, young people
may enter into their dream/ideal world and create their own imaginary
self, such as a descendant of a noble family, a sweet girl, and even a
princess or prince. Indeed, they are living in a state of hyper-reality.
With this perspective, we posed the following question to guide our
inquiry: what are the individual’s underlying motives in becoming a
member of a Lolita subculture in Hong Kong?
In order to create an ideal, Lolitas dress in a sweet Lolita style, that is,
in a puffy shirt, with a lot of lace, ribbons, and pink and white frills.
Lolitas perform in feminine ways and combat the uniformity of daily
life. Lolita fashions give them confidence, bolster their girlish spirits,
and make them feel stronger. On the other hand, Gothic Lolitas por-
tray an image of coldness and gaudiness to manifest and express pes-
simism, sentimentality, desperation, and sympathy with the unsociable
and eccentric.
However, subcultural codes and style repertoires have constantly
evolved over the course of time. With this changing phenomenon, many
Lolita performers are poised between the issues of “who am I” and
“who I want to be”—and it seems that the performance of identity
never comes to an end (Hall 1992).
With this context in mind, the following questions were raised: How
do Lolitas think, interact and perform in their imaginary world? To
what extent can facial and bodily expression of Lolita enhance their
performance of identity?
Research Method
Table 1
Summary of the formal interviews and the key informant’s profile.
Key informants/Formal interviews
Pseudonym Sex Age Occupation Type of Duration Number Remarks Method of Length of interview
Lolita of interest of Lolita interview
outfits
Table 2
Summary of the casual interviews.
The frequency with which a participant wore a Lolita outfit was closely
related to the wearer’s subjective present feelings (Zajonc 1980; El-
liott 1994). In our interviews, many Lolita informants stated that they
seldom wear Lolita dresses except for Lolita events and photo shoots.
They did not consider Lolita dresses as daily attire.
One informant told the interviewer that she had had many unpleas-
ant experiences when wearing Lolita clothes. As a result, she was wear-
ing Lolita clothes less frequently.
Ka: “I was terrified. I felt deeply hurt by the laughter and criticisms
from strangers and from my classmates. They liked to say, “She’s
crazy,” “She looks ridiculous,” “This is absurd,” ... and they some-
times could be pretty nasty ...; they said. “This is all bullshit.” I
don’t want to be laughed at by others. Now I only wear my Lolita
outfit when attending Lolita events or posing for pictures.
“Lolita”: Imaginative Self and Elusive Consumption 15
This indicates that past experiences can directly affect the psychological
state of Lolitas. One of the informants, Tam (Boy-Lolita or B-Lolita),
told the interviewer about his experiences wearing Lolita clothing. He
said, “Sometimes, I dress as a Lolita girl only in my bedroom, and keep
telling myself that I am not gay.” In fact, he always dresses in normal
men’s clothing such as T-shirts, jackets, and jeans. During the course
of interview, he was shy when telling the interviewer about his cross-
dressing behavior.
Tam: “I only wear Lolita dresses for several Lolita events. I sel-
dom go out in a Lolita outfit. I like to wear them in my bedroom.
When I dress in Sweet Lolita clothes, I feel like I’m a beautiful
sweet girl. I’m happy with my feminine image.
identity and returning back to the real life was very difficult—“I just
wish I can live as a Lolita a bit longer.” This indicates a sense of contra-
diction and ambivalence between his Lolita self and his actual self.
Ya Ya: Personally, I enjoy wearing each Lolita dress. I can use dif-
ferent styles of Lolita dress to create certain feelings and moods.
For example, I dream I am a cold-blooded and gaudy person
when I wear Gothic Lolita. It is wonderful, but I always feel con-
fused about identity.
Kitty: In the past, I appreciated Lolita because of its style. But now,
I discover that Lolita has a deeper connotation and meaning ...
it is not just clothing ... it can be interpreted as a culture. I enjoy
searching for and finding more information about this culture.
Ka: Lolita clothes are stylish and fashionable, just like many other
clothes. The only difference is that Lolita clothes can be used to
attract people’s attention and to “show off.”
about the clothing styles themselves, and they often viewed Lolita as a
major fashion trend.
Information Sources
The in-depth interviews revealed that the Lolita teenagers were very
much affected by their peers throughout the process of involvement in
Lolita clothing—from the stage of searching for information to those of
evaluation and consumption (Figure 1).
One of the informants, Sin, admitted that she was deeply influenced
by her Lolita friends. Once she connected with them, inner group news
and the Lolita experience became the central topics of their conversa-
tion. It is evident that peers had a tremendously influence and motiva-
tion on Sin’s consumption.
Figure 1
Peer influence.
“Lolita”: Imaginative Self and Elusive Consumption 19
Ann: I just buy the Lolita clothes in Lolita in Touch because the
product quality is great and the salesperson is nice and approach-
able. I really enjoy talking with Ruby (salesperson) and I always
learn a lot about “Lolita” from her.
Although Lolita dresses are relatively expensive, some Lolitas are will-
ing to spend a substantial amount of money on their desired outfit. In
our interviews, the overwhelming response on the decision to buy an
outfit was whether “I like it.” Price was not a major concern to a num-
ber of Lolita informants. Several informants even stated that they would
utilize various financial means to make the purchase (e.g. credit cards,
salary, and/or pocket money). It became clear that the choice of product
was driven more by emotional feeling (Elliott 1998) than the result of a
cognitive or rational decision (Zajonc and Markus 1982).
Ka was one of the informants who was constantly belittling and
describing herself as an “ugly girl” during the in-depth interview. She
stated that she has had such negative attitude towards herself since she
was twelve years old. Due to her dissatisfaction with her physical ap-
pearance, self-transformation and self-enhancement was her primary
reason for wearing Lolita clothing.
Ka: Although I am ugly, wearing Lolita dresses can give me joy and
happiness. Honestly, price is never a concern to me when buying
Lolita clothes. Getting exactly what I want is my major concern.
Yan was one of our informants who had studied fashion design at one
of the major universities in Hong Kong. She expressed the view that
there is a substantial amount of peer support and encouragement within
the Lolita community.
and pattern drafting, I always teach them how to make their own
Lolita dresses.
It is evident that some informants were more sensitive about price than
others, yet the desire to possess and consume Lolita dresses was their
common goal.
In the casual interviews conducted outside Lolita shops, many in-
formants said that they evaluated and selected Lolita dresses/products
based on their originality and uniqueness. In many cases, limited edition,
one-of-a-kind or handmade items were their favorites. They tended to
use unique outfits to express their individuality and personality. In other
words, the symbolic meanings of a product could play an important
role in the Lolita subculture. Therefore, DIY Lolita dresses/accessories
have become increasingly popular among the enthusiasts (Figure 2).
Figure 2
Lolita enthusiast was posing in her
DIY dress.
22 Osmud Rahman, Liu Wing-sun, Elita Lam and Chan Mong-tai
In this study, most of the participants were not satisfied with their actual
self, or with their social milieu. As a result, Lolita clothes were being used
to reconstruct their self-image at least in two different ways. First, some
Lolita subculturists used the Lolita style as a tool to hide their undesirable
self or to shift the attention of the beholders/viewers from their real self.
For example, doll-like aesthetics and cute expressions were used as an al-
ternative to physical attractiveness because being “cute” does not require
possessing beautiful facial features or a tall and curvaceous body. Goffman
(1959) asserted that an alternative image could be produced through the
front-stage performances, including “clothing; sex, age, and racial charac-
teristics, size and looks; posture, speech patterns; facial expressions, bodily
gestures and the like” rather than solely through natural beauty. Therefore,
non-verbal expression could play an important role in the construction of
the individual self as well as in the accomplishment of significant moments
in social interaction. In Figures 3–5, several common Lolita postural, ges-
tural, and facial expressions are shown and identified. Second, many infor-
mants also used Lolita clothing styles to construct their individual image.
For instance, Tam (B-Lolita) pointed out that men’s clothing is sober, som-
ber and static, whereas women’s clothing is stylish, fashionable, and flat-
tering. Dressing as a woman gave him greater freedom to express himself.
Figure 3
Facial expressions (cute, innocent).
Figure 4
Posing with a baby doll.
23
24 Osmud Rahman, Liu Wing-sun, Elita Lam and Chan Mong-tai
Conclusions
Notes
References