From Ura-Harajuku to the World

This paper introduces Takashi Murakami’s Superflat aesthetic as a novel analytical framework for examining the history and development of Japanese fashion. While works of designers such as Issey Miyake, Yohji Yamamoto, and Rei Kawakubo are often described using terms like “avant-garde” and “deconstruction,” these Western concepts risk obscuring the cultural specificity of Japanese aesthetics. In contrast, Murakami’s Superflat aesthetic emphasizes a visual and cultural flatness evident in Japanese art and the emerging Tokyo fashion scene in the 1990s. Through analyses of Japanese fashion brands 20471120, A BATHING APE®, UNDERCOVER, ISSEY MIYAKE, COMME des GARÇONS, and UNIQLO, this paper demonstrates that the principles central to Superflat, such as cultural blending, flattening hierarchies, and symbolic expression, were present in the 1990s Ura-Harajuku scene before Murakami formally articulated his aesthetic. In particular, by integrating manga, anime, and character-based visuals, streetwear, high fashion, and art, and engaging in collaborative design, these brands reveal Murakami’s Superflat to be a formal articulation of the aesthetics emerging in the broader Ura-Harajuku design scene. Overall, demonstrating the relevance of Murakami’s Superflat, this paper suggests that greater attention needs to be paid to both local influences on Japanese fashion and culture and the non-Western influences on global culture.

Aesthetic experience · Clothing · Fashion design · Style (visual arts · Art, Politics, and Modernism · Fashion and Cultural Textiles · Japanese History and Culture

• Superflat and the Layers of Image and History in 1990s Japan

  Thomas Looser, Thomas D Looser•Mechademia Second Arc•2006

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• Superflat and the Postmodern Gothic

  Waiyee Loh•Mechademia Second Arc•2012

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• Japanese Teens as Producers of Street Fashion

  Open Access•Yuniya Kawamura•Current Sociology•2006

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