Abstract
The Japanese fascination with high-end luxury goods has captured worldwide attention for good reason. Japanese have become by far the largest group of consumers of American and European designer-brand fashion goods, their purchases accounting for 40 percent of this multi-billion-dollar global market.2 In 2002, a Merrill Lynch analyst stated that the dozen largest fashion houses in Europe owed one out of every three dollars in worldwide sales to Japanese consumers.3 Websites for leading brands such as Cartier, Chanel, and Louis Vuitton include Japanese-language pages and many high-end boutiques abroad regularly employ Japanese-speaking sales personnel.4 Among these brands, Louis Vuitton has been particularly successful in Japan since it was first promoted in 1977 by a new magazine for young women, JJ: By 1999, an estimated 40 percent of Japanese women owned at least one Louis Vuitton product5 and more than half of Japanese women in their twenties had a Louis Vuitton handbag.6 When Louis Vuitton opened its flagship store in the stylish Omotesandō shopping district in Tokyo in September 2002, it earned $1 million in opening day sales.7 Store openings for Hermès and Prada in 2001 were remarkably successful as well.8
With her party imminent, Muffy was as hyperactive as a Japanese tourist in a Louis Vuitton outlet store.1
Plum Sykes, Bergdorf Blondes
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Notes
Plum Sykes, Bergdorf Blondes (New York: Hyperion, 2004), 35.
Tanaka Yasuo, Nantonaku, kurisutaru (Tokyo: Shinchō Bunko, 1981).
For more on this novel, see Norma Field, “Somehow: The Postmodern as Atmosphere,” in Postmodernism and Japan, ed. Masao Miyoshi and Harry Harootunian (Durham, NC: Duke University Press, 1989), 169–188.
Yamada Toyoko, Burando no seiki (Tokyo: Magajin hausu, 2000), 218.
Kawahara Toshiaki, Kōtaishi-hi Masako-sama (Tokyo: Kōdansha, 1993), 104.
Space does not permit discussion of the equally interesting discourse in English-language publications on Japanese women’s shopping. Analysis of Japanese consumption and domestication of “the West” in broader context is found in Joseph Tobin, ed. Re-Made in Japan: Everyday Life and Consumer Taste in a Changing Society (New Haven: Yale University, 1992).
“Brand,” a serialized television drama, aired in 2000. Hayashi Mariko, Kosumechikku (Tokyo: Shōgakkan, 2002), 35–36. The novel was originally serialized in the magazine Domani from January 1997 to December 1998.
Suzuki Rumiko, Herumesu o amaku miru to itai me ni au, 3rd edition (Tokyo: Kōdansha, 2002).
Karen Kelsky, Women on the Verge: Japanese Women, Western Dreams (Durham, NC: Duke University Press, 2001), 227.
Nakamura Usagi, Shoppingu no joō (Tokyo: Bungei Bunko, 2001), 50.
Nakamura Usagi, Gokudō-kun manyūki (Tokyo: Kadokawa Bunko, 1991).
Nakano Kōji, Seihin no shisō (Tokyo: Sōshisha, 1992).
Nakamura Usagi, Datte, hosii n da mon!: Shakkin joō no binbō nikki (Tokyo: Kadokawa Bunko, 1997), 22.
Nakamura Usagi, Konna watashi de yokattara (Tokyo: Kadokawa Bunko, 2000), 38.
Ueno Chizuko and Nobuta Sayoko, Kekkon teikoku: Onna no wakare michi (Tokyo: Kōdansha, 2004), 58–59.
Ogura Chikako, Kekkon no jōken (Tokyo: Asahi Shimbun-sha, 2004), 30–39.
Nakamura Usagi, Pari no Wire de s’il vous plait (Tokyo: Kadokawa Bunko, 1999), 178.
Nakamura Usagi, Shoppingu no joō: Saigo no seisen!? (Tokyo: Bungei Shunjū, 2004), 243–244.
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© 2005 Laura Miller and Jan Bardsley
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Bardsley, J., Hirakawa, H. (2005). Branded: Bad Girls Go Shopping. In: Miller, L., Bardsley, J. (eds) Bad Girls of Japan. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403977120_8
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