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Serial: The Game-Changer Around Body Aesthetics – Culture Studies: Fashion After 2010 #004

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PROFILE
Yoshiko Kurata
Yoshiko Kurata

Writer / Coordinator

Born in 1991. Specializes in a wide range of fields, featuring and interviewing domestic and international fashion designers, photographers, and artists. Past contributions include Fashionsnap.com, HOMMEgirls, i-D JAPAN, STUDIO VOICE, SSENSE, VOGUE JAPAN, among others. In March 2019, co-translated and edited the book “複雑なタイトルをここに” published by Adachi Press. Also involved in curating at CALM & PUNK GALLERY. [Photo by Mayuko Sato]

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In the previous series, I discussed the transformation of visual expression in fashion after 2010. In response to the increasing use of social media, there has been a return to film photography and tangible visuals. The surge of images on social media, which anyone can edit or duplicate, along with aesthetic expressions that can turn into complex advertisements, has led to an overload of visuals for the audience. With everyone capable of capturing and editing photos with their iPhones, the certainty of photographic quality has diminished. Unlike the paper magazines of the '90s that gained influence, the challenge now is to create compatibility and surprise in the new battleground of social media.
To overcome this difficulty, the game-changing visual expressions in fashion involve the keys of "mass" and "bug."

Mass / Approaches to Body Expression

As I touched on in the previous series, while providing hooks to an audience that receives countless pieces of information and images on social media (scrolling might be a more appropriate term), non-fictional expressions that they can accept as their real selves naturally resonated. This phenomenon arose from the exhaustion of traditional advertisements that promote consumer behavior in everyday life and the ideal beauty held up as a stereotype.
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