By Kunihiko Kasahara
Scanned e-book, no OCR
This exciting mix of artwork and geometry will excite either your creativity and your interest. Out from below your arms will come strikingly beautiful types: want by yourself hand-crafted taking pictures megastar, all silvery, golden, or fiery pink; “grow” beautiful purple paper cherry blossoms (symbol of Japan, domestic of origami), and construct pyramids, cubic modules, and different dimensional figures.
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Additional resources for Amazing Origami
Unlike the cute aesthetic of the past, in which women demurely covered their mouths when smiling or laughing, Miss Surf grins openly, sometimes with a little conﬁdence boost from enamel bleaching, porcelain veneers, resin bonding, and new teeth-whitening products (technologies also popular in the United States). According to some scholars, baring one’s teeth is a threat display, so covering or de-emphasis of the teeth is a submissive signal. 7 Miss Surf and other young women who fearlessly smile are therefore challenging a long tradition of enshrouding the female mouth.
An example of modiﬁed traditional femininity is seen in his woodblock print Woman Applying Makeup (1918, ﬁgure 1), which shows a woman at her toilette. Her white C H A N G I N G B EAU TY I D EO LO GY 23 skin and drooping shoulders are old-fashioned, but her hair is a modernized version of an older style. One prewar trendsetter for female appearance was the Modern Girl, or modan gáru (usually clipped to moga), new working women who were avid consumers of the latest fashions (Sato 2003). The moga used makeup to create big Betty Boop eyes with crescent eyebrows (Inoue 1998; Tsuda 1985: 62).
Being modern, traditional, international, and Japanese may be simultaneously imprinted onto the body. Although some of the styles that evolved since the 1990s threatened to disturb racial classiﬁcations, these youth styles are usually not connected to radical politics, but rather are self-expressions of resistance and rebellion. I would like to illustrate a little of the diversity in these beauty ideals and to suggest that while the media industries are drawing on the angry mood of female subcultures for much of their contemporary beauty imaging, young women themselves are both accommodating to and resisting the images fed back to them.
Amazing Origami by Kunihiko Kasahara