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Garon, "Luxury is the Enemy"
12018-08-19T14:52:28-04:00Noriko Aso514ac5ef2ec49b80911e6fc9da1c0fee237ebfb923"Luxury is the Enemy"plain2018-12-31T20:38:43-05:0036.20482, 138.25292Japan.Noriko AsoNoriko Aso514ac5ef2ec49b80911e6fc9da1c0fee237ebfb9Sheldon Garon, "Luxury is the Enemy: Mobilizing Savings and Popularizing Thrift in Wartime Japan" in Journal of Japanese Studies (2000) 26:1, pp. 41-78.
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12018-04-23T13:40:47-04:00CHASS Web Resources398fc684681798c72f46b5d25a298734565e6eb8ReferencesCHASS Web Resources1References tag for all modules and essayplain2018-04-23T13:40:47-04:00CHASS Web Resources398fc684681798c72f46b5d25a298734565e6eb8
The total war era for Japan began in 1937 with the Marco Polo Bridge Incident. This led to direct and sustained conflict with the Chinese Nationalist government, although sporadic engagements had taken place since 1931. Western powers favored China in this instance, so Japan had little access to foreign loans and was increasingly denied key resources, such as metal and oil, for its military apparatus. In response, the Japanese government stepped up its campaigns to promote domestic austerity and national savings while issuing various anti-luxury edicts. The best known of the these were the 1940 “Regulations Restricting the Manufacture and Sale of Luxury Goods,” accompanied by the slogan “Luxury is the enemy.”
While luxury was at first denigrated by association with Western decadence, the anti-luxury edicts eventually came to encompass not only silks, but also paper and other basic goods. Nevertheless, Osaka Mitsukoshi published issues of Mitsukoshi until close to the end of the total war. Here are covers from 1939 through 1943, with some gaps. While examining the people and objects portrayed, also consider the spaces that contain them, and how these spaces might align or collide.