Bodies and StructuresMain MenuWhat We're DoingOverview essayHow to Use This SiteAn orientationModulesList of modulesTag MapConceptual indexComplete Grid VisualizationGrid Visualization of Bodies and StructuresGeotagged MapGeographic IndexWhat We LearnedContributors share what they learned through the Bodies and Structures process.ReferencesReferences tag for all modules and essayContributorsContributor BiosAcknowledgementsAcknowledgementsContact usContact information pageLicensing and ImagesThe original content of this site is licensed under a Creative Commons BY-NC-ND International 4.0 License.David Ambaras1337d6b66b25164b57abc529e56445d238145277Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f This publication is hosted on resources provided by the College of Humanities and Social Sciences IT department at NC State University.
"Portrait of a Lady" by Okada Saburōsuke that was used for Mitsukoshi Advertising.
12018-04-23T13:40:44-04:00CHASS Web Resources398fc684681798c72f46b5d25a298734565e6eb828岡田三郎助,「夫人像（紫調べ）」.plain2018-12-31T19:06:02-05:0035.70902, 139.73199Tokyo.1907.Bridgestone Museum of Art [Public domain], via Wikimedia Commons.1907.Okada, Saburōsuke (1869-1939).Public domain.Noriko Asoimage/jpegNA-0257Still ImageNoriko Aso514ac5ef2ec49b80911e6fc9da1c0fee237ebfb9
Even though Kon Wajirō's research team found that the numbers of male and female customers were roughly equal, an evolution in Mitsukoshi's model type reveals the retailer's desire to identify the store as a space configured specifically for women. Before and during the transformation of Mitsukoshi into a Western-style department store, the retailer frequently employed popular geisha as models for its latest textile patterns or to draw attention to an upcoming event. These women were chosen for their ability to attract male attention, which made sense in the early modern period, when the majority of its customers were, in fact, men. However, as Mitsukoshi cemented its identity by the 1910s, it turned to a new kind of model, one intended to attract women (as well as men).
Instead of geisha, the recurring image in posters and other forms of advertisement was a woman portrayed as a Mitsukoshi customer. Generally, these women were young matrons shown at leisure, perhaps reading or playing music, in gorgeously appointed households, or in transit, waiting for a subway or walking on a street, on the way to or from Mitsukoshi. In short, these models were aspirational figures.
The store space itself was also explicitly designed to invite female customers in their role as household managers, offering children’s fairs, model rooms, an elegant dining hall and resting areas, and more. In contrast, European and American department stores targeted women as individuals. A Mitsukoshi representative sent abroad in 1932 was struck by how heavily tilted the gender ratios for Western department store customers were: “Parisian department store customers are 99 percent adult women, with very few male customers. About the only time one sees children brought along or the family as a group like in Japan is during Christmas sales.” While Western department stores employed floor detectives to catch individual customers so overcome with desire that they fell prey to the temptation to shoplift, Japanese department stores were able to put in place an exhibitionary self-regulation regime by attracting families. The household, in this context characterized by female leadership and not by female isolation, would keep an eye on itself to uphold respectability.