@techreport{oai:bunka.repo.nii.ac.jp:00001982,
 author = {Suzuki, Keiko},
 month = {Mar},
 note = {My presentation discusses kimono made exclusively for export, including kimono-shaped garments and kimono-related objects made as tourist art, souvenirs for foreigners, and those produced and consumed in foreign countries, as well as their visual representations. By demonstrating how these souvenirs and exports crossed national as well as cultural boundaries in many ways, this paper intends to propose a new theoretical framework to study material culture in the twentieth century. That is the framework to focus on international tourists as active agents--how historically and socio-culturally conditioned agents formed and circulated their cultural babble across certain regions, and how that circulation contributed to cultural production, i.e., kimono culture in the twentieth century in this case.
As a case study, the paper takes American GIs, who grew up in the early twentieth century and were later dispatched to the Asian-Pacific region, including Hawaiʻi where the headquarters of the U.S. Pacific Fleet was located, and Japan after WWII. The paper first elucidates what kind of cross-cultural experience and understanding the GIs had with “Japanese goods” before being dispatched. Then, following their move, the paper examines aloha shirts in Hawaiʻi, and suka-jan and happy coats in Japan, each of which I summarize here., [2009～2011年度　文部科学省委託　服飾文化共同研究拠点事業報告]},
 title = {Selling “Japan” to the West: Kimono Culture in the Twentieth Century},
 year = {2012}
}