#this ita bag i put together in 2017

[shiimapaaan]

Garrus Vakarian ita bag 🥰💙 my very first ita bag too!!

[chiiigaaauuu]

Ita bag talk

There was a YOI con held here just last weekend. I was super excited about it and somehow ended up browsing ita bag articles a month before the con came round. 

I already had a few ideas about what I wanted for my bag:

- Die cut window!

- Muted colour so I can use it even outside of a con

- Hardy enough to withstand more than just a few months of wear and tear (I have my doubts about faux leather)

- Comfortable to carry even with a fair bit of weight 

So I made the leap on Amazon JP and bought a denim backpack with heart-shaped window :) There was a catch though - this was not the regular kind of ita bag since it came with a strawberry design, which was too cutesy for me.

2 things I wanted to achieve with the bag prep:

1) Get rid of the leaf since it’d mess up colour coordination attempts.

2) Avoid damaging the bag where possible.

The photos have some colour differences since they were taken in varying light conditions. Most were also taken post-prep when I was already dismantling, since I wasn’t diligently documenting the process. So this is NOT a step-by-step tutorial, just bits and pieces of what I attempted for the prep. Hope it’ll be useful to some folks.

Goodbye leaf, hello problems

I banished the polka-dotted cloth. Things weren’t so easy with the leaf applique though.

It sewn and glued to the bag. Stitches came off easily but the glue was a nightmare. I used a hairdryer to warm it up, hoping it would soften the glue but I don’t think it helped much. Yanking the applique off warped the window a little and there were remnants of the horror:

NOOOO. Why oh why.

To the rescue?

I tried to remove the glue with turpentine but it smelled like the deepest depths of hell. Moved on to nail polish, hoping I was dealing with super glue and that the acetone would do its magic.

No luck. And thus, Operation Hide That Shit began.

A-hunting we go!

While shopping for a solution to the glue fiasco, I had to plan how I’d design the window display too. I have lots of merch to choose from but ultimately I wanted a nice, coordinated colour scheme (that’s why the leaf had to go).

I accumulated materials after several trips to Daiso and Spotlight within a week. None of these are from Spotlight, haha. What an expensive place. When in doubt, just go walk 10 rounds around a Daiso outlet and surely you’ll find a decent substitute for Spotlight options.

The terry cloth ribbon was gonna be my greatest saviour, while the magnet tape for just...for fun. Why wouldn’t you wanna try magnetic tape??

But it’s WEAK. I experimented with 2 small strips on either side of the cloth but the magnetism couldn’t pass through. I needed something stronger. Oh by the way, the cloth was to be inserted in the window compartment of the bag.

YEEAAHHHH. Super Strong. I can vouch for it:

Goodbye, fugly

Sewed the ribbon right at the top. Viola! Glue disaster begone!

Cherry-picking

I’d just received the AnimeJapan 2017 haul a few weeks ago, and so flower crown Viktor and Yuuri went straight to the top of the shortlist. Everything else fell into place really quickly when I used those 2 badges as the colour guide.

The pair rings enamel pin (from here) is the only fanmerch that made it into the maiden line-up. I hope subsequent ita bag outings will see chances for more fanmerch arrangement.

Window-dressing

I folded the cloth in the same way the red polka-dotted one was done, ah thank goodness for reference. Form a triangle first, then bring in left and right corners of the triangle. Secure the folds with large paperclips. 

As you start loading the merch on the cloth, the weight will make it sag. To ease the sag, I kept the top draped over the window compartment edge and secured it with another paperclip.

Instant Attraction

It probably would’ve been easier to just pin the badges like a normal human being would. I opted to try magnets because I just had to the moment I laid eyes on them lol. Anyway I wanted to avoid damaging the bag AND the cloth, so minimal pinning for me.

I was also asked how I managed to get the Yuri on Flower acrylics done. Look at the photo just above, the 2 rows of 3 small magnets stuck together? 

They were used together with the magnetic tape. I placed strips of those on the acrylics. One side of it has double-sided tape, but it’s not crazy strong that you’d ruin your acrylics after peeling it off. I tried sticking acrylics directly onto the cloth but they didn’t stay on for long due to their weight. I didn’t want to risk a messy and potentially damaging clean-up by using even stronger tape.

Flowers can be stuck on with double-sided tape though, they don’t fall off because they’re really light. I put them on last.

I also bought ball chain and tassels in the Viktuuri pair skate colours to spruce up the zip pulls :)

Verdict

I was jostled really hard during the con when the crowd was at its thickest, but the entire window display stayed intact - nothing fell off; 2 or 3 items shifted slightly but that was easily remedied. Daiso magnets rock.

I also had the freedom to shift my merch around without the hassle of pinning/unpinning and could avoid damaging the cloth. It also helped me dispense with hanging the acrylic standees from their ball chains with safety pins. That seems to the the common approach but it isn’t my kind of aesthetics.

The cloth insert is actually optional. Since the magnets are that strong, the merch can just be placed directly onto the compartment partition. But that would mean the magnets on the other side will come into contact with whatever items you place in the main compartment, which can risk jostling the magnets. And if any of those items are metallic, haha good luck.

For normal day use, just insert some nice patterned cloth in the window and we’re good to go!

[theleaderdotinfo-blog]

European Tour winners move into Q-School contention has been published at http://www.theleader.info/2017/11/15/european-tour-winners-move-q-school-contention/

New Post has been published on http://www.theleader.info/2017/11/15/european-tour-winners-move-q-school-contention/

European Tour winners move into Q-School contention

Tournament: European Tour Qualifying School Final Stage, Venue: Lumine Golf Club, Tarragona, Spain Round Five Report Experience told on the fifth day of Qualifying School Final Stage as European Tour winners Gonzalo Fernandez-Castaño and Anders Hansen moved within touching distance of regaining their Race to Dubai status for next season. Just 18 holes remain at Lumine Golf Club, with the top 25 and ties after tomorrow’s final round earning European Tour cards at the end of a gruelling six-round marathon in Tarragona. Impressively leading the way is Sam Horsfield, the Englishman who has already come through First and Second Stage. By close of play tomorrow, he will have played a mammoth 252 holes and ended the day three shots clear on 19 under par after a fifth successive sub-70 round. His nearest rival is Jeff Winther, who earned his card through Final Stage 12 months ago. The Dane’s seven under par 64 was the joint lowest round of the day and took him to 16 under par. Four players trail Winther by one shot in a share of third place, including Connor Syme. The Scot shone again on Day Five with a four under par 67 and could crown an impressive start to his professional career by securing European Tour status tomorrow. Matthew Baldwin, Kristoffer Broberg and Charlie Ford are alongside him while Hansen, three times a winner on the European Tour, is one shot further back in a share of seventh place following an excellent round of 65. Fernandez-Castaño – who has Alvaro Quiros caddying for him this week – matched that score and sits in a tie for tenth on 13 under par, with exactly 25 players currently at 11 under par or better in Spain, but with much drama sure to come in tomorrow’s final round. Player quotes: [caption id="attachment_15107" align="aligncenter" width="3000"] TARRAGONA, SPAIN - NOVEMBER 12: Gonzalo Fernandez-Castano of Spain looks on during the second round of the European Tour Qualifying School Final Stage at Lumine Golf Club on November 12, 2017 in Tarragona, Spain. (Photo by Jan Kruger/Getty Images)[/caption] Gonzalo Fernández-Castaño “Conditions were a little easier today – the wind wasn’t blowing as hard – but I also played very well. I hit the ball probably the best I have so far this week, and I gave myself a lot of birdie chances. “Six under today was a phenomenal result and it takes a bit of the pressure off for tomorrow. Hopefully I can go super low tomorrow and make sure that I get my card back. “I am feeling extremely relaxed. Last time I played at Q-School was in 2004 where it very much felt like a case or ‘all or nothing’. “But now I have status somewhere else, on the Web.com Tour, and having that back-up plan has put me at ease a bit. “I think that having Alvaro on the bag has made me feel good too. I remember Q-School as a really stressful experience from before, but I think we have managed our practice sessions really well – we didn’t too overdo it at the beginning of the week with our drills and routines.  “I am now excited about tomorrow and hopefully we can put another good round together.” Connor Syme “It has been a great last three rounds. I didn’t quite play as well as I had over the last couple of days but that is what you have to expect at a six-round event. “It was the first time that I have had a scorecard in my hands for five days in a row but I am delighted with the position I am in and hopefully I can continue playing well tomorrow. “It is so difficult as there are so many good players this week and all you can control is yourself. I played really well at Second Stage last week so I felt confident coming into it. “It is not in my hands though and I can’t control how anyone plays tomorrow. I need to keep doing what I am doing and that will be hopefully be enough tomorrow. “It is going to be a very different experience tomorrow. This year I have had a lot of good experiences, playing in The Open and making a few appearances on the European Tour, but I think tomorrow is going to be a very different experience. “If you get too much into a situation where you are overthinking everything then that can affect your game, so you just need to keep a clear head as that is when you play your best golf.” Anders Hansen “I feel fine. I’m not too worried about it. You always want to do well, there’s absolutely no doubt about that but for me it’s got more to do with personal reasons for me being here. “I had an exemption this season but I haven’t really played, I just didn’t have time to play enough, too many other things going on, so towards the end I thought that if I wanted to play something next year, I’d better go to Q-School. “My game is not too bad, for an old man like me! I’m just trying to be patient and take every day as it comes and go from there. Tomorrow I’m just going to play and see what happens – I’ve done it for 20 years so I know what I’m doing!” Jeff Winther “I’m feeling quite good but I’m not hitting the ball very well, I need to go and grind it on the range for a bit – I had nine putts on the back nine today and that’s what’s saved me today! “I’ll try to draw on last year a little bit but I’m feeling quite loose about it. We’re all here every week, I’ve been on the European Tour for the last two years and a lot of the guys here are the same as every week so it doesn’t feel that different. “It’s nice to be in a good position going into the final round but I still need to put a good score together tomorrow and not do anything stupid. “I’ve been playing really well this year but it’s tough when you don’t get into the big events. I think I’ve only missed three or four cuts all season but you just need the last putt to drop in to get those really high finishes, and that hasn’t quite come to me this year.” Scores after Round Five: 338 S Horsfield (Eng) 69 68 66 68 67; 341 J Winther (Den) 67 67 72 71 64; 342 K Broberg (Swe) 70 71 67 68 66; M Baldwin (Eng) 71 69 68 68 66; C Syme (Sco) 72 73 63 67 67; C Ford (Eng) 73 69 66 64 70; 343 A Hansen (Den) 71 71 69 67 65; L Canter (Eng) 71 64 67 75 66; C Blomstrand (Swe) 72 69 67 66 69; 344 G Fernandez - Castaño (Esp) 72 70 69 68 65; P Widegren (Swe) 69 72 68 69 66; M Foster (Eng) 67 72 68 71 66; A Pavan (Ita) 65 68 71 73 67; 345 P Angles (Esp) 73 70 69 68 65; J Kruyswijk (RSA) 71 71 70 66 67; J Thomson (Eng) 67 72 68 67 71; 346 J Geary (Nzl) 72 71 72 67 64; R McGowan (Eng) 72 71 68 70 65; M Nixon (Eng) 70 71 70 69 66; R Macintyre (Sco) 67 71 71 71 66; H Sturehed (Swe) 67 71 71 70 67; K Johannessen (Nor) 71 69 67 72 67; N Geyger (Chi) 67 74 69 68 68; G Moynihan (Irl) 69 72 67 68 70; J Janewattananond (Tha) 74 71 65 65 71; 347 A Michael (RSA) 73 71 66 74 63; S Gros (Fra) 70 69 74 67 67; F Aguilar (Chi) 73 70 68 69 67; T Murray (Eng) 70 63 75 70 69; M Schwab (Aut) 71 69 67 71 69; 348 M Schneider (Ger) 68 74 71 68 67; J Walters (RSA) 75 71 66 69 67; O Lindell (Fin) 73 71 66 70 68; C Bezuidenhout (RSA) 69 69 72 70 68; T Lewis (Eng) 75 69 68 67 69; J Edfors (Swe) 70 72 70 67 69; N Kimsey (Eng) 68 73 70 68 69; D Law (Sco) 68 73 70 68 69; J Quesne (Fra) 69 72 69 69 69; A Knappe (Ger) 69 72 69 69 69; C Braeunig (Ger) 70 70 67 71 70; J Heath (Eng) 72 68 68 69 71; 349 L Gagli (Ita) 71 73 66 72 67; J Munro (Aus) 69 71 69 71 69; Ó Serna (Mex) 68 72 67 73 69; S Heisele (Ger) 72 67 70 70 70; G Stal (Fra) 64 71 73 70 71; B Evans (Eng) 69 66 68 71 75; 350 M Armitage (Eng) 71 71 74 68 66; S Vincent (Zim) 72 72 69 70 67; P Howard (Eng) 73 66 74 69 68; C Lloyd (Eng) 68 71 71 72 68; S Manley (Wal) 69 68 70 73 70; M Millar (Aus) 74 67 69 68 72; 351 P Mejow (Ger) 69 70 74 70 68; H Leon (Chi) 73 72 69 68 69; M Iten (Sui) 74 70 67 71 69; 352 S Henry (Sco) 78 69 68 69 68; J Hansen (Den) 72 73 70 69 68; R McGee (Irl) 72 73 70 67 70; 353 S Khan (Eng) 72 71 73 68 69; E Johansen (Nor) 68 73 72 70 70; E Park (Kor) 72 72 66 73 70; K Samooja (Fin) 73 69 69 70 72; 354 S Webster (Eng) 69 74 73 68 70; S Sharma (Ind) 75 73 68 67 71; P Maddy (Eng) 77 68 70 67 72; M Lafeber (Ned) 68 73 73 68 72; A Arnaus (Esp) 70 70 71 70 73; 355 A Hall (Aus) 73 69 70 71 72; J Huldahl (Den) 67 75 69 72 72; S Tiley (Eng) 72 70 68 73 72; 356 K Koivu (am) (Fin) 70 70 72 72 72; 361 A Cañizares (Esp) 73 73 70 68 77

[tempura-talks-blog]

Capsule Toys in Japan

Introduction Capsule toys can be seen in many places, ranging from America to Asia. However, ones seen in Japan are noticeably higher in production value and quantity. As seen in Figure 1 and 2, capsule toy machines from America and Japan both vary greatly in terms of machine and toy design. While the former offers simple UFOs, the latter offers a detailed figure of the statue of liberty. Another thing to note, is the content of these two machines. The American variants are often targeted for children, hence the many types of toy figures, stickers, and candy put into them. However it is hard to see why children would be interested in buying the different poses of the statue of liberty. From a designer’s point of view, it would be easier to produce and market figures relating to cartoons for kids.

The truth is, capsule toy machines in Japan are also largely targeted towards adults. (Takaguchi, 2014) The amount of capsule toys vary so much that there are even stores built for such machines to be stored, as seen in Figure 3. With so much variety, people often attach multiple keychains and decorate their desks with these items, so much so that one look at a collection could determine what a person could be interested in. In other words, rather than having a small play toy from these capsules, people use these as a form of self-expression. These toys are used in Japan as a way for people to express themselves visually, and through analyzing Japan’s cultural context, can understand the reason as to why this is a topic of interest for them.

In semiotics, signs dictate the meaning of a work, what it symbolizes, as well as how it spreads through a culture. This could be an explanation for the differences in perspective for different cultures. For example, the emoticon !?! (Дﾟ≡ﾟДﾟ) ?!! in Japan represents a person hurriedly looking left and right with surprise and confusion. To English speakers, this might not make sense. This might be because English emoticons run sideways like :D and ;), rather that horizontally. Different keyboards and influences in cartoons could also contribute to the fact. As seen in Figure 4 and 5, these toys and pillows are designed from emoticons from their respective places. This is just one example of how culture changes through the use of different signs, and in extension, why certain people appeal to certain capsule toy machines than others.  

Reasons why people purchase capsule toys 

Discourse often refers to written or spoken communication, however it can also be applied to semiology, visual cues, and sound as well. With this, the definition is reformed to what is called “multimodal discourse,” where according to O’Halloran, communication is analysed through various forms, often more than one. (S. & L., 2014) Along with this, Michael Halliday also refers to discourse as something more than a language, rather it refers to a context of a certain place in society. (Carling, n.d.) Having this in mind, what contexts are capsule toys created from in Japan, and why do users buy them? Although it’s easy to understand why cat keychains are created given the popularity of cats on the internet, toys like mushroom woman shown below are more puzzling.

From a cultural standpoint, these capsule toy machines can be easily related to vending machines. Both require money to be inputted for a product to come out. Neither need a large amount of maintenance, and both are easily refillable. The reason for the abundance of these two machines can be attributed to the same sources. First of all, the cost of labor in Japan is very high, (Jacobs, 2017)  the independence in vending and capsule toy machines both help reduce costs, and the space taken for each machine is also very little, adding to the fact. Second, Japan is a cashed based society. (Jacobs, 2017) Japan has many coins in their system, going from 10 yen to 500 yen. With all the leftover change, an easy way to get rid of it are through these machines.

Majority of capsule toy machines are often fueled by the entertainment industry, namely from anime and manga. Many of these often dispend figures, keychains, or other miscellaneous items, relating to a specific character, as can be seen below. Since anime and manga are both highly ingrained in Japan and are seen by both children and adults, it’s easy to see why people buy them. Another large majority of capsule toys comes from the “cute” trend. Similar to how people enjoy looking at puppies or cats on the internet, the “cute” trend in Japan manages to produce many products and styles which range from makeup, clothes, and even handwriting. (Bennett, 2011) Of course, this also includes capsule toys, and these will often include animals and foods.  

Although there are other categories, these capsule toys create a niche for people who enjoy these products. For example, a person who thoroughly enjoys cute things will most likely buy capsule toys relating to that, and same goes for people who are interested in certain animes, or even types of food. With these items, people can express themselves and communicate to others their interests and likes. As can be seen below, here is an example of a phone decorated with cute keychains. From a glance, it’s easy to tell what a person could be like based off of these charms.

Capsule toy’s effect on users and how it’s used for exprssion

“To embody is to put into a body an idea or spirit, to give a concrete form to or to express (principles, thoughts, or intentions) within art, action, word combinations, or institutions.” (Hansen, 2003) This idea can be applied to various things as well. One can embody an idea into an item. An easy example for this would be art. Paintings and visual arts are all created first through a thought, and sculpted till they embody the thoughts of the artist. However, another way is to look at this reverse, how ideas and physical items are able to shape a person’s understanding and character. In this sense, what people put around themselves and immerse in could all be an extension of their body. These ideas and items can include TV shows, books, and even interactions with other people.

This idea of embodiment can be related to another idea, this being material culture. Material culture focuses on objects, and how culture changes through people’s designs and interactions with them. (Woodward, 2013) These concepts both relate to how capsule toys play a role in a person’s life, and how they can shape them. In terms of embodiment, people can be shaped through certain shows from anime or even society and what trends are popular. Through immersing themselves in certain media, they can collect items (capsule toys), clothes and various things, which will then in turn and shape their personality. Different interactions between people also adds difficulty in how their personality develops. For instance groups, cafes, and fanbases can all strengthen a person’s interest in a topic. Seeing people wear keychains of certain characters and animes can also subconsciously affect the culture of a person. A specific example can be cats. Cats in general, are cute and appeal to a wide audience, and as seen below, these trends are strong enough for things such as cafes, capsule toys, and games to exist.

Another stronger sort of embodiment and expression of self can be seen in things called “ita bags,” also known as pain bags due to the amount of money and dedication it takes to create. (Ashcraft, 2015) These bags, as can be seen below, often house many trinkets and pins, usually relating to a character from an anime. These bags are a way for people to express their fandom, or to show their love for an anime character. By bringing these bags outside, one can instantly deduce what character a person likes. (If they know the show.) The interactions between similar people, along with the supplement of merchandise from companies keep this ita bag trend alive.

These different interactions between companies, people, and ideas all work together for a whole culture to thrive, and in turn these various types of expression are created. The capsule toy industry in the midst of this adds another level of extension for people to express themselves.

Expression given through different combinations of capsule toys.

According to Walter Benjamin, “'Aura' refers to the authority held by the unique, original work, which under modernity is liquidated by the techniques of mass reproduction.” (Yong, n.d.) However, I disagree with this statement in that reproduction depletes the authority in originality of a work. Rather, I think that it strengthens it, but in a different way. Capsule toys are a good example of how mass produced items can be unique, yet in a way which doesn’t lose its originality. When worn or put on items, these items generate an “aura” of their own, especially when paired with other different capsule toys. This aura has the ability to create a persona for the person carrying them. Although the aura doesn’t surpass The Sistine Chapel and its originality along with its lack of replicability, it does manage to give off many various unique ones.

Walter Benjamin also states the presence in time and space have a big impact on the originality of a work. (Yong, n.d.) After all, if the requirement of a good aura requires only uniqueness and the lack of mass production, then even a small quaint church could have the same level of aura as the Sistine Chapel. The history of the place must be authentic. A replica of a Dutch village situated in Japan doesn’t have the same authenticity and feel compared to the real thing, despite being visually the same. (Yong, n.d.) However, for this I would like to argue that the presence of an object in time and space doesn’t have to be grandiose in order to have an impact. The fact the capsule toys are mass produced and have the same beginnings doesn’t matter much either, rather it’s how a person receives it. Each capsule toy has its own history, and the fact that despite starting in the same place, how all of them disperse and end up all around the globe is quite a feat in itself.

This concept of aura can be related to a similar concept in semiotics called codes. Codes are frameworks people use to interpret multiple signs. (Chandler, 2014) For example, a social code could be language, and how people communicate with others through different types of pronunciation and written symbols. Capsule toys however, would fall under textual codes, in aesthetics, where medium and genre are most important. When capsule toys are collected and hung together on a bag (or something similar), expression and “aura” are given through these different combinations. An example of a genre in capsule toys could be “food.” As seen below, there are various types of capsule toys just for food. When mixed and matched, one could see such person as a food fanatic. However, if one person were to have an entire set from a single capsule machine, one could deduce this person as a completionist. In this case, all these interactions and combinations can be seen as a polyvalent, as all of these signs interact with each other in complex ways.

Cultural context of capsule toys and its place in society

“For Webster, an information network is itself indicative of the transmission of ideas and correspondence over large stretches of area in a way that was previously not available, except by slower, more rudimentary means. “(Meler, 2003) Later on, this article goes further into the relationship between the internet and the spread of information. Taking both of these things into account, capsule toys can be seen as a mediator, crossing into both of these categories. A way capsule toys can spread information is through its design. For example, if certain capsule toy theme (say, a specific capsule toy from an anime) were to be carried or worn by people, the “information” being passed down would be the state of its popularity. The amount of capsule toys and merchandise being manufactured can also be an indicator as to how popular a show or trend is. As for how capsule toys are being viewed from the internet, many places such as Alibaba and Ebay both sell these toys in wholesale. Trends are also often circulated on the internet, such as on the Japanese video sharing platform “Niconico Douga.”A specific example would be Vocaloids, which are singing synthesizers which people use to make songs out of. (Boxall, 2016) With an ample amount of songs, and even a weekly ranking page (http://ex.nicovideo.jp/vocaloid/ranking), these Vocaloids have figures, capsule toys, and other merchandise created after them.

Networking, with the use of the internet has connected people from all around the world together. (Meler, 2003) Due to this, cultural trends and media tend to blend together, but can be distinguished by its cultural context and connotation. An example can be seen from the Egyptian god Medjed (as can be seen below). Although Medjed is a god in Egypt, in Japan, he’s a meme. (Stimson, 2015) Through the different circulation of information, what was a figure written in the Book of the Dead, became a cute character drawn in comics and games. They were even made into capsule toys. (See below) Through different cultural contexts, information can be perceived differently, and because of this Japan (as well as other countries) take these various types of information and cater to the audience they create for.

Companies take advantage of this, as they merge the culture of the area with current trends, they create ideas, and condense them into a physical form for people to then consume. An example can be seen in anime genres, where “school life” always focuses on schools in Japan, and often not anywhere else. (Haikyuu, Ao Haru Ride, Zankyou no Terror, etc.) These genres are also seasonal in their release dates, meaning that the content of episodes will align with the Japanese school system, as well as holidays. (Link to anime season list: https://myanimelist.net/anime/season/2014/summer)Animation studios in Japan take into fact the interests of people, and apply them to what they produce. Merchandise such as capsule toys, themed cafes and cosplays often come out soon after the release of the anime as well.

Conclusion

Capsule toys, in its many varieties, are more than just a play toy for children, rather in Japan, they are used as a means of self-expression. This self-expression can be portrayed by putting it on one’s bag or items, and upon doing so, others will see and possibly figure out what the character of a person is. While some enjoy and invest in anime trinkets for things such as ita-bags, others can simply adopt this self-expression by buying something that interests them. Perhaps a person who likes birds can buy a capsule toy of a parakeet ice cream, or a biologist could even get a miniature anatomical figure of the human body. (As seen below.) The mix of these capsule toys can even tell a person more about another. How even a mixture of keychains from different animes can indicate which fandoms they support and what they like.

With the various industries and trends circulating around creating merchandise and goods, capsule toys almost act as one of the many catalysts for creating a character, or persona of one’s self. The other factors being the fashion or style of a person. However, fashion is often hard to portray in Japan, due to the restrictions in dress code. (Dress code, n.d.) Often, people either wear formal business attire or school uniforms, rather than free dress. With this, it’s hard to have self-expression within work and school through the use of fashion. This is also a reason why during weekends, people tend to go all out with clothes and items.

The design for capsule toys however, also reflect the society they cater to. This means that theres a reason to why people design sushi cats rather than cat burgers or poutines. The cultural context of a capsule toy determines whether people will buy it. If it doesn’t fit a person’s niche, or interest, they won’t buy it. After all, what they buy will ultimately determine what they will wear, and how they will portray their self. References

“Dress Code.” Japanese Business Resource -. N.p., n.d. Web. 06 Mar. 2017. <http://www.japanesebusinessresource.com/japanese_business_etiquette/dress-code/>.

Meler, J. K. (2003). Network. Retrieved March 04, 2017, from http://csmt.uchicago.edu/glossary2004/network.htm

Boxall, A. (2016, March 9). ‘Vocaloids’ aren’t characters, they’re instruments changing the way music is made. Retrieved March 05, 2017, from http://www.digitaltrends.com/music/hatsune-miku-creative-revolution-musicians/

Stimson, E. (2015, July 31). The Obscure Egyptian God Medjed and His Bizarre Afterlife on the Japanese Internet. Retrieved March 05, 2017, from http://www.animenewsnetwork.com/interest/2015-07-31/the-obscure-egyptian-god-medjed-and-his-bizarre-afterlife-on-the-japanese-internet/.91149

Chandler, D. (2014, March 07). Semiotics for Beginners. Retrieved February 26, 2017, from http://visual-memory.co.uk/daniel/Documents/S4B/sem08.html

Yong, M. (n.d.). Aura. Retrieved February 26, 2017, from http://csmt.uchicago.edu/glossary2004/aura.htm

Hansen, M. (2003). Body, Embodiment. Retrieved February 26, 2017, from http://csmt.uchicago.edu/glossary2004/bodyembodiment.htm

Woodward, S. (2013, May 28). Material Culture. Retrieved February 26, 2017, from http://www.oxfordbibliographies.com/view/document/obo-9780199766567/obo-9780199766567-0085.xml

Bennett, C. (2011, November 18). It’s all Kawaii: Cuteness in Japanese Culture. Retrieved February 26, 2017, from http://geekout.blogs.cnn.com/2011/11/18/its-all-kawaii-cuteness-in-japanese-culture/

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