In the era of the 2nd generation Visual Kei (’90s-early 2000’s), pioneers of the Visual beauty-aesthetic goth-opera band Malice Mizer introduced a heavy historical, classical-opera look into the Visual Kei aesthetic. They took imagery and aesthetic views from the French rococo period, and added unique Jrock sentiments, mixed the two together with some pretty serious gothica, and gave us the aesthetic of 2nd and 3rd generation Visual Kei: essentially, youshikibi, the beauty of form.
The silhouette and fashion statement became much more costumey and elaborate, pinching no pennies in design and construction. Lace-up, corseted dresses with full skirts, enough lace to wrap around the world 7 times, and elaborate hair-dos topped with massive headdresses were the staples of this style.
During this era, drag and androgyny took form. This is interesting to note, because the majority of Visual rockers are male (the majority– but in the past few years some female bands have sprung up as well), catering to a primarily (but certainly not entirely) female fan-base.
Although this was “fathered” by Mana, it branched off after the end of Malice Mizer and became its own sub-genre of Visual Kei in its own right. Many of the later 2nd generation and 3rd generation bands sprung from this well-spring of fashion, most notably Versailles ~ Philharmonic Quintet.
Like Malice Mizer, Versailles is an all-male band, however Mana’s concepts of fashion and style were highly appreciated, and the entire band assumed a very historical appearance.
Homage was especially paid by two members, guitarist HIZAKI and bassist Jasmine-You (who passed away on August 9th, 2009) . Both men assumed the dress and attitude of women, although neither went so far as to refuse to speak in order to hide their voice/gender. In fact, HIZAKI has been known to speak quite readily on occasion, proving that this is not about trying to be women, but about being free to wear and act as they choose.
The look was also readily adapted by vocalist KAYA (ex-Schwartz Stein), who was, mysteriously enough…, one of a few of Mana’s known proteges. Kaya sings now as a solo artist, and is perhaps one of the most shocking and mind-blowing of all of the aforementioned personalities in this post. Unlike Mana, HIZAKI, and Jasmine-You who silently thrash on guitar/bass, Kaya has no choice but to flaunt his manliness, being solo as a vocalist.
When you first start listening to a Kaya song, it’s electronicky pop-rock, with a decidedly popular-type Jpop male type voice. So you’re expecting to look up images of this swashbuckling, handsomely-voiced male suspiciously named “Kaya” (sounds fishy to me, anyway) and see:
Results will actually yield the shocking– beautiful, but shocking– true face of Kaya:
To be honest, although I’m a long-standing fan of all of Mana’s work, and although I am no stranger to his level of drag and gender-bending, the entire concept of Kaya is still a little bit difficult for me to wrap my head around. I can’t tell if I really like it, or if it is still mildly disturbing.
Video: Kaya’s Chocolate
Guide to Images: Mana, guitarist for Malice Mizer and Moi Dix Mois. HIZAKI of HIZAKI GRACE PROJECT and Versailles~ Philharmonic Quinet. Jasmine-You [Versailles P/Q]. Insert image: normal male, idol boy Kamenashi Kazuya from the Johnny’s group Arashi. Kaya (Schwartz Stein/ Kaya).