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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.

Mitsukoshi, a famed Japanese department store, opened a Korean Product Showroom in its Keijō (Seoul) branch in 1930. The Korean Product Showroom was the only space decorated in ‘Korean style’ within the Keijō Mitsukoshi building, which was designed in Neo-Renaissance style, much like its flagship store in Tokyo. This showroom offered Korean artefacts as luxury souvenirs aimed at Japanese tourists. The most popular items sold in the showroom were Koryŏ-style celadon ware and lacquerware inlaid with mother-of-pearl, which Mitsukoshi ordered from local workshops in Korea. Interestingly, the workshops were run by Japanese entrepreneurs and sometimes even employed Japanese artisans. This article examines the inauthentic authenticity of ‘Korean style’ and ‘Korean products’ that the Japanese produced and consumed in colonial Korea. It does not imply that only Koreans are entitled to represent Korean culture. There have been many studies asserting that Korean culture was destroyed and distorted from its ‘original’ forms by Japan’s cultural genocide during the colonial period. This article neither is interested in repeating such criticism nor focuses on recuperating genuine Koreanness. Rather, it explores why the Japanese desired ‘pure Korea’ and how that desire shaped ‘Korean style’ and ‘Korean products’ through Keijō Mitsukoshi’s Korean Product Showroom and its products.

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