In this country, rebellion of late takes the form of going unshaven a few days or merely looking disheveled. In an open society where anything goes and we’re barraged by daily revelations from the Kardashian clan, there’s little we can do to shock or stir outrage.

So we’re amused and mystified by Japan’s Harajuku style, a kaleidoscopic mode of dress and fantasy lifestyle that embraces the dichotomy between childhood innocence and adult rebellion. Only those seeking a voice in a repressed society could make such a provocative statement.

Beyond the politics of fashion, it’s just plain fun to see, and so "Harajuku: Tokyo Street Fashion" is the subject of a Honolulu Museum of Art exhibition set to open Nov. 19 and continue through April 3. The exhibition will feature five of Harajuku’s distinct looks, with a display of ready-made and one-of-a-kind dresses by Japanese designers and photos by museum staff photographer Shuzo Uemoto documenting Japan’s street style.

The museum will also welcome street-fashion star Minori, who will offer a Nov. 20 demonstration on the art of shironuri, meaning "painted in white," a traditional style of makeup used by geishas and kabuki actors. Then, in January, Misako Aoki will be in town for the museum’s monthly ARTafterDARK event. Aoki is one of three women appointed by Japan’s Ministry of Foreign Affairs as Kawaii Taishi (Ambassadors of Cuteness) in 2009. She is president of the Japan Lolita Association and travels the globe to appear at anime conventions and Lolita fashion shows that cultivate an "Alice in Wonderland" Victorian look, with ruffled dresses topped off with a bonnet, ribbons and flat shoes accessorized with a feminine handbag.

Honolulu Museum of Art textiles curator Sara Oka spent two years on planning and research for the exhibition, including making two trips to Japan, where she immersed herself in the culture, going to concerts to people-watch and to "butler cafes" catering to Lolitas.

Because of Vladimir Nabokov’s novel "Lolita," about a middle-aged man’s obsession with a 12-year-old, Oka said Westerners have a different understanding of Lolita. than the Japanese.

"There, it’s associated with innocence and cuteness, without any of the sexual connotations we think of," she said. "At the butler cafes they greet you as ‘princess,’ and you’re not allowed to lift a finger. They’ll pour your tea for you. When you wear the dresses, you have to have the whole persona, the proper mannerisms and way of speaking. It’s not a costume to them, but a lifestyle."

The Harajuku movement didn’t start out so regimented and codified. In the 1980s it was more of a freestyle, homespun movement that found a home around the train station in the Harajuku district of Tokyo.

"They cherished a handmade look, put together strange colors — and layering was an important element," said Oka, who was assisted in her journey by Kiyoe Minami, a Robert F. Lange Foundation research assistant in the museum’s Asian Art Department.

Minami grew up near Harajuku. "I was there just about every weekend when I was a teenager," she said.

Minami, an only child, was indulged by her mother, who would help her create her "California girl" and "roller skate doll" ensembles, which she said reflected her fantasy of living the American Dream. "People were influenced by rock ‘n’ roll, and movies like ‘Diner’ and ‘American Graffiti.’"

Others embraced styles from the British punk and New Wave movements, or adornment from India and other exotic locales.

"Harajuku is about change and accepting any trend," Minami said. "It’s the opposite of Ginza, which is high-end fashion, really conservative and never accepting something new from outside."

The look began evolving when businesses moved in to sell the trend to the mainstream in the 1990s. One of the first brands to be established was Jane Marple in 1985. Today, dozens of brands prescribe head-to-toe Harajuku looks, often for about $500. Included in the museum exhibit are creations by Achachum, Angelic Pretty, Atelier Pierrot, Baby the Stars Shine Bright, Dog, H. Naoto, Jane Marple, Juliette et Justine, QPot and Tokyo Bopper.

Within the Lolita category are variations such as Sweet Lolita, whose pastel dresses bear prints of cupcakes, candies and desserts; Classic Lolita, whose dresses feature somber colors and Renaissance imagery; Gothic Lolitas, who dress in Victorian black; and the newest, Steampunk Lolita, with a Victorian-meets-apocalypse aesthetic.

Other looks to be featured include the Mori Girl, inspired by forests. Adherents of this look wear a natural, woodsy assortment of vintage earthy colors and layers, often integrating elements of crochet, knit and lace. Dolly Kei, an offshoot of the Mori Girl, incorporates elements of Eastern European folk costumes.

Kawaii, Decora and Fairy Kei are cute, girly looks dominated by pastels or bright colors, use of hair clips and bows, and the layering of furry toys and plastic jewelry. American creations such as Care Bears, Strawberry Shortcake and My Little Pony are treasured imagery.

As to why some people want to live a fantasy life, your guess is as good as mine.

Oka said: "I think it’s because they have such a short window where they can be this expressive before they lock into a career. From their teens through early 20s, it’s the first time they’re given the freedom to be this expressive."

Minami suggests the dress-up still comes from a place of wanting to belong and wanting to be the same as your friends. "Lolitas enjoy being part of a group," she said.

"Americans like to be different from everybody else, but Japanese people feel comfortable and enjoy being the same. You can see young girls wearing the same sweater sets, carrying the same handbags and looking like twins, but they are not twins.

"I still like to have the same accessories as my friend," Minami said. "To this day, when I’m buying accessories, I always buy two. One for me and one for my friend. This has been going on for more than a quarter-century."