As we move into the Taisho period (1912-1926) and early Showa (1926-1940), the gallery’s photographs shift from studio portraits to candid street photography and family albums. Here emerges the mobo (modern boy) and moga (modern girl). In these black-and-white images, women bob their hair, wear cloche hats, and clutch pearl-strung purses, walking in heeled boots along the Ginza. The kimono is not abandoned but reimagined: paired with fur stoles, art deco brooches, or Western leather shoes peeking beneath the hem. For men, the gakuran (student uniform) and three-piece suits become markers of intellectualism. A particularly striking "foto vieja" might show a jazz café in Tokyo, 1931—young couples dancing the foxtrot, her fringe dress swaying, his slicked hair catching a beam of light. The style here is not imitation but syncretism : a proud, urban Japanese modernism.