The Orient has been a source of inspiration for fashion designers since the seventeenth century, when goods of India, China, and Turkey were first widely seen in Western Europe. While the use of the term "Orientalism" has changed over time, it generally refers to the appropriation by western designers of exotic stylistic conventions from diverse cultures spanning the Asian continent.
Influx of Asian Merchandise in the West
Though luxury goods have been filtering into Europe from countries like China since ancient times, it was not until the great age of exploration that a wider array of merchandise from cultures throughout Asia found their way to the west. For example, the importation of Chinese ceramics exploded in the seventeenth century. Not only did these wares remain popular for centuries, they also inspired the creation of stellar ceramic companies like Sevres in France and Meissen in Germany. Even plants, like the legendary flower from Turkey that led to the "tulipmania" craze in Holland and the brewed leaf that became the status drink of the well-to-do and evolved into the ritualized "high tea," fueled the love of all things from Asia.
Impact on Fashion
It was in the realm of fashion that the impact of "Orientalism" could also be profoundly felt. Platform shoes from central Asia led to the creation of the Venetian chopine in the sixteenth century. Textiles from all over Asia, primarily China, India, and Turkey, inspired the creation of fashions like the robe á la turquerie in the eighteenth century. This was a more extraordinary phenomenon since the fear of Turkish Islamic invaders was a constant and imminent threat. Coupled with the threat of an invasion was a diametrically opposed view: the romantic notion of a far-distant land, such as Cathay (or China), filled with genteel philosophers and lovers of art. This idealized impression of China would continue until the rise of the industrial revolution and European colonialism in the early nineteenth century. The gritty reality of ever-increasing business transactions between East and West, as well as the ever-encroaching military dominance by European powers in Asia was firmly cemented by the middle 1800s.
As Queen Victoria ascended the throne of England 1837, then the most powerful empire in the world, she oversaw an eclectic art style that would come to dominate the remainder of the nineteenth century. The Victorian era brought together many historical European styles of the past, Gothic and Rococo for example, which were sometimes surprisingly combined with elements from cultures like Japan. The end result of one amalgamation, Gothic and Japanese, led to the creation of the Aesthetic Movement. Fashion gowns reflected this blend: smocked robes like medieval chemises were embroidered with asymmetrically placed floral motifs of chrysanthemums, two distinctly Japanese design elements.
The influence of Orientalism on fashion could be seen in many other ways, both frivolous and profound. For example, the fad for harem pants from Turkey appeared in the form of fancy dress costume at balls, just as the Zouave costume of North Africa found its way into the wardrobes of some Southern soldiers fighting in the American Civil War and the closets of European ladies. On the other hand, items of dress from Asia would become essential for women through the mid-nineteenth century. Kashmiri shawls, originally woven in India then exported to the west in the late eighteenth century, became a ubiquitous part of the neoclassical costume. The shawl was often paired with a white columnar dress made of diaphanous, finely woven Indian cotton. Its popularity inspired many weaving companies in Europe to create their version of this essential nineteenth-century wrap, later known as the paisley shawl.
The Orientalism trend reached an apex in the early twentieth century, and the sources for this mania for "all things oriental" ranged from nostalgia for the legends of Persia and Arabia, as popularized by "A Thousand and One Nights," to the Paris debut of Sergei Diaghilev's Ballets Russes in 1909. This burst of Orient-inspired creativity in the realm of fashion also had lesser-known sources, including the avant-garde art movement Fauvism and Japanese kimonos made expressly for the western market.
French couturiers, such as Paul Poiret and Jeanne Paquin, were inspired by the Ballet Russes' performances of "Cléopatre," "Schéhérazade," and "Le Dieu Bleu." This Russian dance company took Paris by storm with their revolutionary choreography, music, and costume and set designs by the Russian artist Leon Bakst (1866-1924). In addition to these fantastic costume shapes and opulent decorative elements, couturiers incorporated the vibrant color palette of Fauve artists such as Henri Matisse. Not only did designers create garments with Orientalist influences, so did the modistes: turbans topped with aigrette or ostrich plumes and secured with jeweled ornaments were paired with either neoclassic columnar gowns or fantastical lampshade tunics.
Clothing created more in the realm of craft by artists such as Mariano Fortuny and Monica Monaci Gallenga also fused historical European and Asian styles into cohesive aesthetic statements. Using silk velvet as a base, both Fortuny and Gallenga precisely incorporated textile patterns from East Asia and the Islamic world for their creations. The importance of craft also fueled the European and American fad for batik cloth. Both the technique for making resist-dyed fabrics like batik and the motifs perfected in cultures like Indonesia were created by artisans on both sides of the Atlantic Ocean in the 1920s.
Marie Callot Gerber (1895-1937), the venerable head of the leading couture house Callot Soeurs, was another innovator who readily embraced Orientalism. She was inspired by the kimono and created some of the earliest versions of harem pants. From 1910 to the out-break of World War I, acclaimed beauty and woman of style, Rita de Acosta Lydig, worked with Gerber to create versions of Oriental costumes that were composed of vests made from seventeenth-century needle lace that topped trousers or one-pieced garments that were full and loose over the lower part of the torso before tapering over the calves. Often called the tango dress, after the dance craze imported from Argentina, this style was popularized by couturiers like Lucile (Lady Duff Gordon, 1863-1935) and by fashion illustrators. The house of Callot would go on to lead the 1920s trend for embellishing the columnar dresses of the era with rich embroideries that readily copied Persian and Chinese design elements.
Also influential were exhibitions and expositions geared specifically to exhibit products of France's colonies. One of the first was a major exhibition of Moroccan art installed at the Pavillion de Marsan in March, 1917. The exhibition also forecasted far larger things to come: the Exposition Coloniales, held in Marseilles in 1922 and in Paris nine years later. These shows not only generated public interest in non-Western cultures, but also projected France's commitment to imperialism. According to art historian Kenneth Silver in his publication Esprit de Corps, the exposition of 1922 expressed a "less than covert sense of racism." The French were still recovering from the devastating effects of World War I as late as 1925, and there is little doubt that these exhibitions and expositions allowed them to publicly display not only their high position in the modern world, but also their dominance over a vast array of Third World cultures.
Many of the centuries most noted couturiers in France were readily absorbing the influences of the Colonial Expositions of 1922 and 1931. It was the first time that many had direct access to art from such remote countries. This exposure to ethnic dress gave them a far more profound understanding of non-Western dress, primarily objects from Asia. This understanding would enable a few enlightened couturiers to create both new fashion silhouettes as well as imbue their designs with a fundamentally different construction that emphasized the textile rather than complex tailoring.
Marcel Rochas, for example, was directly inspired by dance costumes from the Balinese court, as seen in his broad-shouldered garments of the season immediately following the 1931 Exposition. His "robe Bali," a black silk dress with a broad and square collar trimmed in white pique, is interesting in that it follows the silhouette of a non-Western garment but uses typical European colors and fabrics. Madame Alix Grès also created her version of a Balinese costume in 1937. Jacques Heim designed a sarong-style bathing suit inspired by the Tahitian exhibits in the 1931 Exposition. These sarong suits, in a radical departure from contemporary bathing-suit construction, were made not of knitted wool but with draped woven cotton. Harper's Bazaar made mention of these sarongs and his pareos from later collections. By the mid-1930s, Hollywood costumer Edith Head designed a version of the sarong for actress Dorothy Lamour in a series of comedic films starring Bob Hope and Bing Crosby. As noted earlier, all these designers' ethnic-inspired work of this period was not based on non-Western construction techniques, but rather their inspirations came from overall cultural impressions.
The output of "ethnic" garments by fashion designers was to drop off significantly during the 1940s and 1950s as the influence of exotic cultures on fashion had already begun to diminish around 1934. Inspired by the play "The Barrets of Wimpole Street" and the Hollywood film version, couturiers like Madeleine Vionnet, to cite but one of many examples, began to create modern versions of nineteenth-century Western dress. This trend dominated fashion from the late 1930s through the 1950s. The revival of historical styles offered an escape from the pressures of the Great Depression of the 1930s and helped assert the growing sense of nationalism in Europe at that time. Also a factor in the United States was strong anti-Japanese sentiment during and after World War II.
Fashion periodicals of the 1940s, 1950s, and early 1960s seem to indicate only a minimal interest in foreign dress for most designers, as compared with earlier decades. However, a strong revival of ethnic influences arose during the mid-1960s, as the fashion world responded to the purposeful rejection of standard, mass-produced fashion by young people. The young people known as "hippies" ushered in a style noted for its free-form mix of fashion elements from around the world, particularly the Middle East, India, and Native American cultures. Coupled with this renewed interest in non-Western cultures was the emergence of Asian designers. For the first time, Japanese creators like Hanae Mori not only made fashion, they began to influence the work of western designers.
After World War II, other Asian garments began to find their way into the fashion mainstream. One example is the quintessential twentieth-century Chinese dress-the qipao or cheongsam. This figure-revealing garment worn by a range of urban Chinese women since the mid-1920s has become known in the Western world as the "Suzie Wong" dress, deriving its nickname from the infamous, fictional prostitute in Richard Mason's novel, The World of Suzie Wong, published in 1959. Born in the tumultuous years of early Republic China, the qipao (meaning "banner gown" in Mandarin) or cheongsam (meaning "long dress" in Cantonese) is a true fashion hybrid that fused the elements of traditional Qing Dynasty court dress, Han Chinese costume, and the modern European silhouette. Despite its respectable status in China, Taiwan, and Hong Kong, the qipao came to represent in the Occidental mind a two-pronged, stereotypical view of Asian women-subservient, obedient, traditional, on the one hand, and exotic, sexual, even menacing, on the other. Films such as Love Is a Many Splendored Thing (1955) and The World of Suzie Wong (1960) are tales filled with textual excess whose narratives featuring Asian-Caucasian sexual liaisons use the qipao to uphold and sometimes subvert culturally accepted notions of race.
Perhaps it is those provocative elements of the qipao that have made contemporary reinterpretations of it so prevalent in the early twenty-first century. European or American designers, along with Chinese transplants like the New York-based Hong Kong native Vivienne Tam, have been creating their popular versions of Chinese-inspired fashions since the late 1990s. Examples range from the lavishly embroidered Neo-Chinoiserie gowns by John Galliano for Dior, Miuccia Prada's minimalist remake of the Mao jacket, and the body-revealing corseted mini qipaos by Roberto Cavalli. It is clear that the continued fascination with Orientalism continues into the twenty-first century.
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