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During the Age of Exploration, early orientalism started to take shape in fashion. Since, the East has remained an inspiration and influence to Western culture. In spite of this, oriental dress does not symbolise cultural flexibility and acceptance, but rather imperialism. It is a metaphor whereby the West establishes a dominant role over the East by studying and reproducing oriental culture. As Edward W. Said put it, “Imperialism consolidated the mixture of cultures and identities on a global scale. But its worst and most paradoxical gift was to allow people to believe that they were only, mainly exclusively…Oriental” . Moreover, this essay will explore the tumultuous relationship between the East and the West, as well as discuss the impact and progress of Orientalism in fashion.
Paul Poiret was the first couturier to embrace draping, thus moving away from the more traditional techniques of tailoring and corsetry. This launched the transformation of couture traditions of the Belle Époque. To many, Poiret had dethroned the paradigm of Western fashion when he employed the art of Orientalism into clothing. Today, Marc Jacobs also illustrates the contribution of Orientalism in contemporary fashion through his cheongsam-infused 2011 Spring collection for Louis Vuitton. A direct and modern take on Orientalism, the collection highlights the feeling of ‘otherness’, in that the Orient represents an exotic fantasy as opposed to being an equal: “Present-day orientalism is a ‘series of imaginary mirrorings’ in which the white Westerner enacts a level of otherness that eclipses the circumstances of the ‘true’ other” . Essentially, Marc Jacobs embodies a colonialist who explores and exploits the Orient, therefore reinforcing the idea that Or...
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...countries begin ‘reorienting’ themselves as oriental. More specifically, “it is making peace with an expectation, which, in fashion, was either falsely affirmed or subverted” . Finally, the Oriental look or Orientalism is manipulated and managed as a sub-style, able to create its own identity and aesthetic hegemony, thus enabling it to establish itself and endure.
To conclude, today’s Orient in contemporary Western fashion does not refer to the trophy of imperialism. On the contrary, there exists a developed, nomadic Eastern quality that the industry has embraced: its fashion (modernity). Fashion does not belong solely to the West. Hence, there is a greater sense of equality, in that the West exists in the East just as much as the East is present in the West. “They 'live' in one another and their 'own' identity is created by acts of constant slippage and renewal” .
Imperialism began with Western European countries looking to expand their reach of influence on the East. These countries would conquer and colonize any region not of the West in hopes of bettering their economy or to help the native people they found in the East, carry up the “The White Man’s Burden.” When meeting the native people, Westerners named the things from the East “Orient,” and along with this name came many stereotypes and assumptions of the people and the land. Although, imperialism is no longer present, effects such as orientalism still resonates within the culture being expressed through media such as the Academy Award winning movie of the year Argo.
In “The Meaning of Adornment,” a sub-chapter within “Distinction and Display in the Visiting Scene,” Meneley explains how important adornment (fashion) is for Zabidi women. The women made sure that they publicly dress too impressed because they know that their families and themselves will be judged (Meneley 1996: 109). Zabidi women become the active participators when they dress appropriately to their culture to ensure their families’
Although concerns about cultural appropriating cultural objects such as bindis, war bonnets, and kimonos have been receiving more attention, the effects of cultural tourism of modern Asian subcultures has been relatively ignored. This lack of attention may be due to the assumption of modernity as Western or a lack of an object that bears significant cultural meaning to the ethnic culture as a whole. However, if the potential effects are left ignored, cultural tourism of modern Asian subcultures may perpetuate harmful constructions of race. The visual analysis of Gwen Stefani and Avril Lavinge’s cultural appropriation of Harajuku culture reveals that it not only reaffirms Asian American female submissiveness and Asian American invisibility, but it also constructs meanings of race and whiteness that excludes American cultural citizenship from Asian Americans.
The Western ideology of the Eastern exoticism and docility originates from the long historical context of imperialism and political tensions between the West and the East. Domestic struggles caused by political strife and war in the East, such as the Philippines during the American-Spanish War and China during the Opium Wars, created an opportunity for the West to infiltrate the destabilized Eastern countries. This access allowed the West to exercise a form of supremacy over Asia, as the East was seen as powerless and incapable of self-governance. Thus, considering themselves as racially and politically superior, the West adopted a “White Man’s Burden” mentality described as the duty of the masculine Western men to dominate the East and civilize the “uneducated” and “feminine” Orientals. This racial supremacy mentality characterized the Eastern natives as feminine and the Western imperialists as masculine because the Eastern natives were obedient and docile to those of the West. This historical framework would eventually co...
...d pleasures: orientalism in America, 1870-1930. Princeton, N.J.: Princeton University Press in association with the Sterling and Francine Clark Art Institute, 2000. Print.
Orientalism is never far from what Denys Hay ahs called the idea of Europe, a collective notion identifying ‘us’ Europeans as against all ‘those’ non-Europeans, and indeed it precisely what made that culture hegemonic both in and outside Europe: the idea of European identity as superior one in comparison with ass the non-European peoples and cultures (7).
A quote by American poet, Allen Ginsberg says, “You can’t escape the past in Paris, and yet what’s so wonderful about it is that the past and present intermingle so intangibly that it doesn’t seem to burden.” In order to truly understand the large role that fashion plays in a culture where the past is such a large part of the present, one must learn about its deep history and evolution.
Peacock, John. The Chronicle of Western Fashion: From Ancient times to the Present Day. New York: Harry N. Abrams, 1991. Print.
The colonial enterprise, particularly the European imperialist projects in the east, has forever changed concepts of identity, otherness, and power in both the Occident and the Orient. Both sides were indisputably and irrevocably altered; however, the effect upon native cultures (the colonized) was far greater than the effect on the imperial cultures (the colonizers). European colonizers were able to cherry-pick the greatest parts of “new” culture—their art, their music, their architecture, or their cuisine—and adopt or adapt it to modern imperial life. In many ways, the cultural practices and artifacts of a newly colonized civilization were treated like the natural resources (oil, silk, spice) the Europeans were there to gather: they mattered only in their usefulness to the empire. Unlike their imperial counterparts, however, the native peoples had no choice which customs and practices to adopt, and which to discard. The sheer military might and nature of the colonial enterprise demanded that the colonized completely adapt to the social and cultural norms of the empire. In essence, then, the colonized were forced to lead a life of double consciousness, wherein they participated in customs and practices and obeyed laws and regulations in which they did ...
Fashion in the 21st century is a big business, as its production employs millions of people and generates billions of dollars in revenue. Fashion has for the past century been, and is still today, used as an indicator of social change and progress, as it changes with the social norms of the society and the political changes of the world (Finkelstein 3). Works Cited Finkelstein, Joanne. A.S.A. & Co. Fashion: An Introduction to Fashion. New York: New York University Press, 1998.
Western materialism and consumerism, especially products like lipstick and nylon stockings, became a trademark for the pan pan look. It is with these Western goods that the metaphorical transition of the Japanese image from brutish, masculine dominant threat to the vision of a docile female body was formed. Here Dower explicitly depicts the interconnectivity of Japanese and Western cultures through commercialism.
Fashion plays an important role in the lives of billions all over the world; people, as part of a status craving society, turn to “fashion capitals” of the world for ways in which to dress and carry themselves. New York, Milan, and Paris are leaders among this fierce industry that the world lusts after. Fashion can speak volumes about ones personality, or also about the condition the world is in at the time. In France, fashion changed rapidly and feverously as the times changed.
His research and publications address environmental thought, cultural inquiry, philosophy of art and culture, holistic well-being, and, applied philosophy and ethics. His book Fashion Myths: A Cultural Critique, discusses advertisements of fashion, and fashion-related goods from a philosophic-anthropological perspective within a contemporary cultural context. In other words, understanding the thoughts of consumers when watching advertisements and making purchases. Understanding the matter from an anthropological perspective, as well as from a design perspective, allows for insight into the matter through an interdisciplinary approach, aiding in understanding the situation from both sides: designer and
From a historic point of view, Western travelers had remarked on the slow pace of lifestyle and fashion change in Turkey and Persia. On the other hand, many people were of the opinion that the western culture is getting out of hand in terms of dressing fashion (Cumming 234). In most cases, change of fashion and dressing style took place hand in hand with economic and social changes. In the developing world, changes in fashion began with the coming of the whites in Middle East. Changes began in the 11th century when the Turks came to central Asia and Far East. In Europe, continuous change in clothing fashion is believed to have started in middle 14th century. It started by a sudden introduction of shortening and tightening of male garments, it further brought the introduction of trousers and leggings that were worn by men (Cumming 235). After the advent of change in men fashion, it was followed by changes in female c...
Fashion takes on many different facets and concerns many subsets— a model sashaying down the runway in a gown encrusted in real gems, Lady Gaga’s infamous dress made of cuts of raw beef, a teenage girl obsessing over the season’s latest styles— it is all an expression of our minds and who we are or want to be, made tangible. It is a medium just like any other, for while artists wield brushes and paints, designers use thread and cloth to illustrate their vision. The artistry is none more so apparent than in the exclusive world of haute couture, a world of extravagance that caters to aesthetics, producing one-of-a-kind wearable masterpieces that are made to be admired rather than worn. It is without doubt, high fashion and its design is an art.