The Integration of Chinese Historical Costumes and Contemporary Women’S Fashion: with Special Reference to the Shuitianyi
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The Integration of Chinese Historical Costumes and Contemporary Women’s Fashion: with Special Reference to the Shuitianyi Huang Ching-Yu A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Birmingham Institute of Art and Design, Birmingham City University November 2011 Abstract This study investigates the potential for integrating Chinese historical costumes with modern fashion with particular reference to shuitianyi (水田衣), a historical dressing style of China. The shuitianyi was worn by ordinary people in the Ming and Qing dynasties (Ming: 1368-1644; Qing 1644-1911); made of patches, the composition of various colours and fabrics made this style distinct from the other Chinese costumes. However, this style has disappeared from Chinese dressing culture with little historical or material reference left. The investigations undertaken for this research into the cultural and social background of the shuitianyi have established a new and relatively comprehensive understanding of its history; further, the discovery of new visual references during the course of this study has offered a clearer depiction of this style of garments. The discoveries and analyses undertaken by this research overthrow previous misapprehensions and errors about the origin, history and style of the shuitianyi. An investigation into the history and status of the Chinese qipao enabled a better understanding of Chinese dressing culture. Furthermore, the comparison of the qipao and the shuitianyi has resulted in a greater understanding of the disappearance of the shuitianyi. Based on the theoretical study, a series of practical works was produced, aiming to demonstrate the intended integration of historical reference through an embodied outcome. Taking inspiration from the shuitianyi, patchwork design became the central theme of a fashion collection, showing a new approach to integrating various materials and fabrics. Further, a three-dimensional effect was sought in the Chinese- inspired collection, as Chinese traditional clothing and patchwork appeared to be structurally flat. To demonstrate the new patchwork designs and technique, an initial work was made as design statement; it inspired the production of a ready-to-wear collection that integrated Chinese dress forms and other sources of inspiration such as Art Deco style, within a contemporary womenswear collection. Acknowledgements Chiefly, I would like to thank my director of studies Professor Colin Gale for his support and advice throughout this research. His knowledge of fashion and Chinese culture has enabled this study to be developed. I am grateful to my second supervisor Dr. Anne Boultwood for her kind support and suggestion. I also thank my second supervisor Dr. Zang Yingchun for her advice and lead while I was conducting field studies in China. I would like to thank Gao Chunming at Shanghai Arts Institute for sharing his experience in this field of research and perception of the intended subject of this study. I am grateful to Huang Nengfu for his kind advice. I also thank Professor Lin Li-Yuen at Department of History, National Taiwan Normal University, for her advice and suggestions. I thank Wang Cheng-Hua and Wu Jen-Shu at the Institute of Modern History, Academia Sinica in Taiwan, for their advice and suggestions of further relevant reading. I thank the British Museum for allowing me to view objects individually by appointment. I also thank Sotheby’s New York for providing support for image references. I thank the individuals who helped me to undertake the photo shoot for my collection and arrange the exhibition. I am grateful to the participants who shared their perceptions of my work with me and enabled this study to gather information pertinent to issues raised within the research. Finally, I would like to thank my friends in China, who helped me to collect some relevant books and images. I am grateful to my parents Huang Sheng-Nan and Chen Su-Yu for their support and encouragement throughout this course of research. Huang Ching-Yu Contents List of Illustrations 1 The Principal Dynasties of China 12 Map of China 13 Chapters 1. Introduction 14 2. Methodology 22 3. Fashion Context 33 3.1 Historical and Traditional Sources of Inspiration for Fashion Design 33 3.2 Exotic and Multicultural Themes on Stage 43 3.3 Clothing Culture in Modern China 56 4. Study of Chinese Historical Costumes 65 4.1 Shuitianyi 65 4.2 Case Study of the Qipao 101 4.3 Comparison of the Shuitianyi and Qipao 115 5. Practical Work 117 5.1 Design Process and Experiments 119 5.2 Collection 133 6. Material Outcome and Reflection 150 6.1 Exhibition 150 6.2 Interviews 153 7. Conclusion 181 Appendices Appendix 1: References of Shuitianyi and Relevant Clothing 194 Appendix 2: Sources of Data 197 Appendix 3: Interview with Gao Chunming 198 Appendix 4: Interview with Jasbir Kaur 200 Appendix 5: Interview with Feng Yixin 205 Appendix 6: Interview with Zoë Millman 207 Bibliography 211 List of Illustrations Chapter One (Fig. 1 to Fig. 5) Fig. 1 The illustration of shuitianyi (水田衣)----------------------------------------------- 15 ZHOU, X. & GAO, C. 1984. Zhongguo Lidai Fushi Daguan (5000 Years of Chinese Costumes), Hong Kong, Commercial Press, p. 167 Fig. 2 Traditional costume of the Yi (彝)------------------------------------------------------- 15 ZHONG, M. & FAN, P. 2006. Zhongguo Shaoshu Minzu Fushi (Chinese Ethnic Costumes and Ornaments), Beijing, China Textile & Apparel Press, p. 144 Fig. 3 The qipao of 1930-1940------------------------------------------------------------------ 16 Collection of the V&A Museum Museum number: FE.36-1995 Available at: http://collections.vam.ac.uk/item/O220978/qipao/ [Accessed 17 October 2011] Fig. 4 The illustration of shuitianyi------------------------------------------------------------ 18 SHEN, C. 2002. Zhongguo Gudai Fushi Yanjiu (A Research of Chinese Historical Costumes and Accessories), Shanghai, Shanghai Bookshop Publishing, p. 615 Fig. 5 Mao Zedong (毛澤東) and the Mao suit, 1957------------------------------------- 19 Available at: http://www.bbc.co.uk/history/historic_figures/mao_zedong.shtml [Accessed 17 October 2011] Chapter Three (Fig. 6 to Fig. 53) Fig. 6 Alexander McQueen, Autumn/Winter 2007----------------------------------------- 34 Fig. 7 Christian Dior, Spring/Summer 2004 Couture Collection------------------------- 34 Fig. 8 Sophia Kokosalaki, Spring/Summer 2009--------------------------------------------- 35 Fig. 9 Vera Wang, Spring/Summer 2008------------------------------------------------------ 35 Fig. 10 Jean Paul Gaultier, Spring/Summer 2006 Couture Collection-------------------- 35 - 1 - Fig. 11 Vivienne Westwood, dress, 1994------------------------------------------------------- 35 Collection of the V&A Museum Museum number: T.14: 1-1997 Available at: http://collections.vam.ac.uk/item/O83545/evening-dress/ [Accessed 17 October 2011] Fig. 12 Louis Vuitton, Spring/Summer 2011---------------------------------------------------- 36 Fig. 13 Gucci, Spring/Summer 2012-------------------------------------------------------------- 36 Fig. 14 Christian Dior, Bar Suit, “New Look” collection, Spring/Summer 1947-------- 37 Collection of the Metropolitan Museum of Art, Costume Institute Accession number: C.I.58.34.30 Available at: http://www.metmuseum.org/collections/search-the- collections/80002618?img=1 [Accessed 16 October 2011] Fig. 15 Christian Dior, Autumn/Winter 2007 Couture Collection------------------------- 37 Fig. 16 Christian Dior, Spring/Summer 2011 Couture Collection------------------------- 37 Fig. 17 Lanvin, Autumn/Winter 2006------------------------------------------------------------ 38 Fig. 18 Shanghai Tang, Spring/Summer 2011-------------------------------------------------- 40 Fig. 19 Tarun Tahiliani, Spring/Summer 2010------------------------------------------------- 40 Fig. 20 Joanna Mastroianni, Autumn/Winter 2008------------------------------------------- 40 Fig. 21 Armani Privé, Autumn/Winter 2011 Couture Collection-------------------------- 40 Fig. 22 Yves Saint Laurent, Autumn/Winter 2004-------------------------------------------- 43 Fig. 23 Lanvin, Spring/Summer 2003------------------------------------------------------------ 45 Fig. 24 Marc by Marc Jacobs Spring/Summer 2010------------------------------------------ 45 Fig. 25 Jean Paul Gaultier, Autumn/Winter 2001 Couture Collection------------------- 45 Fig. 26 Issey Miyake, seashell coat, 1985------------------------------------------------------- 46 Collection of the Metropolitan Museum of Art, Costume Institute Accession number: 2003.79.16 Available at: http://www.metmuseum.org/Collections/search-the- collections/80009846 [Accessed 16 October 2011] - 2 - Fig. 27 Rei Kawakubo, dress, Comme des Garçons Spring/Summer 1997-------------- 46 Collection of the Metropolitan Museum of Art, Costume Institute Available at: http://www.metmuseum.org/toah/works-of- art/1998.516.1a,b [Accessed 16 October 2011] Fig. 28 Paul Poiret, costume, 1911--------------------------------------------------------------- 47 Collection of the Metropolitan Museum of Art, Costume Institute, Accession number: 1983.8a, b Available at: http://www.metmuseum.org/Collections/search-the- collections/80002950 [Accessed 16 October 2011] Fig. 29 Robe à la Polonaise, 1780-1785--------------------------------------------------------- 49 Collection of the Metropolitan Museum of Art, Costume Institute Available at: http://www.metmuseum.org/toah/works-of- art/1976.146a,b_1970.87 [Accessed 16 October