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An Exploration on the Cultural Appropriation of Traditional Chinese

by Vicki Liang

A THESIS

submitted to

Oregon State University

Honors College

in partial fulfillment of the requirements for the degree of

Honors Baccalaureate of Science in Merchandising Management and Apparel Design (Honors Scholar)

Presented August 19, 2021 Commencement June 2022

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AN ABSTRACT OF THE THESIS OF

Vicki Liang for the degree of Honors Baccalaureate of Science in Merchandising Management and Apparel Design presented August 19, 2021. Title: An Exploration on the Cultural Appropriation of Traditional Chinese Fashion.

Abstract approved:______Patricia Sakurai

Throughout the course of fashion, much inspiration has been sourced by designers from ethnic cultures. Chinese fashion specifically has been referenced and reinterpreted by Western creatives for many years, either by incorporating elements of traditional garments or presenting them in an inappropriate manner. Such activities have garnered accusations of cultural appropriation that individuals have disrespected through these garments. Particularly in recent years, there has been a rise of such claims due to awareness spread by social media. The frequency of these claims differs between Western and Eastern cultures, with the former seeing a higher frequency of claims. This mainly appears to be due to Western society’s focus on holding politically correct attitudes; however it can also be attributed to the more diverse population of Western countries – specifically the United States – compared to the more homogenous populations of East Asian countries – specifically . This thesis endeavors to explore the question of how itself speaks upon the convergence of Chinese and American fashion histories and traditions, cultures, and identities, and in what specific ways. The personal experience of the hybridity of being a Chinese-American will be examined further through self-designed clothing.

Key Words: Chinese fashion, cultural appropriation, qipao

Corresponding e-mail address: [email protected]

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An Exploration on the Cultural Appropriation of Traditional Chinese Fashion

by Vicki Liang

A THESIS

submitted to

Oregon State University

Honors College

in partial fulfillment of the requirements for the degree of

Honors Baccalaureate of Science in Merchandising Management and Apparel Design (Honors Scholar)

Presented August 19, 2021 Commencement June 2022

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Honors Baccalaureate of Science in Merchandising Management and Apparel Design project of Vicki Liang presented on August 19, 2021.

APPROVED:

______Patricia Sakurai, Mentor, representing Ethnic Studies

______Marianne Dickson, Committee Member, representing Apparel Design

______Ann Vong, Committee Member, representing Apparel Design

______Toni Doolen, Dean, Oregon State University Honors College

I understand that my project will become part of the permanent collection of Oregon State University, Honors College. My signature below authorizes release of my project to any reader upon request.

______Vicki Liang, Author

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Table of Contents Introduction ...... 9 A Brief History on Orientalism ...... 9 Case Studies: An Analysis of Cultural Appropriation of Chinese Fashion ...... 12 Garment Design ...... 24 Conception and Inspiration ...... 24

Design ...... 25

Patterns ...... 29

Construction ...... 34

Interpretation of the Garments ...... 41

Art Installation ...... 42

Conclusion ...... 45 Works Cited ...... 46 Images Cited ...... 50

Image Index

Figure 1: Google Search of “” ...... 17

Figure 2: Qipao sold on Amazon ...... 18

Figure 3: One of Keziah Daum’s prom photos ...... 20

Figure 4: Original qipao sketches ...... 27

Figure 5: Technical flat of first ...... 28

Figure 6: Technical flat of second dress ...... 29

Figure 7: Collar pattern piece ...... 30

Figure 8: Dress front pattern piece ...... 31

Figure 9: Dress front shoulder pattern piece ...... 32

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Figure 10: Dress back pattern piece ...... 33

Figure 11: Front view of first dress ...... 35

Figure 12: Side view of first dress ...... 36

Figure 13: Back view of first dress ...... 37

Figure 14: Close-up photo of dress details ...... 38

Figure 15: Front view of second dress ...... 39

Figure 16: Back view of second dress ...... 40

Figure 17: View of art installation with garments ...... 43

Figure 18: Alternate view of art installation ...... 44

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Introduction

Whenever someone questions me on my personal interests – whether it be an effort to make small talk or an inquiry of genuine curiosity – the subject of fashion inevitably comes up. Throughout my life, I remember being fascinated by clothing. During my adolescence, I loved the aesthetic nature of garments, but as I grew older, I began to be more drawn to the cultural significance and impact of fashion overall.

Though I appreciated many styles of clothing, there were passing moments when I realized that I did not ever really consider Chinese fashion, which was strange considering that

I myself am Chinese American. They came whenever I saw certain elements – a glimpse of a mandarin collar or bright garments – that were so indicative of the culture I belonged to. I felt a sense of uneasiness and embarrassment, but I often brushed these feelings off.

It wasn’t until 2019 that I heard of a case which fascinated me to no end – musician

Rihanna had been featured on the cover of Harper’s Bazaar China wearing traditional Chinese garments, and it had garnered both claims of cultural appropriation and votes of high praise.

Interestingly enough, a majority of these responses came from Chinese Americans and Chinese natives respectively. It left me questioning the entire situation. Whose opinion was right? Is one required to possess certain credentials, experiences, or genetics in order to reserve the right of calling out cultural appropriation? With the issue being so prevalent in fashion today, it was a topic that I felt motivated to investigate more deeply.

As I personally identify as Chinese American, I am focusing solely on the subject of cultural appropriation of Chinese culture – particularly in the United States – and traditional specifically. However, it must be said that even within these parameters, the topic is

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broad, and cannot be acknowledged easily no matter the depth of research. Culture, and subsequently cultural appropriation, shifts depending on identity and experience, and thus one conclusion cannot serve as the definite answer. By further exploring this subject via designing my own garments, I am merging two main facets of my identity – my Chinese cultural background and my interest in fashion – and examining my own relationship between the two.

A Brief History on Orientalism

Before examining cultural appropriation, one must look at the historical nature in which traditional culture is intertwined with colonialism and imperialism. Colonialism has long been a weapon used by Western countries to violently dominate other nations; not only taking what is considering valuable, but permanently changing the perspective in which the affected cultures are viewed. In regard to Asian cultures specifically, the term “Orientalism” has been used to describe the fetishization of those cultures by the West. In his book Orientalism,

Edward Said believes that imperialism is the driving force behind the opposing ideologies and representations between the East and West. This was done by defining the Orient through scholarly research, “exotic travels,” and images of Eastern cultures spread to the masses as novelties (ex. postcards). This process was reinforced by a direct military presence, which effectively resulted in colonized people being viewed as exotic, passive, or oppressed, and

“fundamentally different from and inferior to those in the West” (Said). Such Orientalist perspectives varied in their warping of the colonized cultures. The supposed superiority of

Western countries was sometimes established by accusing Eastern cultures as backwards, or calling its people “unrepentant savages.” On the other hand, Orientalist views sometimes operated more subtly; an example would be when Orientalist scholars would “discover”

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elements of a group’s culture, which were then presented in such a way that suggested that actual participants belonging to that group were ignorant of their own rich traditions, and needed “Western masters” to educate them on their own culture (Niessen et al. 8).

Looking deeper into this chasm between the East and West, Orientalism defined privilege and authority with masculinity, and essentially masculinity as being Western. Eastern countries were thus labeled as effeminate and weaker, needing the protection and knowledge of Western countries. In fashion, an example of this can be traced back to the trade. When early European explorers reported on Chinese court culture and its production of silk, they found them to be very civilized. Silk itself was a highly prized commodity, and was desired by both European men and women. However, the luxurious sheen and drape of the fabric was gradually seen as effeminate, along with the rich opulence of Chinese culture. By the beginning of the 18th century, silk was no longer considered by Europeans to be an appropriate material for men’s clothing (Niessen et al 10). Still, this did not deter the West’s fascination with Eastern countries. In the mid-18th century, Rococo designers were inspired by the imports from China,

Japan, and India, which ranged from porcelain to clothing. Taking traditional motifs and ornaments, they created an aesthetic style that sought to capture the “mystery” and decadence of Asia. Called “chinoiserie”, the designers did not attempt to distinguish the countries from which they took elements. Chinoiserie drew upon the Orientalist views that persisted in 18th century Britain, which described the country as an exotic, faraway mystery. Dragons and pagodas were reoccurring motifs, both of which encapsulated the “exoticness” and strangeness of China. Objects that were made in this style were often inaccurate, having been designed from imagination rather than the observation of authentic Chinese artifacts (“V&A:

Chinoiserie – an introduction”). While chinoiserie was mainly in fashion during the 18th

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century, it saw a surge in popularity in the 1920s and 1930s, where Art Deco was combined with Chinese motifs (James). Indeed, the act of taking Asian cultures and diluting it for aesthetic purposes has persisted in Western history for centuries.

Representing Asian cultures accurately, however, isn’t usually the main objective when wearing the associated clothing or creating other items. It is about participating in an alternate, ‘subservient’ society, where one’s Western dominance is omnipresent, yet allowed to enjoy the exoticism of a foreign culture. Western authority sustains the Orientalist view of this so-called exoticism, for “...it is instrumental, it is persuasive; it has status, it establishes canons of taste and value; it is virtually indistinguishable from certain ideas it dignifies as true, and from traditions, perceptions, and judgments it forms, transmits, reproduces.” (Said 27).

This authority also prevents local cultures from being credited properly for accurate representation. While Western fashion designers often “...scour the globe for exotic inspirations, re-working historical and cultural design inspirations, and are hailed as creative forces, the work of non-western designers is often excluded from the contemporary, their designs interpreted as culturally rather than individually-based.” (Radclyffe-Thomas and

Radclyffe-Thomas 46). The pattern of cultural appropriation of Asian cultures is the same, no matter what industry – the opinions and work of Western nations are regarded as more superior than those within Asian countries, to the degree that creations from the latter are considered to be less valuable and strictly bound to their countries which the West has labeled as submissive and ultimately as “Other.”

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Case Studies: An Analysis of Cultural Appropriation of Chinese Fashion

One case study in which cultural appropriation became a prominent point of discussion surrounds Rihanna and Harper’s Bazaar China, with the musician posing on the magazine’s

August 2019 cover. The photos from the shoot saw Rihanna dressed in luxury garments, with a traditional Chinese aesthetic being evoked throughout the styling. Upon release of the cover, speculation rose on whether Rihanna wearing such garments could be considered cultural appropriation. While some argued that the pieces and styling implemented in the shoot were inaccurate, others made comparisons to the Kardashian family and their notorious history with appropriating cultures, saying that there was a double standard when it came to Rihanna

(Hargrove). On the other hand, many noted that unlike the Kardashians’ projects, the cover was produced by a Chinese team and thus, was valid due to the collaborative aspect and acknowledgement of local creative talent. Amongst this debate however - which occurred primarily overseas - there was a much different discussion in China. Comments posted by

Chinese netizens praised the shoot, stating how Rihanna was able to gracefully highlight

Chinese culture, even directly refuting allegations of cultural appropriation (Suen). This situation gives way to an interesting dynamic. Many of those who claimed that the photoshoot was appropriating Chinese culture were Asians whom have been racialized in Western countries where they are considered minorities, whereas much of the praise came from Chinese natives, who make up the majority in their home country. This difference in cultural backgrounds becomes an important factor not only in the debate over this photoshoot; this dynamic arises again in a later situation that is discussed.

To be fair, upon first inspection, the photos from the Harper’s Bazaar China shoot do come off very “pan-Asian.” In fact, it’s not the first cover that Rihanna has done for the

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publication. In the article “Rihanna is on the Cover of ‘Harper’s Bazaar China’ – Here

Is Why That Matters”, Maxine Builder discusses an earlier photoshoot in 2015, saying the styling of it is confusing, with Rihanna’s hairstyle and paper parasol evoking a Japanese geisha, although the shoot is clearly featured in a Chinese publication. One pose in which Rihanna is holding a fan, eyes drawn towards the ground is deemed submissive, with Builder even going as far to say that the shoot pulls from both extremes of the spectrum of Asian women stereotypes – the “exotic dominatrix or submissive concubine” – with the shoot overall being an “orientalist mess,” despite receiving a positive response from Western audiences.

Interestingly enough, the article makes little note of those who criticized the shoot, and nothing on the reactions of Chinese audiences. To conclude, Builder claims that the “problematic” styling may be justified on relieving some of the racial tension towards foreigners, especially those with darker skin.

This might all ring true to the untrained eye. However according to Tumblr user

@cfensi, whose blog revolves around Chinese culture, the elements featured in the shoot are not only intentional and specific to the style of the shoot’s photographer Chen Man, but can be traced back to Chinese history. Firstly, the hairstyle that was mentioned in the Bustle article takes inspiration mainly from Peking opera. While Rihanna’s is a culturally universal hairstyle, the centered bangs that were featured were created by renowned Peking opera performer Mei Lanfang, who himself took inspiration from historical hairstyles. The hairpieces that are included are called diancui, which are traditional jewelry made with bird feathers and are used to decorated headdresses found in Peking opera . In addition, @cfensi notes that the silver jewelry often found in Chen Man’s work come from the ethnic groups of

Guizhou and Yunnan provinces. The hand-held fans that are another point of contention

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lending to the “pan-Asian” feeling of the shoot were actually introduced by to China as a tribute in 988 AD, and have been culturally relevant in China ever since. As for the paper , the exact invention date is unknown, but they were commonly found during the

Ming dynasty. Based on @cfensi’s analysis, it seems that the Harper’s Bazaar China photoshoot did well in incorporating traditional Chinese elements in their Chinese publication.

So if the featured clothing is correct, and the production was created by Chinese creatives, does that mean such images are exempt from being labeled as cultural appropriation?

Perhaps. The Rihanna photoshoot is a work of cultural acknowledgement, crafted by those from the respective culture. However, cultural appropriation hinges on people’s ties to a particular culture, and their experiences in carrying that culture as a part of their existence. In many cases where cultural appropriation is being deliberated, such situations are affected not only by the accuracy of the culture portrayed, but also by the lens from which they are viewed.

Another example showcases this further complexity, which is described in Dress Codes: How the Laws of Fashion Made History by Richard Thompson Ford. In 2018, high school student

Keziah Daum posted prom pictures on Twitter of herself and her entourage. In the photos,

Daum was wearing a traditional Chinese qipao, which sparked a range of responses online.

Replies from Asian American commenters varied in indignation. Twitter user Jeremy Lam had replied “My culture is NOT your goddamn prom dress,” which was followed by “I’m proud of my culture…For it to simply to be subject to American consumerism and cater to a white audience, is parallel to colonial ideology.” (Ford 339).

In the same tone as the Rihanna case, Daum’s qipao prompted a more complimentary reception in China. One user said “As a Chinese I really like your dress. And I think it’s kind of a way to show respect to our culture,” with another user suggesting that Daum try out ,

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another form of traditional Chinese clothing. Hong Kong cultural critic Zhou Yijun described the very notion of the dress appropriating Chinese culture as “ridiculous,” saying that “From a perspective of a Chinese person, if a foreign woman wears a qipao and thinks she looks pretty, then why shouldn’t she wear it?” As for Daum herself, she clarified that she did not mean to generate such a response online, and conceded that the issue of cultural appropriation “is an important discussion we need to have,” although she stated that she did not regret her decision and would wear the qipao again (Ford 339).

According to Ford, fashion is constantly creating cultural hybrids, as the form “grows and evolves from popular cultural and commercial practices, relatively unconstrained by the type of tradition-bound cultural institutions that control other art forms, such as theater, dance, literature, and the visual arts.” In fact, Ford states that the appearance of such hybrids have become more prolific in recent times, as cultural identities and traditions have become more subject to questioning and reinterpretation.

The qipao or cheongsam – as it is known in Mandarin and respectively – is an example of one such hybrid. Created not from strictly Chinese means, the dress was adapted from , a men’s long which itself was based upon a Manchu garment called (Lin and Khuen 13). The qipao was a mark of liberation for Chinese women, as it was first donned in 1912 by female students from Peking University as a pitch for gender equality.

The dress gained popularity in late 1920s , an influential city for fashion at the time.

The qipao eventually spread to , Hong Kong, and Singapore, where the garment went through more developments within each of the countries. The dress began being influenced by

Western fashion when Chinese women started styling qipaos with high heeled pumps, , and marcelled waves (Ho, 2013).

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Due to its hybrid nature, cultural commentator Anna Chen declared that “The current outcry [regarding Daum’s dress] could be compared to taking offence because someone in

Asia wore a tuxedo.” Another cultural fashion hybrid, the tuxedo combines the Western element of a sporty short with a , which was first found in South Asia and adopted by British soldiers in colonial India. By doing so, the British appropriated traditional clothing to “add individuality and panache to their .” (Ford 339). However, to compare the tuxedo to the qipao as similar to this situation would be to disregard the development of both garments since their creations. While the tuxedo has become a decidedly

Western garment with its tailored and structured silhouette, the qipao remains firmly Asian. In fact, it is likely the most recognizable Chinese garment in modern times, due to its mandarin collar and frog closures on the , both of which are well known facets of Chinese fashion.

The Western influence that has spread on a global scale means that a tuxedo would not cause complaints of cultural appropriation most anywhere, whereas a qipao – which is linked to ethnicities that are the minority in many Western countries – would and has prompted much debate. In fact, when one types the word “cheongsam” into the Google search bar, one of the suggestions that appear is “cheongsam cultural appropriation.” (Figure 1).

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Figure 1: Google Search of "cheongsam"

Even after analyzing these cases in which cultural appropriation was claimed, I personally find it difficult to determine whether they actually committed the act. Yet this very debate brings the subjectivity of such a question into clearer light; how such discussions depend on context and only result in deeper thought and conversation, rather than a set answer.

From my own judgement, there are key differences that determine the presence of cultural appropriation. The two situations do bear similarities – notably in terms of reactions from Asian Americans and Chinese mainlanders. The Rihanna photoshoot in particular, featured garments that were mostly conjured from ancient historical fashion. Although ancient styles are reviving in popularity with Chinese citizens (Zhuang), they are removed enough that they do not have much interaction or influence with Chinese diaspora. With Daum’s qipao, however, the garment in question still has strong cultural ties with the former and the latter.

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As previously discussed, it is hard to tell whether the garments worn by Rihanna are accurate or not, even to those who are Asian. To this I speak from personal experience, for without further analysis, at first glance I would have assumed the Harper’s Bazaar China photoshoot to be appropriating Chinese fashion. And though I have had more interactions with qipaos, I cannot say I am an expert on the accuracy of its historical accuracy either. However, it is because those aforementioned interactions are within my cultural experience and formed by my Chinese American upbringing, I am more confident with determining whether Daum’s prom dress is cultural appropriation. These interactions stem from my youth up until now, where I have seen the designs of qipaos diluted in significance, reinterpreted into garments that are more scantily clad than what is traditionally called for, and marketed as or worse, Asian cosplay (Figure 2), thus reinforcing Orientalism and the fetishization of Chinese women.

Figure 2: Qipao sold on Amazon

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In addition, unlike Daum, who is Caucasian and wore a qipao more as a fashion statement and less of an ode to Chinese culture, I cannot wear traditional Chinese garments without the fear of being stereotyped and labeled as an ‘other.’ Therefore, while I deem the photoshoot of Rihanna to be respectfully done, I personally consider Daum’s prom dress to be leaning towards cultural appropriation.

Still, I understand the importance of the proliferation and spread of fashion. In the article, “Should Fashion Be Politically Correct?”, fashion critic Vanessa Friedman delineates the vital roles that controversial sartorial choices play. “Often the best fashion is about transgression. It challenges convention. At its most basic level, that’s how we got women in pants and in , all of which horrified plenty of viewers back in the day.” She states that fashion is a tool which can be used to force certain issues into conversation. Indeed, upon reading Friedman’s article, I realized it would be hypocritical of me to highlight a controversial wearer of a qipao so heavily when the very garment itself was worn in an effort to advance gender equality and was transgressive in its own right (not to mention that I wouldn’t have a topic for my thesis).

But if not wielded properly, what are the results of these fashion “transgressions?” Here lies yet another key difference in my diagnosis: the presentation. Rihanna’s photoshoot was done with Chinese culture in close regard, as expected with Chinese creative talent at the helm.

Research was also involved in Daum’s decision to wear a qipao, who had bought the dress from a vintage store, and discovered its symbolic nature for female empowerment when she looked into its history after the purchase. However, in the photos that she posted, Daum can be seen with her friends holding up her palms together, a gesture that is usually done to mock

Asians (Figure 3). The pose was not done with malicious or racist intent, as it was popularized

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by Ethan Klein, a YouTuber who coined the phrase ‘Papa Bless’, which inspired the pose

(Burke).

Figure 3: One of Keziah Daum's prom photos It is here where the difference between the Harper’s Bazaar China shoot and the prom dress situation is shown; the former which took many cultural details into its stylistic consideration, and the latter which failed to take into account what that particular pose might mean when paired with a traditional Chinese garment. The result of these two cases showcase what people like to call “cultural appreciation” versus cultural appropriation.

One might say I am being too harsh in this situation – after all, Daum did not mean to perpetuate racist stereotypes with her dress nor her pose – but I find it hard to be lenient, when she as a white individual is able to enjoy Chinese fashion without having those stereotypes forced upon her, whereas I am subjected to them no matter what I wear. In 2018, I was studying abroad in Lyon, France, and was walking down the street with my fellow classmates when a man stopped, put his hands in that same palm-to-palm pose and bowed, saying “nihao” in the process. I was wearing a plain black T- and . It was a reminder that my race alone is still something that identifies me an outlier by others, regardless of my clothing.

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Analyzing both of these situations does raise an interesting question – exactly who is qualified to deem something as being cultural appropriation? Often, the role seems best fitted to those who identify with the culture at hand. However, this identification can be an unclear subject within itself. How closely must one be connected to that culture, in order to claim a proper sense of identity with it?

In both of the situations, there are two main commentators – those who are native to

China, and those who identify as Chinese Americans. The two groups play an interesting dynamic; while the former mostly praised the wearer in question, the latter group overwhelmingly accused them of cultural appropriation. The answer to why this dynamic exists can be found in each of the groups’ respective countries.

In China, 56 ethnic groups are officially recognized, with the largest group, the , making up 92 percent of the country’s total population, which is approximately 1.4 billion as of 2021. Many of the elements from the Han civilization are considered to be defining traits of

“Chinese culture” (“LibGuides: Chinese Ethnic Groups: Overview Statistics”). Compared to the United States, Asians make up 7 percent of the total population. Chinese Americans are the largest ethnic group in that statistic, with 5.4 million people overall (Budiman and Ruiz).

When taking into consideration the total population of the US at approximately 331 million, this means that Chinese Americans account for roughly 1.4 percent of the total population.

With these numbers in mind, it becomes clearer as to why the aforementioned dynamic came to be. The population of China is very homogenous, and especially when much of the dominating culture comes from its largest ethnic group, the result is less interaction with those who are non-Chinese and less possibilities of witnessing the appropriation of Chinese culture, and most likely, one’s own culture. In the United States however, where the population is made

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up of multiple ethnic groups and races, the chances of people interacting with other cultures are high, and the possibility of people appropriating another culture rises significantly.

This explains why Chinese Americans would be more likely to consider the issue of cultural appropriation than Chinese natives, but it does not exactly answer if one group is more authorized than the other to do so. It is a question that applies to me directly – am I rightfully qualified to give criticism, along with every other Chinese American whom have also been separated from their origin country? Compared to those who grew up and live in China, our judgement may seem illegitimate due to our Western-influenced backgrounds.

The discussion of cultural appropriation hinges on people’s ties to a particular culture, and their experiences in carrying that culture as a part of their existence. In many cases where cultural appropriation is being deliberated, such situations are affected not only by the accuracy of the culture portrayed, but also by the lens from which they are viewed. Simply because one is removed from the main culture does not mean they do not have a claim or a “correct” lens on whether the issue of cultural appropriation should be called into question. The nature of diaspora means that cultural traditions and thinking are carried long after the original departure from that country. In my analysis of the two cases, I recalled my personal experiences growing up, an act of implementing my own “lens” to determine if cultural appropriation was at hand.

Of course, my perspective alone is not the final determination. My judgement that the prom dress situation does qualify as cultural appropriation does not invalidate the praise granted by

Chinese natives. Nor does it discredit those who feel that Rihanna did appropriate Chinese clothing. There is no complete answer to these situations, for there are so many individuals involved in the discussion whose backgrounds may be valid on several levels. But each time people are driven to have conversations about important issues concerning fashion, identity,

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and culture, they become more knowledgeable. As Vanessa Friedman says in her article, “… each time, there was protest. And each time, the clothes moved the needle of understanding a little bit.”

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Garment Design

Conception and Inspiration

When approaching the design part of my thesis, I had known from the beginning that I wanted to create a qipao, as it is the garment from Chinese culture that resonated the most with me.

The qipao has changed dramatically since it was first worn by the female students at

Peking University. Once bearing a looser form, qipaos nowadays are associated with a more form-fitting silhouette with slits along the sides of the dress. All qipaos however have frog closures and a high mandarin collar, with the latter often being regarded as the most important part of the dress.

Though the qipao has a classic look, it is has undergone changes to keep up with modern trends. Such changes include swapping the frog closures for a zipper, integrating different types of sleeves (ex. puffed), or having an overall looser shape to make it more suitable for everyday wear.

During my search for inspiration, I explored different forms of media, which ranged from movies, e-commerce stores, and social media platforms. One of my first sources of inspiration was the film In the Mood for Love directed by Wong Kar-. Although released in 2000, the plotline is set in 1960s Hong Kong, and features beautifully fitted qipaos from that period (Okwodu). That was the only “historical” reference that I looked at; as I was curious about how people were translating the qipao in their own terms, I mostly searched for modern interpretations. A source that I found compelling was the Instagram account

@cheongsam_connect, which posts photos of both classic and contemporary versions of the qipao. I also found a couple of brands that offered contemporary clothing with traditional

Chinese elements; the first is a brand called Mukzin and the other is the eponymous label

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Samuel Gui Yang. While Mukzin takes a more casual approach to their ready-to-wear fashion with colorful designs and quirky prints, Samuel Gui Yang offers tailored pieces that incorporate both Chinese and Western design elements from historic and contemporary references. Although these brands don’t focus on qipaos in particular, they gave me inspiration for how to merge modern details with traditional Chinese fashion. For more qipao-specific content, I decided to look on XiaoHongShu or Little Red Book, a popular Chinese shopping app where users can share posts about fashion, art, and other lifestyle interests (Achim). When

I searched for qipaos on the app, I was met with thousands of photos featuring traditional and modern interpretations of the dress, as well as videos on how to style both.

After reviewing these sources, I decided to take a similar approach and create more modern pieces fused with traditional Chinese design details. My original plan was to create a collection featuring several garments, but by the end of my brainstorming process, I had settled upon making only two instead – one that was my own interpretation of a qipao that I could potentially wear in everyday life, and which represented my position as a Chinese

American in modern society. The other dress I wanted to act more as a metaphorical piece rather than an actual wearable garment – it would represent the feelings that I felt growing up; the emotions that I had towards Chinese clothing and my own culture in general. When presented together, they would represent my personal understanding of traditional Chinese fashion, and how it has evolved throughout my life.

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Designs

Having worn a traditional qipao before, I wanted to create a dress that was more comfortable to wear for daily life. Though there are modern versions of qipaos that feature a looser silhouette, I still wanted to create something was more closer to the traditional form-fitting shape. For the design of the first dress, I went with a sheath silhouette which followed traditional qipao design, but which had more room especially in the area to allow for easier movement. To modernize the dress further, I shortened the skirt part and added a back zipper which would give me quicker access into the dress. It was also a sturdier option compared to frog closures, which had a tendency to open when one was wearing the garment.

I didn’t want to leave off the closures completely however, so I kept them as decoration on the front of the qipao. I kept the collar as that is the essential part of any qipao; making the adjustment of slightly shortening it, as a taller collar can dig into the neck and be quite uncomfortable. For the sleeves, I integrated those into the front and back of the dress, so they would be part of the one piece that also included the bodice and the skirt. For the first dress, I went to get fabric from Mill End Store, which is an independent fabric store in Milwaukie,

Oregon, and got some black brocade with traditional Chinese motifs.

I had a bit more trouble coming up with the design of the second qipao. As this dress was meant be more of a metaphor for what I felt in the past and was inextricably linked to how

I was in the present, I ultimately ended up creating a design that was an echo of the first dress.

This design however featured a looser silhouette, and no functioning closure, which would show that while that particular part of my life is still connected to how I feel now, I cannot access it now in order to change what I had felt in the past. For the fabric, I went with some

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material that I had bought from Beekman Place Antique Mall in Corvallis, Oregon. The material was actually curtains made out of white with floral embroidery.

Figure 4: Original qipao sketches

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Figure 5: Technical flat of first dress

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Figure 6: Technical flat of second dress

Patterns

Originally, I had wanted to use draping to create the pattern for the dresses. However, I realized that it would be difficult; since I was meaning to wear one of the qipaos personally, I could not use a dress form that was a different size than my own. Instead, I decided to modify a pattern that I found online, which was meant to produce a more traditional qipao (“Free Qipao Dress

Pattern”). I first combined the bodice and skirt pieces, which was what the maker of the pattern had originally intended, but I took out the front side darts and added that to the center darts instead. Since this pattern had working frog closures which I didn’t want, I added an inch of material to the front shoulder piece so that I could attach it to the main bodice. For the sleeves,

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I honestly didn’t have a set plan for how to create them and just extended the shoulder to incorporate them into the bodice. For the back piece, I split the original pattern in half, and added some space for the invisible zipper. I decided to forgo the bias tape that was meant for the original pattern, as the faux frog closure piece didn’t need it and for the collar, I could instead sew two pieces for each side and flip them inside out, which would cover the raw edges.

I shortened the front and back pieces, as I wanted the dress to be shorter in general. Finally, I added seam allowances of 5/8” to all the pieces except for the collar, which had a seam allowance of ½”, and the dress hem, which was 1 inch. Since the second dress was supposed to be similar to the first dress, the only modification I made was to take out the darts to create the looser silhouette that I wanted.

Figure 7: Collar pattern piece

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Figure 8: Dress front pattern piece

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Figure 9: Dress front shoulder pattern piece

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Figure 10: Dress back pattern piece

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Construction

The construction of the two dresses was the same, with the exception of the darts on the first dress. After cutting out the pieces, I first sewed the darts in place on the front piece, and then to that I attached the front shoulder piece. Then, I sewed the darts on the two back pieces, sewed those pieces together, and attached the zipper. I put together the front and back of the dress by sewing the shoulders, and then I worked on the collar. The collar was by far the most challenging part of both dresses; I first had to add interfacing to the first piece of each side in order to stiffen the collar. After that I sewed the corresponding piece with right sides together leaving the bottom open and flipped it inside out. I basted the bottom of the two sides of the collar, so it would be easier to attach it to the bodice. After the collar was attached, I sewed the sides of the dress. Then I hemmed the sleeves and the dress itself. Finally, I finished off by hand sewing the frog closures on the front seam, as well as a hook-and-eye closure at the back of the collar.

Some issues I had during this process mainly concerned the second dress, simply due to the material. Typically, qipaos are made with woven fabrics that are sturdier, such as jacquards or , the latter of which I had used for the first dress. With the chiffon, the material created the airy loose silhouette that I wanted, but it was fairly flimsy to work with, and often snagged while sewing due to the nature of the fabric and its existing embroidery. In addition, the collar did not come out as stiff as I wanted it to be, even with the attachment of interfacing.

I did like how the first dress came out, and only wish that I had made the dress smaller overall for a better fit. If I had to make it again, I would try to make it with an A-line silhouette for a more flowy effect.

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Figure 11: Front view of first dress 36

Figure 12: Side view of first dress 37

Figure 13: Back view of first dress 38

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Figure 14: Close-up photo of dress details

Figure 15: Front view of second dress

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Figure 16: Back view of second dress

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Interpretation of the Garments

The first dress, as explained earlier, represented my position as a Chinese American. It combines both modern, decidedly Western design elements with those of traditional Chinese fashion. The black fabric that I chose also represents the rebellion against traditional Chinese beliefs. Like many cultures, black is often associated with evil and darkness in Chinese culture

(Bromley). However, it is regarded as a highly modern color (St. Clair 263). It is also a color that I wear on a daily basis; anyone that has seen the wall of black clothing in my wardrobe will know that it is my favorite. In addition, by choosing to use brocade specifically, I reject those views within Orientalism which imply that such rich materials are effeminate and inferior to those used in Western clothing. By incorporating this color and fabric into this traditional

Chinese garment, I am integrating different parts of my identity into this dress, which help me to embrace the sartorial aspect of my culture.

The second dress represents the aforementioned emotions that I felt in my youth; a sense of embarrassment, discomfort, and confusion when viewing Chinese fashion. It is only a wisp of what I understand now, as indicated by the light, airy fabric. Although I wish I could go back and let myself accept this part of my identity earlier – even if only to enjoy Chinese fashion earlier – I cannot go back and change my feelings on the matter, as those thoughts only helped to form what I feel today. Regarding the color choice, white in Chinese culture is typically worn for mourning, so in a way it fits; while I may feel pain and regret towards how

I viewed my own culture for many years, it is fortunately tied to a more developed sense of identity that I have embraced.

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Art Installation

Throughout the brainstorming process, I had also wanted to create or add something that would clarify the metaphor behind these two dresses. I came up with the idea of connecting the two with red thread and enhancing its visibility with yarn, thus rendering the garments as more of an art installation, rather than an actually wearable set. By physically showing this “link”, I am portraying how these two selves are entangled, and cannot be separated when perceiving my culture. The combination of both red thread and red yarn represents the different aspects that has impacted the lens through which I view my culture: being born and growing up in the US, my position as a woman, the Orientalist perspectives that persist even today. In the photos, one can see that the two dresses are connected in several places by the thread and yarn. This shows how I cannot disengage from my culture easily – it would be a process that would be both difficult and painful. Yet the fact that the black qipao exists is proof that I have come far in understanding myself and how I relate to my culture, it is evidence that I have embraced my heritage in my own way.

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Figure 17: View of art installation with garments

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Figure 18: Alternate view of art installation

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Conclusion

Throughout my research into how Chinese fashion has been impacted by Orientalism and analyzing how that has affected modern life situations, I became more sure of my own relationship with Chinese culture. As culture itself is so subjective, it was clear that my experience as a Chinese American did not invalidate my thoughts on the cultural appropriation of Chinese fashion (as compared to someone who is native to China). Yet there were times throughout the design and construction process where I questioned myself on whether I was allowed to do this, to make these alterations to such a tradition design, to present it in such a way. After seeing so many poor renditions, it seemed almost blasphemous to think about it at all. However, I had to remind myself, that my own personal experience with traditional Chinese fashion has been shaped primarily by my position as a Chinese American. There are reasons why I would be hesitant to approach this; Asian culture has not exactly been respected in

Western countries. But upon seeing the modern qipaos from contemporary Chinese creatives and brands, I felt compelled to combine two crucial parts of my identity: my role as a Chinese

American, and my love for fashion and design. By creating my own interpretation of a qipao and presenting it as showcased, I was able to not only learn more about Chinese culture, but also reclaim it. And I must remember, that as traditional it may be, the qipao was born with equal parts of exploration and risk. In the future, I hope to delve deeper and create more versions of traditional Chinese clothing that can push the boundaries of cultural thinking like the original qipao did – even if it is only my own.

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