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Chinese” Fashion Christine Tsui The Design Theory of Contemporary “Chinese” Fashion Christine Tsui Introduction Through textual analysis of fashion journals and magazines pub- lished from 2002 to 2013, and by interviews of popular Chinese fashion designers, this article aims to answer the question of “what Downloaded from http://direct.mit.edu/desi/article-pdf/35/3/64/1716076/desi_a_00550.pdf by guest on 26 September 2021 exactly is contemporary ‘Chinese’ fashion design?” Objective and Rationale The dramatic upsurge in the past decade of Chinese designers from the People’s Republic of China (PRC) on the international scene is compelling. Frankie Xie’s debut at the 2006 Paris Fashion Week brought the first mainland-China Chinese designer into the big-four fashion weeks (London, Milan, New York, and Paris); Ma Ke’s stunning display at the 2008 Haute Couture Fashion Week in that same city began a steady growth in international influence. Uma Wang, a trainee from both Dong Hua University and Central 1 Antonia Finnane, Changing Clothes in Saint Martin College of Art & Design, started her parade across China: Fashion, History, Nation (New London, Shanghai, and Milan Fashion Weeks in 2009. In 2012, five York: Columbia University Press, 2008); young Chinese designers—all graduates of the elite fashion school, Juanjuan Wu, Chinese Fashion: From Central Saint Martin College of Art and Design—appeared at the Mao to Now (Oxford: Bloomsbury Academic, 2009); Christine Tsui, China London Fashion Week. Chinese designer Wang Tao debuted at the Fashion: Conversations with Designers New York Fashion Week in September 2014, and she later garnered (Oxford: Bloomsbury Academic, 2009); the notice and appreciation of Tiffany Trump, who wore a white, and Jianhua Zhao, The Chinese double-breasted long jacket, designed by Wang Tao, at her father’s Fashion Industry: An Ethnographic inauguration into the Office of President in January 2017. Approach (Dress, Body, Culture), (Oxford: Bloomsbury Academic, 2013). Spectators now can find Chinese designers’ shows at all of 2 Recent scholarship includes the following the big-four fashion weeks. This stage success of Chinese fashion works: Hazel Clark, “Chinese Fashion designers has been accompanied by growing interest from schol- Designers: Questions of Ethnicity and ars, too. Four book-length publications examining the trajectory of Place in the Twenty-First Century,” contemporary Chinese fashion have been published since 2008.1 Fashion Practice 4, no.1 (May 2012): 41–56; Tiziana Ferrero-Regis and Tim The interest in current designs stands in marked contrast to earlier Lindgren, “Branding ‘Created in China’: scholarship, which focused on historical Chinese costumes as The Rise of Chinese Fashion Designers,” ancient Oriental cultural relics. This recent emergence of Chinese Fashion Practice 4, no. 1 (May 2012): fashion designers and the attention given by fashion scholars sug- 71–94; Linda Welters and Arthur C. gest that the prospects for Chinese fashion designers on the global Mead, “The Future of Chinese Fashion,” 2 Fashion Practice 4, no. 1 (May 2012): scene are bright. 13–40; and Simona Segre Reinach, “The Identity of Fashion in Contemporary China and the New Relationships with the West,” Fashion Practice 4, no.1 (May 2012): 57–70. © 2019 Massachusetts Institute of Technology 64 DesignIssues: Volume 35, Number 3 Summer 2019 https://doi.org/10.1162/desi_a_00550 In Chinese Fashion Designers: Questions of Ethnicity and Place in the Twenty-First Century, Clark discusses the emergence of the sec- ond generation of American-Chinese fashion designers and how their ethnicity might affect the future prospects of Chinese fashion designers, including those in mainland China.3 Welters and Mead reveal the vibrant changes of the “production, consumption, and innovation” system in China4; like Clark, they predicted the future importance of Chinese fashion designers in the global fashion sys- tem. Tiziana and Tim examine the growing influence of Chinese fashion designers and their labels across the globe; they also note the “desire [of Chinese designers] to create the elements of a dis- tinctly Chinese brand through aesthetic references to Chinese culture and iconography” and argue that Chinese fashion brands Downloaded from http://direct.mit.edu/desi/article-pdf/35/3/64/1716076/desi_a_00550.pdf by guest on 26 September 2021 make “reference to [Chinese] heritage and tradition,” but they do not clarify the heritage and tradition to which the Chinese fashion designers are referring or how exactly they are doing so.5 Mean- while, Reinach explores Chinese fashion’s identity but does so by offering a brief history of Chinese fashion, starting from the 1980s, and by considering how the West has been affecting and shaping the development of Chinese fashion. The work ultimately does not draw many conclusions about what exactly the identity of Chinese fashion is.6 Current researchers thus affirm their faith in the prospect of Chinese fashion designers. They also agree that competing in the fiercely competitive global fashion universe requires that Chinese designers establish their own “identity.” The objective of this paper is to explore the gap these authors have left of what exactly is meant by “Chinese” fashion. “Chinese” fashion in this paper refers to clothing that is in the contemporary “Chinese” style. Note that not all Chinese designers design “Chinese” style or fashion; therefore, my study focuses on those who claim that their design is in contemporary “Chinese” styles. In this paper, I focus on designers and labels that highlight the importance of design signatures—typically called “designers’ brands” in the industry to differentiate the designs from those of mass-market-driven brands. In designers’ brands, design plays a much more significant role than it does in the 3 Hazel Clark, “Chinese Fashion segmentation of mass-market brands. Innovation management Designers.” specialist Yen Tran categorizes fashion firms primarily into two 4 Linda Welters and Arthur Mead, groups: market-driven firms and identity-driven firms. Identity- “The Future of Chinese Fashion.” driven designers create design value while market-driven designers 5 Tiziana Ferrero-Regis and Tim Lindgren, normally only the design value.7 My concentration on iden- “Branding ‘Created in China.’” capture 6 Simona Segre Reinach, “The Identity tity-driven fashion designers and their labels leads to fresh under- of Fashion in Contemporary China.” standings about the philosophy behind the creation of design. 7 Tran Yen “Contingencies of Developing Stylistic Innovation: The Case of the Fashion Industry,” Academy of Management Annual Meeting Proceedings 8, no. 1 (2010): 1–6. DesignIssues: Volume 35, Number 3 Summer 2019 65 Table 1 | Chinese Fashion Designers Interviewed for Research Name Born in Gender Location Occupation Private Label Major Achievement Dooling Jiang 1980s Female Beijing Designer Yes Chinese inspired label Shang Guanzhe 1980s Male Xiamen Designer Yes Showed on London Fashion Week / Shanghai Fashion Week Su Bu 1970s Male Beijing Design Teacher No Teacher at Beijing Institute of Fashion Technology Sun Xuefei 1970s Female Beijing Design Teacher Yes Teacher at Beijing Institute of Fashion Technology Wang Haizhen 1980s Male London Designer Yes Fringe Award Winner Wang Xinyuan 1950s Male Shanghai Designer Once yes One of the most well-known designers in 1990–2010 in China Downloaded from http://direct.mit.edu/desi/article-pdf/35/3/64/1716076/desi_a_00550.pdf by guest on 26 September 2021 Wu Haiyan 1950s Female Hangzhou Dean/Designer Yes Dean of Faculty of Arts & Design/ One of the most well-known designers in China Yin Jianxia 1970s Male Shanghai Designer Top manager Former Vice President of Meter’s Bownwe (a large casual brand in China) now founder of brand Uooyaa Zhang Da 1970s Male Shanghai Designer Yes Design consultant of Shangxia (owned by Hermès) Methodology The primary resources of this research are in-depth interviews with nine established and emerging Chinese fashion designers (see Table 1). I selected the designers with the goal of covering a wide range of factors, including gender, age, region, education, achieve- ments, and design styles. In terms of experience, the interviews focused on established designers operating profitable businesses. Most currently are 35 to 55 years of age, although I also include a small number of emerging designers born in the late 1980s. I identify the age differences of the designers according to Pierre Bourdieu’s habitus theory, which argues that we are shaped by our social context. Accordingly, designers’ philosophy varies according to their generation and context, and this influence is especially clear in China, where dramatic changes have occurred in the past 30 years. Compared with the established designers who grew up in the 1970s and 1980s, when China was still isolated from inter- national interaction, designers born during and after the 1980s live in a globalized and diversified world, with rapid communication that creates an “internet village.” This article’s prime focus on older and established designers ensures that my findings are based on case studies of individuals with proven success, rather than on those who might be short-term sensations; established designers 66 DesignIssues: Volume 35, Number 3 Summer 2019 have demonstrated their skills and appeal through extended years of toil and have achieved lasting peer respect and marketability. In addition to the face-to-face interviews, I have drawn data from interviews with designers
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