UNIVERSITY OF SOUTHERN QUEENSLAND Crossing Borders: A Formosan's postcolonial exploration of European Art Deco women designers A dissertation submitted by Li-Hsun Peng 彭立勛 M.A. ( Université de Paris VIII Vincennes-Saint-Denis, France) M.F.A. ( DNSEP, École Nationale Supérieure d'Arts Paris-Cergy, France ) For the award of Doctor of Philosophy 2007 Eileen Gray Coco Chanel Sonia Delaunay Clarice Cliff 1878–1976 1883–1971 1885–1979 1899–1972 Li-Hsun PENG Abstract This is research on cultural identity and the history of design. The project, by applying aspects of postcolonial theories (third space, border theory and hybridity) to the history of the four women designers in the Art Deco period in Europe, explores the influences of Eastern cultures in developing their Western design perspective. Their experience in fighting against patriarchal society toward success is a useful analogy for my country Taiwan’s struggle to win recognition in the world. It is through the recognition of these four women designers’ contributions to design history that I present their stories as models to my design students in Taiwan to assist them in establishing their own design identity. The research findings indicate that these women designers’ benefited from Eastern culture and created a successful cultural mélange between the East and West. Similarly, my design students in Taiwan will have the opportunity to reverse the pathway in appropriating from the West to create new possibilities in the East. I argue that hybridity is a key component for responding to and for addressing the identity crisis and internal disruption in present-day Taiwan. Through knowing and understanding these women designers’ achievements, Taiwanese students have a model for self-reflection to recognise the importance of our own cultural value to the world. ii Li-Hsun PENG iii Li-Hsun PENG Acknowledgements I would, firstly, like to thank my supervisor, Associate Professor Dr Robyn Stewart for her unfailing support, intelligence and patience throughout my candidature. With her supervision and encouragement, I discovered and started my postcolonial exploration across my own identity and the four women designers in the Art Deco period. Secondly, I also owe gratitude to my associate supervisor, Senior Lecturer Dr Janet McDonald, for her unconditional support and effective guidance in my dissertation structure and methodology. I give thanks to my country, Taiwan, and to our Government, for providing me with the opportunity for this research, an undertaking through a two-year full scholarship award from the Ministry of Education, Taiwan. Many thanks to Associate Professor Dr Laurent and Dr. Pauline Weng, Associate Professor Wen- Kuang Huang, Associate Professor Pedro & Daisy Tsai, Associate Professor Kathy Kou, Assistant Professor Dr Chien-Wen Chen, Assistant Professor Dr Hong-Sheng Chen, and all my friends for their warm support and also my colleagues in the Ling Tung University. With their friendship and administration help, my research and study in Australia has become possible. This thesis has been edited. I would like to thank my editor, Tony Roberts, for the quality and effort he has contributed to my dissertation. Tony is a senior editor who specialises in linguistic and I.T. fields. iv Li-Hsun PENG Finally, my greatest debt of gratitude and love is to my charming wife Caroline Jeng-Jia Lou; without her constant and mutual support, I would not have accomplished my study. I owe profound thanks to my parents, Ms. Tsue-Une Lai and Dr. Tsu-Hsin Peng, both for their encouragement and because my research and exploration is a part of their life-long experiences. Finally, I want to give a special thank-you to my whole family, Professor Thomas & Hsio-Ying Hlawatsch, Dr. Richard and Cathy Peng, Hsio-Yu and Jacob Wang, Diana and Jackson Lou, Stephan Hlawatsch, Hannah Wang, Laura Lou and also many other relatives. With their blessings and help, this research has become meaningful. v Li-Hsun PENG Contents Abstract ii Certification of Dissertation iii Acknowledgements iv Contents vi List of Figures xi Prologue 1 Chapter 1 Description of the study 3 1.0 Introduction 3 1.1 Methodology: 7 1.1.1 Historiography 7 1.1.2 Bricolage as methodology 9 1.2 Background to the problem 12 1.3 Statement of problem and limitation of the study 14 1.4 Rationale and significance of the study 15 1.5 Proposed outcomes of the study 17 1.6 Commencing a third space narration 17 1.6.1 Oral history on the shifting spaces vi Li-Hsun PENG experiences in my family 19 1.6.2 The nature of Formosan culture 28 Chapter 2 Crossing borders 32 2.0 The cultural scene in Europe before the end of the First World War 32 2.1 Cultural frames and women’s professional development 36 2.1.1 Development of Art Deco 39 2.1.2 Challenging patriarchal barriers 44 2.1.3 The impact of the Great Depression 47 2.1.4 Art Deco and the Great Depression 49 2.1.5 Women in the Arts: Gender identities 53 2.1.6 Postcolonial theory: colonialism and postcolonialism 55 Chapter 3 Art Deco and Exhibitions 72 3.1 Art Deco movements: the background, causes, influences and outcomes 72 3.1.1 Historical colonisation 73 vii Li-Hsun PENG 3.1.2 Colonial and empire exhibitions and their influence 74 3.2 Connecting myself with colonial and empire exhibitions 87 3.3 Orientalism on display 93 3.3.1 Utopia book of Formosa 93 Chapter 4 The analysis 98 4.1 Domestic and utilitarian concern 98 4.1.1 Personal experiences and border explorations 98 4.1.2 Comparing Eileen Gray and Clarice Cliff’s domestic experience 106 4.1.3 Hybridity and my domestic experience 110 4.1.4 Establishing Taiwan’s third space Identity from our history 114 4.1.5 The four women Designers and third space experience 123 4.2 Gender issues 140 4.2.1 Comparing the four women designers’ border 140 experiences from a gendered perspecti38 4.2.2 The gendered social environments of Gray, Chanel, and Cliff 157 4.3 Appropriation 167 4.3.1 Appropriation and my third space experiences 167 viii Li-Hsun PENG 4.3.2 Cultural appropriation and these four women 169 designers in Art Deco 4.3.3 Gray, Delaunay and Cliff appropriated from De Stijl 180 4.3.4 Appropriation and hybridity 185 4.4 Issues of exoticism 199 4.4.1 Multi-culturalism and exoticism in Paris 199 4.4.2 Hybridity into Exotic style among the four women designers 201 4.4.3 Using hybridity to become a successful brand name 223 Chapter 5 Conclusion, making alliances with "Colonisers" 230 5.1 Significance of the study: Women designers success and appropriation of Orientalism 230 5.1.1 The inspiration of Eileen Gray's story 231 5.1.2 The inspiration of Coco Chanel's story 235 5.1.3 The inspiration of Sonia Delaunay's story 239 5.1.4 The inspiration of Clarice Cliff's story 242 5.1.5 Women designers did appropriate from the East and from Orientalism 245 5.2 My appropriation of concepts from the West 246 5.2.1 Lessons from the Exhibitions concerning Taiwan 248 5.2.2 The importance of regaining cultural autonomy ix Li-Hsun PENG and self-respect for Taiwanese 249 5.2.3 Hybridity of different cultures and races merging together 252 5.3 Fine art and design – a Taiwanese perspective 254 5.3.1 Cultural identity for my students in Taiwan: when the West meets the East 254 5.4 Key future directions for this research 255 5.4.1 Posting my ideas online and the copyright issues 255 5.4.2 A research website should include the following 255 Notes 257 References 260 Web site and newspaper references: 274 Bibliography of Images: 277 x Li-Hsun PENG List of Figures (See details in Bibliography of Images, page 277) Image 1.1 : 1966; George Kerr, Formosa Frontier Island 17 Image 3.1 : 1925; ‘View from the Northwest’, and ‘Night Scene in Grand Palais’ 80 Image 3.2 : 1937; ‘Pavillons des colonies: Indochine & Afrique équatoriale’ 85 Image 3.3 : 1887; ‘Aborigines from Southern Formosa with their guns’, 1875, ‘Savage Man and Woman’ 87 Image 3.4 : 1884; ‘Formosan Types and Costumes – Butan Captives in Japan’ 90 Image 3.5 : 1935, Taiwan Exhibition held mainly in Taipei with Art Deco style 91 Image 3.6: 1935, Taiwan Exhibition showed the Art Deco style Architecture 92 Image 3.7 : 1704; George Psalmanazar, ‘An Historical and Geographical Description of Formosa’ , ‘Figure of Formosans’, 94 Image 3.8 : 1704; George Psalmanazar, ‘The Funeral, or Way of Burning the Dead Bodies’ 96 Image 4.1 : 1990; my works and exhibition during the stay in Paris 103 Image 4.2 : 1930s; Conical Sugar Sifters and Stamford Teapots 109 Image 4.3 : 1633; ‘ Fort Zeelandia built in Tainan’, ‘the Island Formosa and the Pescadores’ 117 Image 4.4 : 1926-29; Functional-oriented design, ‘Bedroom Dressing table, designed for E-1027’ , ‘ Kitchen in E-1027’ 126 Image 4.5 : 1912; Chanel Hat design for Gabrielle Dorziat 130 Image 4.6 : 1916; Liqueur Poster, 1924, Harlequin Rug design 133 Image 4.7 : 1931; Tennis series and Age of Jazz 137 Image 4.8 : 1926–29; ‘aerial views of E-1027 140 xi Li-Hsun PENG Image 4.9 : ‘Le Corbusier letter to Eileen Gray regarding E-1027’ 146 Image 4.10 : 1925; Chanel’s prototype of ‘Little Black Dress’ , Chanel’s ‘Black Lady’ in Vogue 152 Image 4.11 : 1938; Le Corbusier, ‘Three Women (Graffite à Cap Martin)’ 160 Image 4.12 : 1990; My creation of stained glass and installation painting 167 Image 4.13 : 1911; the first abstract design work, cover design for Ricciotto Canudor 176 Image 4.14 : 1926-29; ‘Plan for E-1027’ , Roquebrune Cap Martin, 1926c Architect’s Cabinet 180 Image 4.15 : 1926-28; ‘Costume design for Carnival in Rio’ 182 Image 4.16 : 1922; ‘Cette Eternel Femme’ , 1926, ‘Le Petit Parigot’