UNIVERSITY OF SOUTHERN QUEENSLAND

Crossing Borders: A Formosan's postcolonial

exploration of European women designers

A dissertation submitted by Li-Hsun Peng 彭立勛

M.A. ( Université de 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 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.

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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.

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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.

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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 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

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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 '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

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and self-respect for Taiwanese 249

5.2.3 Hybridity of