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Chinese Influence on Western Women's Dress in American Vogue Magazine, 1960-2009 Yao Zeng Louisiana State University and Agricultural and Mechanical College

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Chinese Influence on Western Women's Dress in American Vogue Magazine, 1960-2009 Yao Zeng Louisiana State University and Agricultural and Mechanical College Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Chinese influence on western women's dress in American Vogue magazine, 1960-2009 Yao Zeng Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Human Ecology Commons Recommended Citation Zeng, Yao, "Chinese influence on western women's dress in American Vogue magazine, 1960-2009" (2011). LSU Doctoral Dissertations. 3735. https://digitalcommons.lsu.edu/gradschool_dissertations/3735 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CHINESE INFLUENCE ON WESTERN WOMEN‟S DRESS IN AMERICAN VOGUE MAGAZINE, 1960-2009 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy in The School of Human Ecology By Yao Zeng B.A., Wuhan Textile University, 1998 M.S., Louisiana State University, 2008 December 2011 ACKOWLEDGMENTS I could not have finished this research project without the graduate assistantship from the Agriculture Center and School of Human Ecology of Louisiana State University, as well as the many people who stood behind me and supported me. I would like to extend my special gratitude to several individuals, in particular, without whom I would not have been able to complete this dissertation and earn my doctorate degree. First of all, I wish to express my deepest gratitude to my dissertation chair, Dr. Jenna Tedrick Kuttruff, for her guidance, patience, and encouragement throughout my graduate studies. And also for the long hours she devoted to this dissertation through her guidance, review, and advice. Her knowledge, invaluable assistance, and greatest patience during each step of this process have been essential towards a timely completion. Without her abundant insight, feedback, and encouragement, I would never have completed this project. I feel very blessed to have had Dr. Kuttruff as my supervising professor, and I will always be highly appreciative for her commitment to my academic achievements. Furthermore, the appreciation extends to her husband, Dr. Carl Kuttruff, an archaeologist, for his valuable suggestions and professional editing from a historical perspective. Also, my gratitude extends to my committee members Dr. Ioan I. Negulescu, Dr. Lisa Barona McRoberts, Dr. Roland W. Mitchell, Dr. Hasun Park, my minor professor Andrea L. Washington-Brown and Professor Robin McGee for their advice and cooperation. Although Dr. Park left our school and could not continue to serve on my committee, her professional knowledge built the foundation for my dissertation. Special thanks to Professor Washington- Brown for her endeavor to help polish my dissertation. ii I would like to extend my gratitude to all the faculty members, staff, and graduate students in Human Ecology, especially Dr. Roy Martin, Dr. Karen Overstreet, Mrs. Melinda Mooney, Ms. Gail Coleman, Caroline Makena Kobia, Yaxin Lu, Loredana Apavaloaie, Ryan Aldridge, Ashley Jones, Josie Macmurdo, Nan Jiang, Yao Wei, Jessica Pattison, and others for being such great teachers, friends, classmates, and colleagues throughout this whole process. Further, I wish to express my love and gratitude to my beloved families for their understanding and endless love through the duration of my studies. I am grateful for my parents, Mr. and Mrs. Xingxiang Deng and Guifang Zeng as well as my sisters, Yongxue and Dongmei who are always my source of motivation and encouraged me to study. I would like to sincerely thank my mother-in-law, a distinguished professor Yaping Jiang, for her support. Lastly but foremost, I would like to thank my husband, Dr. Yixin Luo and my daughters, Esther and Ivy for their sacrifice to get me through this difficult process. I owe them dearly for this accomplishment. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………...ii LIST OF TABLES…………………………………………………………………………..vi LIST OF FIGURES………………………………………………………………………...vii ABSTRACT………………………………………………………………………….……....x CHAPTER ONE - INTRODUCTION….…………………………………………….........1 1.1 Significance of the Study.........................................................................................2 1.2 Research Objectives …………………………………………………....................3 1.3 Justification ………………………………………………….................................4 1.4 Assumptions ………………………………………………....................................5 1.5 Definition of Terms …………………………………………………………….....6 CHAPTER TWO - LITERATUR REVIEW …………………….......................................8 2.1Chinese Dress Characteristics ………………………………………......................8 2.1.1 Hanfu…………………………………………………………………….9 2.1.2 Qipao……………………………………………………………..……..13 2.1.3 Mao Suit……………………………………………………………..….19 2.1.4 Accessories……………………………………………………………...22 2.1.5 Fabrics…………………………………………………………………..24 2.2 Chinese Influence on Western Fashion...................................................................26 2.3 Role of the Media…………………………………………………………………29 CHAPTER THREE - METHODOLOGY .…………………………………………...........33 3.1 Content…………………………………………………………………….………35 3.2 Time Frame ……………………………………………………………….………37 3.3 What to Count……………………………………………………………..……....37 3.3.1Chinese Influence in Written References………………………………...38 3.3.2 Chinese Influence in Visual Representations …………………………...40 3.4 Data Collection…………………………………………………………………….41 3.5 Data Analysis.………………………………………...…………...……………….43 3.6 Interpretation…………………………………………………………………...….44 CHAPTER FOUR - RESULTS AND DISCUSSION ……………………………………...45 4.1 Total Chinese Influence in Written References and Visual Representations……....45 4.2 Chinese Influence in Different Categories………………………………………....54 4.3 Chinese Influence in Garment Features………..……………………………….……....58 4.3.1 Chinese Influence in Garment Types ……………………………...….....60 4.3.1.1 Other…………………………………………………….……...63 4.3.1.2 Qipao…………………………………………………………....67 4.3.1.3 Mao Suit………………………………………………….….….73 iv 4.3.1.4 Hanfu…………………………………………………….….…..77 4.3.2 Chinese Influence in Garment Construction Elements .......……...............79 4.3.2.1 Collars……………………………………………………….......79 4.3.2.2 Side Slits………………………………………………………...81 4.3.2.3 Closures………………………………………………………....83 4.3.2.4 Sleeves………………………………………………………......85 4.4 Chinese Influence in Accessories ……………………………………......................87 4.4.1 Hairstyles……………………………………………………………......88 4.4.2 Jewelry………………………………………………………………......90 4.4.3 Fans……………………………………………………………………...92 4.4.4 Hats……………………………………………………………………...94 4.4.5 Umbrella………………………………………………………………....96 4.4.6 Makeup…………………………………………………………….….....97 4.5 Chinese Influence in Fabrics…………………………………………………….......99 CHAPTER FIVE - SUMMARY AND CONCLUSIONS……...………………………...…104 5.1 Summary…………………………………………………………………….……...104 5.2 Conclusions…………………………………………………………………….…...110 5.3 Contributions …………………………………………………………………........114 5.4 Limitations…………………………………………………………………….........116 5.5 Recommendations ……………………………………………………………........116 REFERENCES………………………………………………………………………….…....117 APPENDIX A. EXAMPLES OF WRITTEN REFERENCES FOUND IN AMERICAN VOGUE (1960-2009)………………………………………………………………………....121 B. EXAMPLES OF VISUAL REPRESENTATIONS WITH WRITTEN REFERENCES FOUND IN AMERICAN VOGUE (1960-2009)………….….. 123 C. GARMENT TYPES IN VISUAL REPRESENTATIONS AND WRITTEN REFERENCES IN AMERICAN VOGUE (1960-2009).......................................137 D. GARMENT CONSTRUCTION ELEMENTS IN VISUAL REPRESENTATIONS AND WRITTEN REFERENCES IN AMERICAN VOUGE (1960-2009) …………………………………………………………..….139 E. ACCESSORIES IN VISUAL REPRESENTATIONS IN AMERICAN VOGUE (1960-2009)………………………………………………………………….….….141 VITA……………………………………………………………………………………….….143 v LIST OF TABLES Table 3.1 Chinese Dress Characteristics ……………………………………………………….36 Table 3.2 Chinese Influence in Written References in 1975…………….……………………...42 Table 3.3 Chinese Influence in Visual Representations in 1975………………………………..43 Table 4.1 Decade Frequency of Chinese Influence in Written References by Category…….…55 Table 4.2 Decade Frequency of Chinese Influence in Visual Representations by Category…...57 Table 4.3 Garment Types in Written References by Decades…………………………..…..…..62 Table 4.4 Garment Types in Visual Representations by Decades……………………………....62 Table 4.5 Decade Frequency of Chinese Influence in Visual Representations by Accessory Category…………………………………………………………………………..…...88 vi LIST OF FIGURES Figure 2.1 Informal Hanfu: Shenyi ……………………………………………………..……....10 Figure 2.2 Formal Hanfu: Yuanlingshan…………………………………………………...…....11 Figure 2.3 Court Dress: Mianfu ………………………………………………………….....…...11 Figure 2.4 Original style Qipao (Manchu tunic) …………… ……………………………….....14 Figure 2.5 Original Qipao to modern Qipao ……………………………………………..…......16 Figure 2.6 Mao suit………………………………………………………………………..….....20 Figure 2.7 Chinese men and women in Mao suit or modified similar garments…..…….….......21 Figure 2.8 Chinese hats…………………………………………………………………….....…23 Figure 2.9 Chinese style fans …………………………………………………………..…….....23 Figure 2.10 Chinese style parasol………………………………..………………………….......23 Figure 2.11 Chinese style accessories ………………………………………..…………….…..23 Figure 2.12 Peking Opera eyes …………………………………………………………….......24 Figure 2.13
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