China Chic – East Meets West Book Review

China Chic – East Meets West by Valerie Steele and John S Major

<b>Book Index/Chapter headings</b>

Foreword

Notes on the Contributors

The Principal Dynasties of China

Introduction and Acknowledgements

Part 1

1: Decoding Dragons: Clothing and Chinese Identity

2: From Foot Binding to Modern Fashion

3: Fashion Revolution: The Maoist Uniform

4: China Chic: East Meets West

Part 2

5: Our Women are Acting like Foreigners Wives

6: Military Culture and Chinese Dress in the Early Twentieth Century

7: A Woman has so Many Parts to her Body, Life is Very Hard Indeed

8: Jazzing into Modernity: High Heels, Platforms and Lotus Shoes

9: The Cheongsam: Issues of Fashion and Cultural Identity

10: Dress and the Cultural Revolution

Notes

Selected Bibliography

Index

<b>PaperBack or HardBound?</b>

Hardbound

<b>Does this book have clear illustrations or photographs?</b>

Yes, this book has loads of wonderful illustrations and photographs.

<b>Would you recommend this book as a MUST HAVE?</b>

No

China Chic studies the history of Chinese clothing, with an emphasis on the dramatic changes of the 20th century. It examines at the role fashion and clothing have played in Chinese history, looks at designs produced by modern Chinese designers, and the influence Chinese style has had on Western designers.

This is NOT a sewing or how-to book.

You might like this book if

-You enjoy history and fashion history

-You are interested in authentic Chinese period clothing

China Chic s divided into two parts. The first part is written by the authors. The second is a collection of scholarly essays written by others.

China is a vast and ancient country and encompasses hundred of different ethnic groups and cultures. Most minority groups are confined to small areas and under heavy influence from the cultures ruling over them, so the focus is on the ethnic groups who ruled, from the Chinese (Qin Dynasty), to the Mongols, then Manchurians. After the end of the Qing Dynasty and Imperial China, the primary influence on fashion, and everything else, was communism personified by Chairman Mao until just a few short decades ago.

Usually, the Introduction and Acknowledgements do little more than introduce the subject and thank the people who helped make the book possible. They do that here, too, but this chapter also includes fabulous photos that should not be overlooked. These images include a wonderful old photo of a husband and wife in traditional Chinese clothing.

The first chapter, Decoding Dragons, examines key elements of Chinese culture and fashion. It traces their roots from ancient writings to the creation of the cheongsam in the early 20th century. The symbolism of dragons, the significance of Yellow, and the status (or stigma) of robes that button on the right (or left) all leave a significant mark on Chinese fashion. Westerners sometimes mistakenly assume Chinese fashion was frozen and static for thousands of years. While Chinese fashion did stay within a framework based on robes and pants and skirts, the styles within the framework changed constantly over time. What doesn’t seem to change, based on quotations from all eras of Chinese history,  is the complaints of older generations about the fashion tastes of the young!

The second chapter, From Foot Binding to Modern Fashion, studies the history and significance of foot binding. Only ethnic Chinese women had bound feet. The process was not always welcomed, the Manchus tried to ban foot binding in the mid 1600s. Chinese women of all income levels, not just wealthy, had bound feet. The Empress Dowager Cixi, who ruled in the 19th century, did not have bound feet because she was not Chinese.  The Qing dynasty came to an end in the 20th century, and foot binding followed, though it persisted to some degree in rural areas for a few more decades.

The third chapter, Fashion Revolution: The Maoist Uniform talks about clothing in the communist era. In this chapter we learn the Mao Uniform was actually created by the first president of the Chinese Republic, Sun Yat-sen. His name, Sun Yat-sen, is the Chinese name for the outfit. Mao himself never mentioned clothing or fashion after becoming Chairman, the society he created enforced adherence to the Sun Yat-sen suit.

After the death of Chairman Mao in the mid 1970s, fashion slowly began to seep back into everyday Chinese life. When I visited China in 2004, everyone in Shanghai was dressed in fashionable Western clothing. In a quaint fishing village outside Shanghai, we saw locals wearing parts of Sun Yat-sen suits mixed with Western clothing, Sun Yat-sen jackets with jeans, or the pants with T-Shirts.  In Tiananmen Square in Beijing, guides offering tours stood on the corner, almost all in Western dress. We hired a friendly older woman in a Sun Yat-sen suit. She told us she wore the suits because they were comfortable, sturdy and economical. It was also a shrewd marketing move. She sold more tours wearing the Sun Yat-sen suit that she did wearing Western dress.

The fourth, and last chapter in Part One, East Meets West, looks at the re-emergence of Chinese fashion after the opening of the Bamboo Curtain. It begins with an extensive discussion of the Western perception of the East as exoic and decadent. This is not a new idea. The Roman Empire and Han Dynasty conducted robust trade, and the Western Romans perceived China as a rich, exotic place of silks and spices. But, during the Opium Wars negative Asian stereotypes emerged. Sadly, these unfortunate and inaccurate images dominated popular culture and persisted for decades.

Finally, the discussion turns to fashion, including more wonderful photos and drawings. Early in the chapter are photos of gorgeous 1920s gowns with Chinese motifs and design elements. They are followed by more beautiful photos of garments from the 1990s. First is a gallery of clothing created by Western designers with Chinese influences. Then come examples from Chinese designers Vivienne Tam, Yeohlee, Han Feng and Amy Chan. One dress from Anna Sui, a first generation Chinese American, is included.

Part 2 is a collection of six essays on aspects of Chinese fashion. All the topics are covered in Part One. Each of these essays dives deeper into a particular subject, taking a closer look from political and cultural viewpoints, as well as the historical viewpoint covered in Part One.