Transnational Fashion History: Some Problems in Twentieth-Century Chineseness
The Courtauld Institute of Art, Somerset House, Strand, London
Monday 19 June 2017
PLEASE NOTE: This Date Has Passed
12:30 pm - 1:30 pm
Research Forum Seminar Room, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN
- Dr Sarah Cheang - History of Design, Royal College of Art, London
- Dr Rebecca Arnold - The Courtauld Institute of Art
- Dr Elizabeth Kutesko - The Courtauld Institute of Art
Fashion is an emphatically transnational form of modernity and yet it is continually made to serve national agendas and uses pervasive ethnic stereotypes to create cultural value. Fashion thus creates embodied and material engagements between national and cosmopolitan subjectivities. This paper explores the vexed topic of fashion, nation and diaspora, foregrounding histories of imperialism, East Asian and European identities. New narratives of national identity are investigated by engaging directly with the transnational as a flexible state of in-between during which fashion produces multiple modernities and multiple subjectivities from within colonialism’s complex webs of global exchange and unequal power relations. Posing new questions about twentieth-century Chinese identity by placing iconic forms such as the qipao and the Chinese shawl within a transnational context, the nature of the exotic, constructions of western and non-western fashion, and the field of fashion itself are reconsidered. The paradox of fashion is that it demonstrates through flows of objects and ideas, commerce, people and politics that fashion objects are not reducible to a single culture, but at the same time fashion constantly plays with symbols of national identity in order to create personal and public meaning. This paper takes up that paradox as a key site for a deeper understanding of the East Asian within fashion history.
Sarah Cheang is Senior Tutor in the History of Design at the Royal College of Art, London. Her research centres on transnational fashion, material culture and the body from the nineteenth century to the present day, on which she has published widely. Her work is characterized by a concern with the experience and expression of ethnicity through fashion and body adornment. She co-edited the collection Hair: Styling, Culture and Fashion (2008), writing on hair and race, as well as reflecting more generally on the meanings of hair within a wide range of cultures. Fascinated by states of in-between and the creative potential of metamorphosis and misunderstanding, she recently led the research project Fashion and Translation: Britain, Japan, China, Korea (2014-15), exploring East Asian identities through the ways that fashion travels between cultures. She is currently embarking on a new photographic project on hair, humanity and cycles of life and death.