Level 6 Graphic Design: COP: Case Studies

CASE STUDIES

"China: Looking Through Glass" - Quiproquo Dior (French 1905 - 1957)

* An exhibition that takes inspiration from Alice in Wonderland and talks about misrepresentation.

"...the China reflected in the fashions in the exhibition is a fiction, a fabulous invention offering an alternative reality with a dreamlike nature."

"In showcasing the sources of inspiration that lie behind these Western fashion, an underlying premise became clear. It was a creative process of artists making connections: that's what they do. They are not inhibited by time or space or culture. They use influences even if they don't fully understand them. Or rather, they understand these things in their own way to solve creative challenges".

The exhibition is exploring 'Orientalism' but at the same time it seem to be 'celebrating' the exoticised and imitation of Chinese culture and art (Chinoiserie) of Western designers. It's showcased in a way that seems to be supporting the Chinese culture and traditions, however it's only further implies Orientalism and how hegemony was prominent and still is today.

It can also be argued that despite learning about East Asian culture or not, designers will subjectively use their knowledge in order to create their own interpretations of cultural artefacts and designs and thus use these interpreted meanings in their own design which in turn gives them a new meaning. The new meaning in turn can also be interpreted in various ways by the audience; however by putting the designs with objects, films etc. the audiences' perspective are being directed to a more positive and appreciative direction. Placing the designs in the right context, allows them to be interpreted differently as the audiences can see that the 'inspiration' or the origin of the design is concrete, therefore seeing it in a much more authentic way.

On the other hand, I think in a way this actually proves the idea of 'Orientalism' that is explored in the exhibition, as Western designers like Dior have used Chinese artefacts and not necessarily information that they've clearly understood or "distorted images" and created designs and new meaning for themselves. "The fashion designers and tastemakers of that period took these distorted images as their inspiration and went on to create a western aesthetic with new layers of meaning that was unique". Similar to 'othering' it seems that Western designers are taking aspects from Chinese culture that they find interesting and aesthetically adds value to their work, but taking away the actual meaning and significance of it, in turn showing an exoticised view of the culture.

*South China Morning Post - Richard James Havis (Accessed 4 nov 2019)

2. "Yves Saint Laurent: Dreams of the Orient exhibition (Feb 10 2018 - Jan 1 2019)

"Saint Laurent was cultivated and instructed - when you know a culture, you can't make mistakes. If you only have aesthetic approach, you can make mistakes". https://www.theguardian.com/fashion/2018/oct/02/saint-laurents-dreams-of-the-orient-when-you-know-a-culture-you-cant-make-mistakes (Accessed 4th Nov 2019) Susie Lau, Saint Laurent's Dreams of the Orient: 'When you know a culture, you can't make mistakes')

"It is therefore mainly through his vast collection of books, films and the Chinese art that he draws inspiration for his work".

"The "Chinese" Yves Saint Laurent seems to comply with the tradition of Peking Opera, aiming not to restore an authentic and historic garment but to produce an aesthetic effect, highlighting the movements of actors". https://fashionunited.uk/news/fashion/the-dreamed-asia-of-yves-saint-laurent-when-imagination-and-reality-become-one/2018100839333 (Anne-Sophie Castro, Accessed 4th Nov 2019), 'The Dreamed Asia of Yves Saint Laurent: when imagination and reality become one'.

It seems as though Saint Laurent is well versed and have very extensive knowledge about Chinese Culture despite learning through books, films etc. - "when you know a culture, you can't make mistakes". And knowing "the difference between a Han and Manchu garment" shows knowledge of culture, it can also be argued that although Saint Laurent have carefully curated designs and motifs of the Chinese culture, he is using these to elevate the aesthetic elements to his designs in order to give them more style and relevancy as well as add to the exoticised image of East Asian culture to the Western society. It's also important to note, that although these designs comes from the 80's, they are still relevant today, as they have in some way set the "Chinese" or "East Asian" fashion today. * after this - start counter argument *Reading Graphic Design in Cultural Context*

I also find it intriguing how most of the articles I've read about these exhibitions rarely or briefly talk about Orientalism/cultural appropriation or appreciation. I feel as though some designs or thoughts behind the design does touch on appropriation, however it is often worded to be positive and is passed as "inspiration" but never really argued as appropriating the culture.

COUNTER ARGUMENTS

Reading Graphic Design in Cultural Context** (Grace Lees-Maffei, Nicolas P. Maffeim Bloomsbury Publishing, 2019

Today's society consume East Asian products and culture that are actually produced in the East "...based on specificity and authentic ownership" rather than generality and stereotype" pg. 121. Because of globalisation that they can access other cultures and traditions, in addition, today's designers "have largely steered clear to "exoticising" of Asian cultures" especially as East countries and culture no longer seem far-fetched or fantasy-esque as well as the fact that Eastern countries e.g. China, Japan and Korea are countries who are now economically rich, and now hail native designers that are establishing their true heritage in the fashion industry.

Paradigm Shift (Social Media (Diet Prada/ Estée Laundry)

"The rise of social media and a shifting cultural and political landscape has changed the game, catapulting such conversations into the mainstream."

"The pressure facing fashion companies to operate more inclusively is a reflection of broader social, political and technological shifts that are creating new opportunities and pitfalls for anyone running a global fashion enterprise."

"Social media has changed the way consumers and brands interact from a monologue to a dialogue" - hundreds of thousands of people can see it and leave comments and interact with each other, it can also go viral depending on the popularity and influence of the social media account making it hard for high fashion brands to shrug off.

businessoffashion.com/articles/intelligence/fashions-long-road-to-inclusivity (Accessed 5th Nov 2019)

Dolce & Gabanna China Ad

Share posts that are about culture appropriation, plagiarism, insensitive fashion design etc. (mostly about design rip off's though BUT having a large following and huge influence online, gives theme the advantage to spread awareness and somehow influence people's thoughts - give a platform for a discussion that maybe won't happen if it was somewhere else as social media is such a powerful and accessible platform that anyone can post their thoughts and opinions so easily creating buzz and hype and possible news worthy content.
Criticise high fashion brands but "Brands ignore the account's unfiltered and unapologetic commentary at their peril".

https://www.theguardian.com/fashion/2018/may/22/diet-prada-the-instagram-account-that-airs-the-fashion-industrys-dirty-laundry (Accessed 5th Nov 2019) Hannah Marriot

https://www.independent.co.uk/life-style/fashion/dolce-and-gabbana-campaign-racism-china-dg-loves-china-fashion-designer-a8643761.html

Heritage - Prabal Gurung (Stronger in Colour Ad Campaign)

The campaign employed a predominantly Asian staff and diverse pan-Asian models (representing not just a 'overall' or stereotypical 'Asian' models).

"Though for many Americans, the word "Asian" immediately brings up images of those from East Asia...he wanted to show how the Asian identity extends far beyond that one stereotype" (*can counter orientalism and the grouping of 'Asians' to one specific description, aesthetic, culture etc.) Gurung also said, "...those with 'a set at the table', so to speak –don't understand the nuances of race, or are totally apathetic, because it isn't a part of their personal experience."
https://www.huffingtonpost.co.uk/entry/fashion-designer-prabal-gurung-asian-models_us_5bbfa6e2e4b01a01d688b4ff?ri18n=true (Accessed 5th Nov 2019) Kimberly Yam

He uses his own personal experience and take inspiration from his own heritage and culture in order to create designs and advocate campaigns that tackle lack of diversity in fashion. He's got a first hand experience and personal POV of the issue as he is Asian himself, he knows how it feels as well as has authenticity within his work and designs. Just like in what S. Hall said in his book, the second strategy to counter stereotyping is the 'substitution of 'negative images with 'positive' images. gurung is well aware of the negative aspects of representation of Asians as he said "...those with 'a set at the table', so to speak –don't understand the nuances of race, or are totally apathetic, because it isn't a part of their personal experience.", but in turn he is showcasing design that shows the importance and celebration of his heritage and therefore tries to educate and expand the knowledge of people who are not part of the culture. it also seem to be more effective as he is Asian himself and is part of the heritage and culture.

Gurung, made the campaign after Claudia Li, hired 35 all-Asian models for her NYFW show. The collection itself is drew from her own experiences and her childhood in New Zealand, and Li's main intention for the show was the "representation within Asian women". "Asians aren't just one nationality – it's not just Chinese, it's not just Japanese, there are girls from everywhere [in the show]. Within the community of Asian women, we are diverse. It's time to break free from the singular definition of Asian beauty." * – A link to orientalism and emphasising that their is more than one "Asian". t https://www.refinery29.com/en-us/2018/09/209402/claudia-li-spring-summer-2019-runway-asian-models (Accessed 5th November 2019) Alyssa Coscarelli

additional * https://www.insider.com/claudia-li-all-asian-models-new-york-fashion-week-show-2018-9 (Accessed 5th November 2019) Lucy Yang