Pattern and Ornament: An Oriental Influence - Essay Example

Pattern and Ornament: An Oriental Influence It seems a fascination with the mysteries of the Orient has been in existence in the Western mind since the beginning of time. The first real connection to Oriental fashions within the modern Western world can be traced back to the fashions of the Edwardian Era, which is dated in the final decades of the 1800s and the beginning decades of the 1900s. It was during this period that designers began studying the various ways in which fabric and color were used to create a specific effect for the female body in traditional oriental clothing (Thomas, 2006). Contributing to the popularity of Oriental influences in Western fashions was the flexibility and versatility of these styles to transcend economic and social barriers. While some costumes called for great quantities of the most expensive fabric available and months of daily toil to embroider the simplest designs, others proved to be quite economical in terms of time and resources. As many Western countries enjoyed wealth and prosperity in the early 1900s, the glamour and excitement of the far Orient dazzled the minds of the young upper class and led to the development of increasingly luxurious fabrics such as silk to be used in the gowns and party dresses of the ladies. However, as war ripped through the land and women began turning to their own sewing machines as a means of economizing, these same influences proved useful in restricting the use of fabric and lending themselves easily to home-made clothing. “During the 1930s, fashion trends were driven by more than practical economy. A different and seemingly contrary impulse had a powerful effect – the yearning for the unattainable, for the lost world of the 1920s, in short for glamour, the key concept in 1930s high style clothing” (Ames, 2005). By making their new dress in a less expensive fabric, based on a simple traditional Oriental design, middle class women were able to depict themselves as glamorous and feminine without losing their sense of power while still cutting down on the family expenses. The majority of Japanese traditional influences upon fashion exist in the styles of the kimono, mo, yukata and the hakama. Chinese clothing contributed the pien-fu, the qipao and the shen-i. Each of these costumes have subtle characteristics, such as collars, borders, embellishments and construction, that have been borrowed, changed or elaborated upon for different effects in the artistry of the designers through the past century. Early designers included Paul Poiret and Leon Bakst (Thomas, 2006). In the mid-1900s, Issey Miyake, a designer emerging out of Japan, merged his ideas of the traditional costumes of his homeland with the contemporary focus on ease of care and movement and with advances in technology for both production and material. More modern designers continuing to include Oriental influences in their new designs are Donna Karan, Miuccia Prada and Tom Ford for Gucci (Bellafante, 2003). To fully understand the influence of Japanese and Chinese traditional clothing upon the fashion world of the West, it is necessary to understand the traditional styles and textiles used as well as how they’ve been put to use in the western world. The major types of clothing adopted by the West from the Japanese culture include the kimono, the yukata, the mo and the hakama. Most people in the West are now familiar with the basic concept of the kimono, but few realize the many varieties in which the kimono was used, several of which contributed concepts to the styles used in the West. The traditional kimono is simply made from a single bolt of cloth cut into four strips of panels sewn together to form the body and sleeves (“Kimono”, 2006). Like Western fashions, kimono styles varied throughout time as the seasons passed and the type of social event being attended as well as by the prevailing political and economic conditions. The status of the woman could be discerned by the quality, quantity and style of the kimono worn. Unlike Western fashions, the traditional kimono also clearly indicated the social position of the woman (married or single). (“JP Net Kimono Hypertext”, 1999) “The sleeves of the kimono indicate the age and marital status of a woman. A young unmarried woman would wear a furisode, a colorful kimono with flowing sleeves that hang almost to the ankles. … In contrast, a married woman wears a kimono with a short sleeve” (“JP Net Kimono Hypertext”, 1999). Kimonos varied according to social position within the greater context of the community as well as the period in which it was worn. Again, these outfits differed from the Western concepts in that they consciously depicted aspects about the woman wearing the fashion such as virtue, honesty, nature, etc through their use of color patterns and relationships in ways that far surpassed the West’s concept of these details. These specialized kimonos were so differentiated that they were given unique names to distinguish between one and another, in much the same way that the Western world distinguishes between a ball gown, frock and business suit. (Feng, 2005) The form of kimono known as yukata has become almost daily wear in Japan because of its lightweight comfort and traditional connections. (Vlaar, 2004) The yukata originated as an after bath garment worn by the samurai class. It was a habit that was picked up by the rest of the nobility and then trickled down to the general population. “Unlike formal kimono, yukata are typically made of cotton rather than silk or synthetic fabric, and they are unlined” (“Yukata”, 2006). As it has evolved, the yukata has taken on the brighter fabrics and designs seen in the photos, but manages to portray more about the wearer than a Western visitor might see. Brighter, livelier designs are typically reserved for use by the younger crowd, while older women gravitate more toward darker shades and geometric patterns and men tend toward solids. In keeping with its warm weather characteristic, the yukata is also usually worn with a fan tucked conveniently into the obi for quick and easy access whenever the wearer needs an extra cool breeze. Although the kimono, in its various forms, is probably most recognizable to the Western world, the mo predates it by almost 400 years and has had its own influence on the modern fashions of the Western world. The mo is actually just a pleated skirt. According to accounts, it has been traced back to the Yamato period (300-550 A.D.), during a period of time when the Japanese society came into closer contact with the Chinese and their silkworms. (Larios, 2006) (“JP Net Kimono Hypertext”, 1999) The skirts were developed as a means of providing women with easier garments to wear while working in the fields. The male counterpart to this skirt is the hakama, a garment that was also adopted by the women as a more convenient garment for their purposes. Although it strongly resembles the mo, the hakama is a pair of pleated pants. Like many of the traditional dress of the Japanese, the hakama contains hidden meanings in its folds. “In the martial arts, it is said that the seven pleats of a hakama represent the seven virtues of bushido which are: Gi – the right decision; Yu – bravery; Jin – universal love, benevolence toward mankind, compassion; Rei – right action, courtesy; Makoto – sincerity, truthfulness; meiyo – honor; and chugi – devotion, loyalty” (“JP Net Kimono Hypertext”, 1999). Much of the traditional Chinese clothing that influenced Western culture is not recognized by its Chinese name, but is often seen on the street or in catalogs and understood to have a Chinese influence. The major forms of traditional Chinese clothing came in the form of the pien-fu, the qipao and the shen-i. Particular contributions made by the Chinese were the use of silk in the production of their fabrics as well as the bright colors and designs used in their textiles. Like the Japanese, the Chinese incorporated an internal system of symbolism into their clothing, each piece transmitting a message to the viewer regarding the wearer’s personality, age, social position, formality of occasion and season of year. However, in China, colors and images were strictly enforced according to social class and status. (Ministry of Culture, 2003) In the Dragon Robe of Emperor Kangxi of the Qing Dynasty (left), the intensity of the yellows, reds and oranges used in traditional dress can be easily seen. Patterns frequently found on these robes included figures of the sun, moon, stars, mountains, dragons, birds, aquatic plants, fire, rice, axes and double-backed bows as well as religious items. Empress Wu Zetian (624-705) of the Tang Dynasty (pictured on the right) encouraged her subjects to focus on embroidery with fine silken threads to create intricate designs and patterns in the fabric, eventually leading to the production of patches to designate rank and position upon the robes of individuals. The pien-fu is an ancient two-piece ceremonial costume, believed to have originated with the Hanfu people who populated China prior to the Manchurian invasion. The difference between Chinese and English labels this type of clothing as Hanfu clothing, which linguistically refers to all types of clothing worn by the people of this dynasty. It consisted of a tunic top that extended down to the knees and worn by both men and women. The outfit distinguished gender differences in the inclusion of either a skirt or trousers that extended from the waist to the ankles. Although not worn for several centuries, the garment is described as utilizing mostly straight lines, simple stitching and a loose fit. Like the Japanese kimono, the top remained open to the front, being belted closed for public wear with sometimes elaborate sashes and knots. The sleeves remained loose, but finished in a narrow cuff. (“History of Ancient Chinese”, 2006) To embellish these relatively simple outfits, the wearers would embroider the edges and add beads or other decorations to the sleeves, collars and shoulders. To help show off these designs, the Chinese favored darker colors in their fabrics and lighter colors in their decoration. As the garment evolved, the sleeve cuffs grew wider, eventually overlapping the hands and allowed to trail down the side of the garment. The tunic tops grew more stylized, demonstrating variety in cut and shape as well as material and color usage. Eventually, the length would reach the ankles and give rise to the next wave of fashion. (“Hanfu”, 2006) Shenyi resembles the Japanese kimono to an even greater degree than the two-piece pien-fu. This style of clothing linked the upper tunic top and lower trousers or skirts of the Hanfu into one long robe-like garment that covered the body from shoulders to ankles and belted around the waist. It was created in two pieces that were later sewn together to make a single garment, but otherwise retained many of the characteristics of the two-piece style. (“History of Ancient Chinese”, 2006) By the time this style of clothing had been developed, the Chinese had already made significant advancements in dying techniques and adornments. In addition to beads and embroidery, the Chinese often decorated their garments with small jewelry, macramé knots, sashes, jade ornaments and other items. The similarity between the shenyi and the kimono is no accident, either, as it was at about the time of contact that the Japanese adopted the kimono. By comparing the two, it can be seen that the Chinese shenyi presents a more fluid, flexible and flattering silhouette that emphasizes the shape of the body while the Japanese kimono is designed to have a stiffer constitution, preserving the modesty of the wearer while retaining its proper shape and form in the humid environment of the Japanese summers. This influence was to prove important in preserving some remnants of the original style of dress of the Chinese people after the Manchus conquered the provinces and enforced Manchurian standards of fashion and hairstyles. Growing out of this conflict between the Hanfus and the Manchurians, the traditional dress of China rather quickly evolved into the qipao, a single, long dress with a high collar. (Feibao, 2002) “At that time, it was loosely fitted and long enough to reach the insteps. Usually it was made of silk, and embroidered, with broad laces trimmed at the collar, sleeves and edges” (Shan, 2006). Although the original intent of the high collar was to help ladies stay warm, the cut of the collar remained curved to accentuate the curve of the wearer’s neck, while the modest top nevertheless left ample room for a curvy upper silhouette. The tube-like dress also featured a pair of discreet slits at the hem to allow freedom of movement and to gracefully hint at the curve of the woman’s legs. “Qipaos can display Chinese women’s modesty, softness and beauty. Like Chinese women’s temperament, qipaos are elegant and gentle” (Shan, 2006). The garment was adaptable to a variety of social settings and proved easy to make for women required to construct their own clothing. “Nor does it call for too much material, for there are no accessories like belts, scarves, sashes or frills to go with it. … [I]t creates an impression of simple and quiet charm, elegance and neatness” (Feibao, 2002). Since the early 1900s, traditional Oriental fashions have had a significant impact upon the way in which Western designers developed their fashion styles for women. The Edwardian Era is characterized by a focus on beautiful clothing. As the privileged few became more aware of the colors, textures and designs of Oriental styles, these began to creep into the wardrobe as icons of luxury, worldly awareness and the essence of beauty. (“Orientalism”, n.d.) The images captured by photographers and Hollywood attempted to reveal the woman clad in Oriental garb as the ultimate in feminine beauty. It was here that the blending of the idea of the Orient melded with the styles of the West, as can be seen in the American hairstyle and jewelry in the image to the right combined with the shenyi and flowering branches from the Orient. Several modern designers continue to be influenced by either the ideas or the realities of the Orient. The practicality and simplicity of these garments combined with their flexibility in style have proven difficult to match in other forms of clothing while providing the wearer with the greatest usability in an ever-economizing world. Although the patterns and designs of the past have somewhat melted away, and the brilliant technicolor hues of the 1910s and 1970s have been left behind for the moment, the silhouettes and basic construction remain the same. Ever more, designers are incorporating the concepts behind the clothes, that of a covering that serves to enhance the body’s natural shape rather than constrict or shape it in an unnatural manner, that were originally envisaged in the Orient. Although the traditional fashions of the Orient are no longer incorporated directly into Western fashion to the same degree of detail as they were in the early 1900s, aspects of Oriental fashion, both in their perceived elements as well as in their historic elements, continue to appear on fashion runways throughout the Western world. A great deal of this popularity for Oriental styles, fashions, cuts, fabrics and aesthetic appeal has to do with the simple origins of Oriental clothing. For both the Chinese and the Japanese, clothing evolved as a simple means to an end. The cuts remained simple with only the folds becoming more complex as time went on. Having already found the appropriate cut for nearly every occasion, from working in the fields to running a shop to making a royal appearance, these garments were merely added to in terms of experimental new fabrics, elaborate dyes and dye techniques and fancy needlework or additional adornments. 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