University of Southern California Dissertations and Theses

Co-dressing: designing across cultures

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Co-dressing: designing across cultures

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Content Copyright 2020 Yue Xu

Co-Dressing:
Designing across Cultures

by

Yue Xu

A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
DESIGN

May 2020
ii

Table of Contents
Figures...................................................................................................................................... iii
Thesis Abstract .......................................................................................................................... iv
Introduction ................................................................................................................................ 1
Chinese Culture Objects ............................................................................................................ 6
1. Fabric ............................................................................................................................. 6
2. Ceramics ........................................................................................................................ 7
3. Lanterns .......................................................................................................................... 9
4. Bell ............................................................................................................................... 10
Fashion Design Inspiration ...................................................................................................... 11
1. Surface and Pattern ...................................................................................................... 11
2. Form and Figure ........................................................................................................... 14
Conclusion ............................................................................................................................... 21
References ................................................................................................................................ 24

iii

Figures

Figure 1. Work Suits .................................................................................................................. 1
Figure 2. Cheongsam ................................................................................................................. 2
Figure 3. ZhongShan Suit .......................................................................................................... 2
Figure 4. Dolce&Gabbana Ad (with Chopsticks) ...................................................................... 4
Figure 5. Blue and White Porcelain ........................................................................................... 8
Figure 6. Tian Ding .................................................................................................................. 10
Figure 7. Lantern and Water .................................................................................................... 12
Figure 8. Cup and Plum ........................................................................................................... 14
Figure 9. European trapezoid shape open neck dresses in 1450 to 1500 A.D. ........................ 14
Figure 10. Lantern Shape Dress Form ..................................................................................... 15
Figure 11. Lantern Shape Dress Form II .................................................................................. 16
Figure 12. Round Neck Sweater in the 1930s .......................................................................... 17
Figure 13. Lantern Shape Hoodie Form .................................................................................. 17
Figure 14. Lantern Shape Hoodie Form II ............................................................................... 18
Figure 15. Pleasingly Pure and Lustrous ................................................................................. 19
Figure 16. Vase in Lik Ngai Gallery ........................................................................................ 20
Figure 17. The Middle Ages Crinoline .................................................................................... 20
Figure 18. The Middle Ages Dress .......................................................................................... 21
Figure 19. 3D Modeling - Front ............................................................................................... 23
Figure 20. 3D Modeling - Bottom ........................................................................................... 23
Figure 21. 3D Modeling - Back ............................................................................................... 23

iv
Thesis Abstract

Key Concepts: hybridization, stereotypes, communication, blended cultures, exchange of
cultural ideas, trends, fashion

My thesis project investigates how cross-influences between Eastern and Western culture
were and are integrated as well as the intentional and unintentional impacts upon both Chinese
and American fashion in the last five decades.

1
Introduction

On a personal level, memories of each member of my family always remain moral and
spiritual guidelines that are indispensable to me. I was born in Shanghai, a prosperous
international metropolis whose history spans over a thousand years and closely parallels the
development of modern China. After the first Opium War in 1842, the Shanghai International
Settlement
1
was established after the Chinese signed The Treaty of Nanking with the British.
British Concession appeared in 1843 followed by the American and French Concession,
which joined together in 1863 and created the Shanghai International Settlement. The
Shanghai International Settlement was famous for a cultural mix of Chinese-European style
architectures. In the 1920s and 1930s, Shanghai became known as "The Paris of the Orient.”
This metaphor of architectural fusion, expresses my attitude toward the positive influences of
diversification and hybridization. For me as a fashion designer, it is not only important to
inherit and continue the excellent tradition of Chinese culture, but
also to learn from the different civilizations of the world.
In 1966, the Cultural Revolution of China began. My
grandparents’ generation experienced this sociopolitical movement.
In my grandparents’ old photos, I saw that their only daily outfits
were work suits in navy blue (see Figure 1). In order to minimize

1
Chinatown Reversed: The Shanghai International Settlement
Scheong - http://www.throughouthistory.com/?p=1790
Figure 1. Work Suits
The Cultural Revolution: All You Need to Know
About China's Political Convulsion Tom Phillips -
https://www.theguardian.com/world/2016/may/11/
the-cultural-revolution-50-years-on-all-you-need-
to-know-about-chinas-political-convulsion

2
the difference between social classes and gender, both male and female were required to wear
similar work suits. Women were not able to wear short skirts since they could not reveal their
legs and feet. Traditional women’s outfits such as cheongsam (see
Figure 2), dress, heels and stockings were all abandoned. Popular
clothing fabrics and clothing styles were inexplicably criticized as
reactionary patterns. They completely disappeared among the
Chinese, regardless of age, occupation, identity, status, or even
gender. Everyone in China of that age wore a Zhongshan suit (see
Figure 3) or a cadre suit. The production of textiles and clothing
was also destructively affected. In the campaign to break the "Four
Olds
2
”, the "red dress" was regarded as "old culture", "old habits"
and even "old thoughts", which were ruthlessly criticized. In that
era, the “peculiar beauty” and “tenderness” of young women were
replaced by “masculine resoluteness” and “ruggedness”. The
general traditional female image of gentleness and demureness
was also denied by the philosophy of struggle in the revolutionary
era.
After the Culture Revolution, in the year 1972, U.S President
Richard Nixon visited China. It was, in Nixon’s words, “the week

2
Attacks on Party Members
Brian McKnight-Lynn White - https://www.britannica.com/place/China/Attacks-on-party-
members#ref590794
Figure 2. Cheongsam
A Brief History of The Cheongsam,
Sally Gao -
https://theculturetrip.com/asia/chin
a/articles/a-brief-history-of-the-
cheongsam/

Figure 3. ZhongShan Suit
The Revolutionary Years -
http://www.willgoto.com/1/143452/liens.aspx
3
that changed the world”
3
and created openings for harmonious diplomatic relations and an
exchange of communication between East and West. Due to the prior separation politically
between the US and China, few opportunities to exchange culture and information had
existed.
After almost 50 years, Nixon’s visit still has a profound and lasting influence on
women’s fashion in Chinese cultural design history as well as the Asian influence on fashion
in the West. From the late 80's to the 90's, carrot trousers, flared trousers and leggings became
popular among women. Men's clothing began to change from suits to casuals. Ladies chose to
use a variety of scarves to complement their clothing. Scarves, tie buttons, corsages,
necklaces and bracelets flourished with the clothing. The color of the clothing also began to
reflect personal taste and self-expression and was no longer unified and uniform in
appearance.
My thesis project investigates how cross-influences between Eastern and Western culture
were and are integrated as well as the intentional and unintentional impacts upon both
Chinese and American fashion in the last five decades. The research focuses on the exchange
of Western and Eastern culture and the resulting impacts on fashion. My capstone project
includes the design and creation of a series of garments that reflect this proposition. The
garments focus on how Eastern styles influence Western women’s clothes. This clothing line
incorporates Chinese elements incorporated into American high-end fashion.

3
The Cultural Revolution: All You Need to Know About China's Political Convulsion
Tom Phillips - https://www.theguardian.com/world/2016/may/11/the-cultural-revolution-50-
years-on-all-you-need-to-know-about-chinas-political-convulsion
4
Recently, foreign brands have experimented with the trend of Chinese characters
integrated into designs but seemingly have missed the mark, being accused of cultural
appropriation by many in the fashion industry. In 2019, Dolce & Gabbana's Chinese
advertisement (see Figure 4) illustrates this type of
racism found in fashion. In the advertisement, a Chinese
woman struggles to eat spaghetti by using her chopsticks
to awkwardly twirl the noodles, which caused huge
anger among Chinese. Afterwards, the brand faced a
dramatic decline of sales and the Asia-Pacific market
shrunk from twenty-five per cent to twenty-two per
cent.
4
This example shows how cultural appropriation
causes negative influences in the global fashion industry.
Hybridization implies that multiple cultural influences can co-exist with or without a
dominant identity as a self-conscious reference. This reference denies the negation implicit in
binary oppositions. From a Chinese perspective, we cannot use simple dualistic thinking to
understand the relation between Chinese and foreign cultures. At the beginning of the
twentieth century, foreign literature entered China and freedom gave birth to a new Chinese
literature. The New Culture Movement
5
was an "anti-tradition, anti-Confucianism, anti-

4
Dolce & Gabbana Sales Shrink in Asia After Racist Ad Backlash
https://www.scmp.com/lifestyle/fashion-beauty/article/3024640/dolce-gabbana-sees-
slowdown-sales-china-after-racist-ad
5
Before and After the May Fourth Movement: Asia for Educators: Columbia University
http://afe.easia.columbia.edu/special/china_1750_mayfourth.htm
Figure 4. Dolce&Gabbana Ad (with Chopsticks)
Dolce & Gabbana Sales Shrink in Asia After Racist Ad
Backlash
https://www.scmp.com/lifestyle/fashion-
beauty/article/3024640/dolce-gabbana-sees-slowdown-sales-
china-after-racist-ad
5
literature" ideological and cultural innovation and literary revolution initiated by Chinese
scholars such as Chen Duxiu, Li Dazhao, Lu Xun, Hu Shi, Cai Yuanpei, Qian Xuan and other
people who had received Western education from 1915 to 1923.
At present, cultural exchanges between China and foreign countries too often rely on
blanket cultural appropriation. Superficial and stereotypical items in cultural exchanges, such
as lion and dragon dances, hanging red lanterns, and dumplings are very much the norm.
These rigid symbols have dotted the so-called culturally diverse landscape of the European
and American worlds. A truly diverse cultural space allows for the collection of ancient
voices and new voices from east to west, north to south. These voices are able to remain
distinctive but in harmony. My designs integrate the stories of social realities and cultural
tradition of China into American Haute Culture.
My point-of-view or position demonstrates the historical phenomenon of how women’s
clothes have changed due to the cultural blending of Western and Eastern exchange of
information and traditional practices, specifically illustrated in the trends that flow from
America to China in the 1970s. My final garments focus on how “East” influences “West” as
hybridization occurs due to contemporary China’s dominant market and huge population.
This hybridization of women’s fashions is a key trend in both the recent and current fashion
industry.

6
Chinese Culture Objects

My inspirations range across a myriad of traditional to traditional articles such as
ceramics, painting, calligraphy and jade that have profound meaning in the Chinese history.
China is one of several ancient civilizations with a long evolved and complex history in the
world. China is one of several ancient civilizations, and because of that long history, is noted
for many significant contributions to the progress and development of human society. The
achievements in ceramic technology and art are of particular significance. In China, the
production of ceramic art can be traced back to the era from 4500 BC to 2500 BC. The
achievements of Chinese people in science, technology and mold marking are reflected in
many aspects of ceramic production and forms which represent typical technical artistic
characteristics of each era. Painting and calligraphy have a long history. In the Warring States
Period that was more than 2,000 years ago, Chinese paintings and calligraphy were painted
on silk fabrics. Many sculptures, ornaments, and jewelry were carved from jade. The
traditional Chinese patterns in jade are rich in content and diverse in form. They generally
include auspicious patterns, such as longevity, blessings, homes and prosperity, peace and
tranquility, careers, and evil relief. These types of jewelry and jade ornaments give people's
lives and clothing the effect of harmony, a much sought-after state of mind in Chinese
culture.
1. Fabric
The production and staining technique of fabric can be traced back to the Yellow
Emperor. Fabric in Chinese is “Bu”. "Bu" means people in Zhuang language. Ancient cloth
7
includes soft smoke Luo, cicada wing yarn, made up of satin, tianxiang silk, cloud brocade.
6

As one of the three elements of clothing, fabrics not only interpret the style and
characteristics of clothing, but also directly influence the performance of clothing colors and
shapes. During the Shang and Zhou dynasties (1600 to 1046 BCE), the clothing was mostly
tops and skirts, with five primary colors of blue, red, yellow, white, and black. The clothing
in the Shang and Zhou dynasties was often small sleeves, the length usually to the knees, and
the waist tied with straps. The color of the fabrics in the Shang and Zhou Dynasties were
warm, especially yellow and red with brown in between; however, this was not equal to the
absence of cold colors such as blue and green. Red and yellow colors made of cinnabar and
yellow stone are more vivid than other colors and have a stronger penetrating power, so they
were unchanged and have been preserved until even in contemporary times.
2. Ceramics
Many inventions in ancient China are actually full of possibilities such as the
development of ceramics. If the pottery pieces unearthed from the Xianrendong site in the
northeast of Jiangxi province are counted, the production of Chinese pottery has a history of
nearly 20,000 years, beginning from the late Paleolithic era. The use of fire and the discovery
of clay are the two major prerequisites for the invention of pottery. Porcelain of China
originated in the Eastern Han Dynasty (25 to 220 AD). Porcelain in the Eastern Han Dynasty
was finely processed. The ceramic works were extremely hard and dense upon firing and did

6
Ancient Chinese Fashion
https://ancientchinafashion.weebly.com/
8
not absorb water. The surface was coated with a layer of cyan glass glaze. Such a high level
of porcelain making technology marked that China's porcelain production had entered a new
era. The production technology and artistic creation of the Tang Dynasty (618 to 906 A.D.)
porcelain reached the first peak in the history of Chinese ceramics. Tang Sancai
7
is one of the
most famous ceramics of that era. In the Song Dynasty (960 to 1279 CE), new improvements
existed in quality, glaze and production technology. Porcelain firing technology reached a
level of full maturity. Famous porcelain kilns are spread throughout most of China. The
Chinese porcelain industry reached its peak in the Song Dynasty period. In the Yuan Dynasty
(1279-1368), the blue and white porcelain produced by Jingdezhen was transparent as water,
thin and light. The white porcelain was decorated with blue patterns (see Figure 5), which are
elegant and fresh. Blue and white porcelain has the characteristics of a Chinese ink
painting. The blue and white decoration on the white
background is fresh and stable but not vulgar and stubborn.
Audiences can not only enjoy it upon looking closer, but also
observe the effects of harmony of both color and form from a
distance. In the Chinese aesthetics, the blue decoration brings a
unique feeling. The content, theme, form and technique of blue
and white porcelain are extremely pervasive. All the scenes of

7
Sancai: Three-colored Glazed Figures Used in Funerary Rituals During the Tang Dynasty
David Goran - https://www.thevintagenews.com/2017/03/29/sancai-three-colored-glazed-
figures-used-in-funerary-rituals-during-the-tang-dynasty/

Figure 5. Blue and White Porcelain
Mark Cartwright -
https://www.ancient.eu/Ming_Porcelain/

9
nature are vividly displayed with their unique blue and white colors. Blue and white porcelain
expresses a rich artistic language with making people think of the beauty of the clear water
and the sky, which is often associated with purity. It has a very strong artistic appeal. As one
of the most typical representatives of Chinese porcelain, Jingdezhen has been the capital of
porcelain since its establishment for thousands of years. During the Ming (1368 to 1644). and
Qing Dynasties (1644-1912)., Chinese ceramics developed the technologies for colored
porcelain. From single-color glazes to multi-color glazes and under-glaze to over-glaze
3. Lanterns
Lanterns are closely connected to Chinese life and are much more than the clichéd
symbols which can be seen in Chinatown. Lanterns are everywhere in the temples and in the
living rooms. The existence of lanterns in China occurred after Qin and Han dynasties. Paper
lanterns became possible after the invention of the Eastern Han paper (25 to 220 AD).
Chinese lanterns are not only used for lighting, but are often symbolic in nature. A lantern
used to be a bride's lantern (a palace lantern) to represent weddings and celebrations; a
bamboo lantern was used to indicate that it was a funeral occasion; an umbrella lamp, since
"lamp" and "ding" have the same voice in Chinese, meant that people were prosperous.
Therefore, in the past, each house had a surname lamp hanging under the eaves and in the
living room. Traditionally, lanterns in temples are mainly yellow. The size and color of
lanterns change according to personal preference and do not necessarily have a specific
symbolic meaning. There are many kinds of sayings about the origin of lantern making. One
widely spread saying is that the custom of lantern-making on the Lantern Festival began in
10
the Eastern Han Dynasty (25 to 220 AD). Emperor Liu Zhuang of the Eastern Han Dynasty
advocated Buddhism. One Buddhist commanded that the palace and temples needed to be lit
for the Buddha in the night, so the people would hang lamps. This Buddhist etiquette festival
gradually formed a grand folk festival which is called YuanXiao. It evolved into the custom
of carrying lanterns during the Lantern Festival. In addition, at the beginning of school,
parents prepare a lantern for their children. It is lit by
the teacher, symbolizing the bright future of the
students, which is called "lighting on." Since the
pronunciation is similar to "Ting Ding" (see Figure 6),
lanterns are also used to pray for children. In the
Japanese occupation era, patriots drew folk stories on
lanterns and taught their children and grandchildren to
understand their own culture since it had a meaning of
passing on through fire or in this case passing on the cultural traditions through the fire of the
lanterns.
4. Bell
The bronze bell is an ancient musical instrument. The archaic is a gold class of eight
sounds. The bell is also shaped like a bell, but much smaller than a bell. The most typical one
was unearthed in Anyang in the Shang Dynasty (1600 to 1046 BCE). They are flat in shape
and have bridge-shaped buttons on them. Its use is speculated by its size. The small bell is
used as embellishments on the flag and the big one is a musical instrument. Chinese
Figure 6. Tian Ding
The History of Sky Lanterns: Where Did the Chinese
Lantern Originate? -
https://weddingdaysparklers.com/the-history-of-sky-
lanterns/

11
Geomancy is a traditional practice originating in ancient China, which claims to use energy
forces to harmonize individuals with their surrounding environment. The predecessors used
bronze "wind chimes" to transform evil spirits. If Chinese families want to hang a bronze bell
at home, they hang it at the entrance of the home. The belief is that it will bring better fortune
to the home. In addition, because the door is opening to receive airflow, hanging a bell near
the door can also prevent outdoor evil from entering the home.

Fashion Design Inspiration
1. Surface and Pattern
Lantern and Water (Fig. 7)
For the garments called Lantern and Water, my pattern inspirations are from lanterns and
the Three Gorges Dam. The lantern is a symbolic element in Eastern culture which is related
to good fortune and luck or auspicious events. Created as a protective enclosure for a light
source, the lantern usually consists of a candle or a wick in oil and a handle to make it easier
to carry and hang. This feature makes it more reliable outdoors or in drafty interiors. Three
Gorges Dam is a hydroelectric gravity dam that spans the Yangtze River by the town of
Sandouping, in Yiling District, Yichang, Hubei province, China. The Three Gorges Dam has
been the world's largest power station in terms of installed capacity since 2012. In ancient
China, people suffered from the flooding of the Yangtze River; however, the construction of
the Three Gorges Dam solved this problem by generating hydroelectric power. It is the
largest hydropower station in the world and the largest dam ever built in China, which has
12
significant meaning in Chinese history. According to geomancy, Chinese people prefer a
location near water. They believe that water can bring them a steady flow of continuous
wealth.
For the form, I put the shape of a lantern on the jumpsuit which originated from Western
designs as a way of hybridization. In recent years, the jumpsuit has been popular in the West.
In the current fashion trend, Western women prefer to put clothes attached to the waist of the
bottoms. The visual feeling of wearing a jumpsuit helps to increase the proportion of legs. In
addition, it lets women look more capable and experienced. The design of most jumpsuits is
to take the convenience of daily wear into account. Women no longer need to consider if their
top has pulled out from the waist of their pants or shorts. Therefore, the jumpsuit is a really
popular form among Western women garments.

Figure 7. Lantern and Water. By Yue Xu. 2019.

Cup and Plum (Fig. 8)
For the dress titled Cup and Plum, my inspirations are from an ancient Chinese cup,
13
Chinese plum and ancient princess tiara. For the pattern, I used the shape of a Chinese cup for
alcohol in the Shang Dynasty around 1700 to 1027 B.C. I put the big flower on an ancient
tiara on the back of the dress. This princess tiara is from the Qing Dynasty in the ancient
China around 1614 to 1911. On the dress, there are Chinese plums, an example of an Asian
tree species. The ink drawing expressive of plums is inspired by the traditional Chinese
landscape painting. My color palette is also from these inspirations. The classic bronze color
of the collar creates a conflict with the pink color of the plum’s body when a cold color tone
blends with a warm one.
For the form, I combined a simple Western V-neck collar dress with a Chinese cup used
for alcohol in the Shang Dynasty (1700 to 1027 BCE). From the middle of the 15th century,
under the influence of the Italian model, it shows a deeply opened neckline that was the
mainstream among Western women. Western dresses were opened at the neck in a trapezoid
shape (see Figure 9). At the end of the fifteenth century, the V-neck collar became a new
trend in fashion. Open neck designs gave more room for women in the Middle Ages to wear
necklaces and other jewelry. Women’s accessories reached their peak of both design and
production technology. In the Middle Ages, the waist position of the dresses became a higher
waist up to the lower chest and the skirt had a longer hem. This can also be seen in Cup and
Plum. I put the sharp edge of the cup on to sleeves of the dress in order to create a blending
form. The princess tiara enhances the visual impact of the uniqueness in order to create a
longer hem.

14

Figure 8. Cup and Plum. By Yue Xu. 2019.

Figure 9. European trapezoid shape open neck dresses in 1450 to 1500 A.D. European
Women's Fashion in 1450-1500, https://www.hisour.com/european-womens-fashion-in-1450-
1500-32356/.

2. Form and Figure
Lantern Form Series (Figures 10 to 14)
Chinese lanterns are a comprehensive art form made with multiple techniques, multiple
craftsmanship techniques, multiple decorative techniques and a variety of materials. To name
15
a few, there are dragon lights, palace lights, yarn lights, flower blue lights, dragon and
phoenix lights, angular lights, tree floor lights, fireworks lights, mushroom lights, etc. The
shapes are round, square, cylindrical and polygonal. I combined the lantern shape into a knee-
length dress (Figures 10 and 11) since a dress has the longest and most profound influence in
female clothing. European women before the World War II did not wear trousers, instead they
only wear skirts. The origin of this phenomenon was the requirement from the European
national system and the interests of the ruling class. Napoleon authorities signed and issued a
decree prohibiting women from wearing pants. Women who wanted to wear trousers must go
to the police station to obtain relevant certificates for wearing trousers. Women who did not
have trousers would be arrested. However, the lack of labor during World War II made it a
trend for women to work in trousers, which also promoted the improvement of women's
social status.

Figure 10. Lantern Shape Dress Form. By Yue Xu. 2019.

16

Figure 11. Lantern Shape Dress Form II. By Yue Xu. 2019.

In fact, the earliest hoodie styles originated from the hooded robes worn by medieval
European monks. In the 20th century, this sweater style was divided into round neck (see
Figure 12) and hooded style. The hooded style had its own cultural name called hoodie. This
style was first produced by the brand Champion in the 1930s. It was originally a garment
made for workers in the ice factory in New York. It was introduced into the sports team and
became a uniform later. Nowadays, more people see hoodies influenced by hip-hop culture,
which have evolved throughout fashion. I put the lantern shape together with Western hoodie
to create a new lantern shape hoodie form. (Figures 13 and 14) For both the lantern shaped
dress form and the lantern shaped hoodie form, I aim to keep the fluffy feeling of the Chinese
lantern as a unique feature of the new hybrid form.

17

Figure 12. Round Neck Sweater in the 1930s
Vintage Sweaters – 1910s, 1920s, 1930s Pictures
https://vintagedancer.com/1900s/vintage-sweaters-1910s-1920s-1930s-pictures/

Figure 13. Lantern Shape Hoodie Form. By Yue Xu. 2019.
18

Figure 14. Lantern Shape Hoodie Form II. By Yue Xu. 2019.

Porcelain Form Series (Figures 15 to 18)

Porcelain is divided into categories: bowls, cups, plates, pots, cans, basins, bottles, stoves,
boxes etc. Different categories have a huge diversification of usage and shape. The shape
refers to the appearance of the mouth, neck, shoulders, abdomen, bottom, and feet of the
utensil. The Chinese identify not only the categories of porcelain by viewing the shape, but
also distinguish the ages and eras of porcelain by noting these parts of its appearance.
Porcelain is used in the daily of the Chinese up until now. Since the tea culture is very
popular in Asian areas, the teapot is the most common type of porcelain for which can be
seen in the tearoom of the Chinese house. Multitudinous types and shapes of porcelain inspire
me and have given me more space to create new hybrid forms. I combined a porcelain item
from the Yongle Reign (1403-1424) of the Ming Dynasty together with a simple custom fit
dress. The hard feeling of the upper part and the softness hanging down create a suitable
19
feeling of the lower part as well as dynamic contrast. (Figure 15)

Figure 15. Pleasingly Pure and Lustrous. By Yue Xu. 2019.
Porcelain from the Yongle Reign (1403-1424) of the Ming Dynasty

Another vase in Lik Ngai Gallery is one of my favorite shapes of a vase since it is
rounded. When I created this hybridization form (Figure 16), I connected the traditional
Chinese porcelain vase together with the Middle Ages Crinoline. (Figure 17) It first appeared
in 1830. By 1850, the British invented a new type of Crinoline without the use of a horsetail
lining. It was made of baleen, bird feathers, fine iron wire or rattan, and was connected to a
bird cage shape by a string. It was a cage-like skirt. This type of skirt was introduced to
France in 1860. It was preferred by the courts and social elites centered by Empress Eugenie
and quickly became popular, which affected all classes in Western European countries and
even peasant women. This period is also known in history as the Crinoline Era. However,
since Crinoline was difficult to wear (Figure 18), move, and sit up in, as it seriously affected
the function of the human body, it brought disease and malformation to women of the Middle
20
Ages. This trade-off between fashion and health was remarkable in European history.

Figure 16. Vase in Lik Ngai Gallery. By Yue Xu. 2019.

Figure 17. The Middle Ages Crinoline
Petticoat
The Editors of Encyclopaedia Britannica - https://www.britannica.com/topic/petticoat

21

Figure 18. The Middle Ages Dress
B. Enkirch - http://www.historical-costumes.eu/en/01_middle_ages.html

Conclusion
As a Chinese contemporary fashion designer who has been educated in the United States, I
do the hybridization of the Chinese culture with Western garments in order to inform and to
correct the profound ideas behind the Chinese elements to those who love fashion. I want
people to know that the lantern is not only a symbolic item which you can see in the
Chinatown but a bringer of fortune. I oppose the position based in Orientalism – a way of
seeing that imagines, exaggerates and distorts differences and cultures as compare to Europe
and the U.S. I do not want “Asian” to be defined by the ideas of Orientalism. My series of
garments informs other fashion brands in the industry as a way to avoid culture appropriation.
For my final exhibit, I will project 3D images (Figures 19 and 20) to prototype and to test the
garments before production. 3D modeling technology promotes more test on material
experiments, which include a wide range of properties such as color, material type and
content. Digital format of the project increases the durability and sustainability in the fashion
22
industry, which against the current situation of fast fashion. The trend of fast fashion is
destroying our planet since fast fashion brands use synthetic microfibers that are derived from
fossil fuels and will not decay after going to landfill. In the long run, applying 3D modeling
before garments production benefits global society by avoiding pollution crises. Viewing and
sharing 3D designs is a revolutionary way to enable clients to participate at an early stage in
the process of design and merchandising. This reminds me to an old saying usually attributed
to Yves Saint Laurent: “Fashion fades, style is eternal.”
8

8
How Fast Fashion Is Destroying the Planet
Tatiana Schlossberg - https://www.nytimes.com/2019/09/03/books/review/how-fast-fashion-
is-destroying-the-planet.html
23

Figure 19. 3D Modeling - Front. By Yue Xu. 2019.

Figure 20. 3D Modeling – Bottom. By Yue Xu. 2019.

Figure 21. 3D Modeling – Back. By Yue Xu. 2019.

24
References

Chinatown Reversed: The Shanghai International Settlement
Scheong - http://www.throughouthistory.com/?p=1790

Attacks on Party Members
Brian McKnight-Lynn White - https://www.britannica.com/place/China/Attacks-on-party-
members#ref590794

The Cultural Revolution: All You Need to Know About China's Political Convulsion
Tom Phillips - https://www.theguardian.com/world/2016/may/11/the-cultural-revolution-50-
years-on-all-you-need-to-know-about-chinas-political-convulsion

Dolce & Gabbana Sales Shrink in Asia After Racist Ad Backlash
https://www.scmp.com/lifestyle/fashion-beauty/article/3024640/dolce-gabbana-sees-
slowdown-sales-china-after-racist-ad

Before and After the May Fourth Movement: Asia for Educators: Columbia University
http://afe.easia.columbia.edu/special/china_1750_mayfourth.htm

Ancient Chinese Fashion
https://ancientchinafashion.weebly.com/

Sancai: Three-colored Glazed Figures Used in Funerary Rituals During the Tang Dynasty
David Goran - https://www.thevintagenews.com/2017/03/29/sancai-three-colored-glazed-
figures-used-in-funerary-rituals-during-the-tang-dynasty/

How Fast Fashion Is Destroying the Planet
Tatiana Schlossberg - https://www.nytimes.com/2019/09/03/books/review/how-fast-fashion-
is-destroying-the-planet.html

Abstract (if available)

Abstract My thesis project investigates how cross-influences between Eastern and Western culture were and are integrated as well as the intentional and unintentional impacts upon both Chinese and American fashion in the last five decades.

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Asset Metadata

Creator Xu, Yue (author)

Core Title Co-dressing: designing across cultures

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Publication Date 05/07/2020

Defense Date 03/01/2020

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag blended cultures,Communication,exchange of cultural ideas,Fashion,hybridization,OAI-PMH Harvest,stereotypes,trends

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Ellenburg, Jason (committee chair), Burruss, Laurie (committee member), Greiman, April (committee member)

Creator Email angela.sx@outlook.com,yxu268@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-298987

Unique identifier UC11664019

Identifier etd-XuYue-8447.pdf (filename),usctheses-c89-298987 (legacy record id)

Legacy Identifier etd-XuYue-8447.pdf

Dmrecord 298987

Document Type Thesis

Rights Xu, Yue

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA