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- Chinoiserie in fashion refers to the any use of Chinoiserie elements in fashion, especially in American and European fashion. Since the 17th century, Chinese arts and aesthetic were sources of inspiration to European artists, creators, and fashion designers when goods from oriental countries were widely seen for the first time in Western Europe. Western Chinoiserie was also often mixed with other exotic elements which were not all indigenous to China. Throughout its history, Chinoiserie in fashion was sometimes a display of cultural appreciation; but at times, it was also associated with exoticism, Orientalism, cultural appropriation, Western imperialism, and colonialism, and eroticism. The imagining of China was always more fanciful than real. Trade provided products, but even more importantly, the West copied the Oriental land that it had never conquered. It never possessed the dragons, butterflies, or pagodas that it admired and emulated. If it was an unrequited colonialism, the West's passion for China abides today in the continuing aesthetic fascination for that Far East land — Richard Harrison Martin & Harold Koda, Orientalism: Visions of the East in Western Dress (1994), published by the Metropolitan Museum of Art, 18–19 (en)
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- dbr:Jean_Baptiste_Say
- Jean-Baptiste du Halde, French Jesuit Historian (en)
- Laura Fantone quoted Said (en)
- Richard Harrison Martin & Harold Koda (en)
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- Leon Wyczółkowski wearing a dragon robe, 1911 (en)
- Russian actress wearing chinoiserie fashion, 1838 (en)
- Yellow Dragon robe worn by the Emperor of the Qing dynasty, 18th century (en)
- Cape in chinoiserie fashion, likely designed by Jean Patou in 1930 (en)
- Evening dress with Chinese-style floral embroidery by the Callot sisters (en)
- Satin evening dress in Chinese dragon print by Tom Ford for Yves Saint Laurent Rive Gauche, 2004 (en)
- Chinese blue and white porcelain, Ming dynasty, Xuande period (en)
- Aleksander Augustynowicz in Chinoiserie-style dragon robe, 1911 (en)
- Chinese-style fashion in Chinoserie art by François Boucher, 1755 – 1776 (en)
- White and blue printed silk dress by Vera Maxwell, c.1965 (en)
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- Leon Wyczółkowski - Autoportret w chińskim kaftanie.jpg (en)
- Анна Матвеевна Степанова - русская актриса и певица .jpg (en)
- Cape rear - Jean Patou .jpg (en)
- Green Callot Soeurs dress, 1925.jpg (en)
- Aleksander Augustynowicz - Autoportret w stroju mandaryna 1911.jpg (en)
- Vera Maxwell printed silk dress, c1965.jpg (en)
- Emperor's 12-sign semiformal dragon robe, view 1, China, 18th century, silk, gold thread, embroidery - Royal Ontario Museum - DSC04462.JPG (en)
- Chinoiserie with a woman playing a musical instrument MET DP879778.jpg (en)
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- Gardens of Perfect Brightness (en)
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- 248 (xsd:integer)
- 269 (xsd:integer)
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- 16 (xsd:integer)
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- p. 26 (en)
- page 166 (en)
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- Beijing, however, remains a dazzling memory. The China that I had so often interpreted in my designs was exactly as I had imagined it. All I need for my imagine to blend into a place or a landscape is a picture book. … I don't feel any need to go there. I have already dreamt about it so much. (en)
- I confess that the unchanging fashions of the Turks and other Eastern peoples do not attract me. It seems that their fashions tend to preserve their stupid despotism. (en)
- Latent orientalism is an unconscious, untouchable certainty about what the Orient is, static and unanimous, separate, eccentric, backward, silently different, sensual, and passive. It has a tendency towards despotism and away from progress. [...] Its progress and value are judged in comparison to the West, so it is the Other. Many rigorous scholars [...] saw the Orient as a locale requiring Western attention, reconstruction, even redemption. (en)
- The imagining of China was always more fanciful than real. Trade provided products, but even more importantly, the West copied the Oriental land that it had never conquered. It never possessed the dragons, butterflies, or pagodas that it admired and emulated. If it was an unrequited colonialism, the West's passion for China abides today in the continuing aesthetic fascination for that Far East land (en)
- Interest in the political and civic activities of the new China, which is more or less world-wide at this time, led the designers of this page [p.26] and the succeeding one [p.27] to look to that country for inspiration for clothes that would be unique and new and yet fit in with present-day modes and the needs and environments of American women [...] (en)
- As for what is here called Fashion, it has nothing at all in it like what we call so in Europe, where the manner of Dress is subject to many changes (en)
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- Ladies’ Home Journal: The Chinese Summer Dress, published in June 1913: Vol 30, issue 6 (en)
- Orientalism: Visions of the East in Western Dress , published by the Metropolitan Museum of Art (en)
- Local Invisibility, Postcolonial Feminisms Asian American Contemporary Artists in California (en)
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- 100 (xsd:integer)
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- Textiles patterns and motifs, garments, and accessories (en)
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- Chinoiserie in fashion refers to the any use of Chinoiserie elements in fashion, especially in American and European fashion. Since the 17th century, Chinese arts and aesthetic were sources of inspiration to European artists, creators, and fashion designers when goods from oriental countries were widely seen for the first time in Western Europe. Western Chinoiserie was also often mixed with other exotic elements which were not all indigenous to China. (en)
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- Chinoiserie in fashion (en)
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