1

An Exploration on the Cultural Appropriation of Traditional Chinese Fashion

by
Vicki Liang

A THESIS

submitted to

Oregon State University

Honors College

in partial fulfillment of
the requirements for the
degree of

Honors Baccalaureate of Science in Merchandising Management and Apparel Design

(Honors Scholar)

Presented August 19, 2021

Commencement June 2022
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AN ABSTRACT OF THE THESIS OF

Vicki Liang for the degree of Honors Baccalaureate of Science in Merchandising Management and
Apparel Design presented August 19, 2021. Title: An Exploration on the Cultural Appropriation
of Traditional Chinese Fashion.

Abstract approved:_____________________________________________________
Patricia Sakurai

Throughout the course of fashion, much inspiration has been sourced by designers from
ethnic cultures. Chinese fashion specifically has been referenced and reinterpreted by
Western creatives for many years, either by incorporating elements of traditional garments
or presenting them in an inappropriate manner. Such activities have garnered accusations
of cultural appropriation that individuals have disrespected Chinese culture through these
garments. Particularly in recent years, there has been a rise of such claims due to awareness
spread by social media. The frequency of these claims differs between Western and Eastern
cultures, with the former seeing a higher frequency of claims. This mainly appears to be
due to Western society’s focus on holding politically correct attitudes; however it can also
be attributed to the more diverse population of Western countries – specifically the United
States – compared to the more homogenous populations of East Asian countries –
specifically China. This thesis endeavors to explore the question of how clothing itself
speaks upon the convergence of Chinese and American fashion histories and traditions,
cultures, and identities, and in what specific ways. The personal experience of the hybridity
of being a Chinese-American will be examined further through self-designed clothing.

Key Words: Chinese fashion, cultural appropriation, qipao

Corresponding e-mail address: liangv@oregonstate.edu

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An Exploration on the Cultural Appropriation of Traditional Chinese Fashion

by
Vicki Liang

A THESIS

submitted to

Oregon State University

Honors College

in partial fulfillment of
the requirements for the
degree of

Honors Baccalaureate of Science in Merchandising Management and Apparel Design

(Honors Scholar)

Presented August 19, 2021

Commencement June 2022
 5

Honors Baccalaureate of Science in Merchandising Management and Apparel Design project

of Vicki Liang presented on August 19, 2021.

APPROVED:

_____________________________________________________________________
Patricia Sakurai, Mentor, representing Ethnic Studies

_____________________________________________________________________
Marianne Dickson, Committee Member, representing Apparel Design

_____________________________________________________________________
Ann Vong, Committee Member, representing Apparel Design

_____________________________________________________________________
Toni Doolen, Dean, Oregon State University Honors College

I understand that my project will become part of the permanent collection of Oregon State
University, Honors College. My signature below authorizes release of my project to any
reader upon request.

_____________________________________________________________________
Vicki Liang, Author
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Table of Contents
Introduction ..............................................................................................................................9
A Brief History on Orientalism ..............................................................................................9
Case Studies: An Analysis of Cultural Appropriation of Chinese Fashion .....................12
Garment Design .....................................................................................................................24
Conception and Inspiration ...................................................................................................... 24

Design ...................................................................................................................................... 25

Patterns..................................................................................................................................... 29

Construction ............................................................................................................................. 34

Interpretation of the Garments ................................................................................................. 41

Art Installation ......................................................................................................................... 42

Conclusion ..............................................................................................................................45
Works Cited ............................................................................................................................46
Images Cited ............................................................................................................................ 50

Image Index
Figure 1: Google Search of “cheongsam” ............................................................................................... 17

Figure 2: Qipao sold on Amazon ............................................................................................................... 18

Figure 3: One of Keziah Daum’s prom photos ...................................................................................... 20

Figure 4: Original qipao sketches .............................................................................................................. 27

Figure 5: Technical flat of first dress ........................................................................................................ 28

Figure 6: Technical flat of second dress................................................................................................... 29

Figure 7: Collar pattern piece ...................................................................................................................... 30

Figure 8: Dress front pattern piece ............................................................................................................ 31

Figure 9: Dress front shoulder pattern piece ........................................................................................... 32

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Figure 10: Dress back pattern piece .......................................................................................................... 33

Figure 11: Front view of first dress ........................................................................................................... 35

Figure 12: Side view of first dress ............................................................................................................. 36

Figure 13: Back view of first dress ............................................................................................................ 37

Figure 14: Close-up photo of dress details .............................................................................................. 38

Figure 15: Front view of second dress ...................................................................................................... 39

Figure 16: Back view of second dress ...................................................................................................... 40

Figure 17: View of art installation with garments ................................................................................ 43

Figure 18: Alternate view of art installation ........................................................................................... 44

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Introduction

Whenever someone questions me on my personal interests – whether it be an effort to

make small talk or an inquiry of genuine curiosity – the subject of fashion inevitably comes

up. Throughout my life, I remember being fascinated by clothing. During my adolescence, I

loved the aesthetic nature of garments, but as I grew older, I began to be more drawn to the

cultural significance and impact of fashion overall.

Though I appreciated many styles of clothing, there were passing moments when I

realized that I did not ever really consider Chinese fashion, which was strange considering that

I myself am Chinese American. They came whenever I saw certain elements – a glimpse of a

mandarin collar or bright brocade garments – that were so indicative of the culture I belonged

to. I felt a sense of uneasiness and embarrassment, but I often brushed these feelings off.

It wasn’t until 2019 that I heard of a case which fascinated me to no end – musician

Rihanna had been featured on the cover of Harper’s Bazaar China wearing traditional Chinese

garments, and it had garnered both claims of cultural appropriation and votes of high praise.

Interestingly enough, a majority of these responses came from Chinese Americans and Chinese

natives respectively. It left me questioning the entire situation. Whose opinion was right? Is

one required to possess certain credentials, experiences, or genetics in order to reserve the right

of calling out cultural appropriation? With the issue being so prevalent in fashion today, it was

a topic that I felt motivated to investigate more deeply.

As I personally identify as Chinese American, I am focusing solely on the subject of cultural

appropriation of Chinese culture – particularly in the United States – and traditional Chinese

clothing specifically. However, it must be said that even within these parameters, the topic is
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broad, and cannot be acknowledged easily no matter the depth of research. Culture, and

subsequently cultural appropriation, shifts depending on identity and experience, and thus one

conclusion cannot serve as the definite answer. By further exploring this subject via designing

my own garments, I am merging two main facets of my identity – my Chinese cultural

background and my interest in fashion – and examining my own relationship between the two.

A Brief History on Orientalism

Before examining cultural appropriation, one must look at the historical nature in which

traditional culture is intertwined with colonialism and imperialism. Colonialism has long been

a weapon used by Western countries to violently dominate other nations; not only taking what

is considering valuable, but permanently changing the perspective in which the affected

cultures are viewed. In regard to Asian cultures specifically, the term “Orientalism” has been

used to describe the fetishization of those cultures by the West. In his book Orientalism,

Edward Said believes that imperialism is the driving force behind the opposing ideologies and

representations between the East and West. This was done by defining the Orient through

scholarly research, “exotic travels,” and images of Eastern cultures spread to the masses as

novelties (ex. postcards). This process was reinforced by a direct military presence, which

effectively resulted in colonized people being viewed as exotic, passive, or oppressed, and

“fundamentally different from and inferior to those in the West” (Said). Such Orientalist

perspectives varied in their warping of the colonized cultures. The supposed superiority of

Western countries was sometimes established by accusing Eastern cultures as backwards, or

calling its people “unrepentant savages.” On the other hand, Orientalist views sometimes

operated more subtly; an example would be when Orientalist scholars would “discover”
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elements of a group’s culture, which were then presented in such a way that suggested that

actual participants belonging to that group were ignorant of their own rich traditions, and

needed “Western masters” to educate them on their own culture (Niessen et al. 8).

Looking deeper into this chasm between the East and West, Orientalism defined

privilege and authority with masculinity, and essentially masculinity as being Western. Eastern

countries were thus labeled as effeminate and weaker, needing the protection and knowledge

of Western countries. In fashion, an example of this can be traced back to the silk trade. When

early European explorers reported on Chinese court culture and its production of silk, they

found them to be very civilized. Silk itself was a highly prized commodity, and was desired by

both European men and women. However, the luxurious sheen and drape of the fabric was

gradually seen as effeminate, along with the rich opulence of Chinese culture. By the beginning

of the 18th century, silk was no longer considered by Europeans to be an appropriate material

for men’s clothing (Niessen et al 10). Still, this did not deter the West’s fascination with Eastern

countries. In the mid-18th century, Rococo designers were inspired by the imports from China,

Japan, and India, which ranged from porcelain to clothing. Taking traditional motifs and

ornaments, they created an aesthetic style that sought to capture the “mystery” and decadence

of Asia. Called “chinoiserie”, the designers did not attempt to distinguish the countries from

which they took elements. Chinoiserie drew upon the Orientalist views that persisted in 18th

century Britain, which described the country as an exotic, faraway mystery. Dragons and

pagodas were reoccurring motifs, both of which encapsulated the “exoticness” and strangeness

of China. Objects that were made in this style were often inaccurate, having been designed

from imagination rather than the observation of authentic Chinese artifacts (“V&A:

Chinoiserie – an introduction”). While chinoiserie was mainly in fashion during the 18th
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century, it saw a surge in popularity in the 1920s and 1930s, where Art Deco was combined

with Chinese motifs (James). Indeed, the act of taking Asian cultures and diluting it for

aesthetic purposes has persisted in Western history for centuries.

Representing Asian cultures accurately, however, isn’t usually the main objective

when wearing the associated clothing or creating other items. It is about participating in an

alternate, ‘subservient’ society, where one’s Western dominance is omnipresent, yet allowed

to enjoy the exoticism of a foreign culture. Western authority sustains the Orientalist view of

this so-called exoticism, for “...it is instrumental, it is persuasive; it has status, it establishes

canons of taste and value; it is virtually indistinguishable from certain ideas it dignifies as true,

and from traditions, perceptions, and judgments it forms, transmits, reproduces.” (Said 27).

This authority also prevents local cultures from being credited properly for accurate

representation. While Western fashion designers often “...scour the globe for exotic

inspirations, re-working historical and cultural design inspirations, and are hailed as creative

forces, the work of non-western designers is often excluded from the contemporary, their

designs interpreted as culturally rather than individually-based.” (Radclyffe-Thomas and

Radclyffe-Thomas 46). The pattern of cultural appropriation of Asian cultures is the same, no

matter what industry – the opinions and work of Western nations are regarded as more superior

than those within Asian countries, to the degree that creations from the latter are considered to

be less valuable and strictly bound to their countries which the West has labeled as submissive

and ultimately as “Other.”

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Case Studies: An Analysis of Cultural Appropriation of Chinese Fashion

One case study in which cultural appropriation became a prominent point of discussion

surrounds Rihanna and Harper’s Bazaar China, with the musician posing on the magazine’s

August 2019 cover. The photos from the shoot saw Rihanna dressed in luxury garments, with

a traditional Chinese aesthetic being evoked throughout the styling. Upon release of the cover,

speculation rose on whether Rihanna wearing such garments could be considered cultural

appropriation. While some argued that the pieces and styling implemented in the shoot were

inaccurate, others made comparisons to the Kardashian family and their notorious history with

appropriating cultures, saying that there was a double standard when it came to Rihanna

(Hargrove). On the other hand, many noted that unlike the Kardashians’ projects, the cover

was produced by a Chinese team and thus, was valid due to the collaborative aspect and

acknowledgement of local creative talent. Amongst this debate however - which occurred

primarily overseas - there was a much different discussion in China. Comments posted by

Chinese netizens praised the shoot, stating how Rihanna was able to gracefully highlight

Chinese culture, even directly refuting allegations of cultural appropriation (Suen). This

situation gives way to an interesting dynamic. Many of those who claimed that the photoshoot

was appropriating Chinese culture were Asians whom have been racialized in Western

countries where they are considered minorities, whereas much of the praise came from Chinese

natives, who make up the majority in their home country. This difference in cultural

backgrounds becomes an important factor not only in the debate over this photoshoot; this

dynamic arises again in a later situation that is discussed.

To be fair, upon first inspection, the photos from the Harper’s Bazaar China shoot do

come off very “pan-Asian.” In fact, it’s not the first cover that Rihanna has done for the
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publication. In the Bustle article “Rihanna is on the Cover of ‘Harper’s Bazaar China’ – Here

Is Why That Matters”, Maxine Builder discusses an earlier photoshoot in 2015, saying the

styling of it is confusing, with Rihanna’s hairstyle and paper parasol evoking a Japanese geisha,

although the shoot is clearly featured in a Chinese publication. One pose in which Rihanna is

holding a fan, eyes drawn towards the ground is deemed submissive, with Builder even going

as far to say that the shoot pulls from both extremes of the spectrum of Asian women

stereotypes – the “exotic dominatrix or submissive concubine” – with the shoot overall being

an “orientalist mess,” despite receiving a positive response from Western audiences.

Interestingly enough, the article makes little note of those who criticized the shoot, and nothing

on the reactions of Chinese audiences. To conclude, Builder claims that the “problematic”

styling may be justified on relieving some of the racial tension towards foreigners, especially

those with darker skin.

This might all ring true to the untrained eye. However according to Tumblr user

@cfensi, whose blog revolves around Chinese culture, the elements featured in the shoot are

not only intentional and specific to the style of the shoot’s photographer Chen Man, but can be

traced back to Chinese history. Firstly, the hairstyle that was mentioned in the Bustle article

takes inspiration mainly from Peking opera. While Rihanna’s bun is a culturally universal

hairstyle, the centered bangs that were featured were created by renowned Peking opera

performer Mei Lanfang, who himself took inspiration from historical hairstyles. The hairpieces

that are included are called diancui, which are traditional jewelry made with bird feathers and

are used to decorated headdresses found in Peking opera costumes. In addition, @cfensi notes

that the silver jewelry often found in Chen Man’s work come from the ethnic groups of

Guizhou and Yunnan provinces. The hand-held fans that are another point of contention
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lending to the “pan-Asian” feeling of the shoot were actually introduced by Japan to China as

a tribute in 988 AD, and have been culturally relevant in China ever since. As for the paper

umbrellas, the exact invention date is unknown, but they were commonly found during the

Ming dynasty. Based on @cfensi’s analysis, it seems that the Harper’s Bazaar China

photoshoot did well in incorporating traditional Chinese elements in their Chinese publication.

So if the featured clothing is correct, and the production was created by Chinese

creatives, does that mean such images are exempt from being labeled as cultural appropriation?

Perhaps. The Rihanna photoshoot is a work of cultural acknowledgement, crafted by those

from the respective culture. However, cultural appropriation hinges on people’s ties to a

particular culture, and their experiences in carrying that culture as a part of their existence. In

many cases where cultural appropriation is being deliberated, such situations are affected not

only by the accuracy of the culture portrayed, but also by the lens from which they are viewed.

Another example showcases this further complexity, which is described in Dress Codes: How

the Laws of Fashion Made History by Richard Thompson Ford. In 2018, high school student

Keziah Daum posted prom pictures on Twitter of herself and her entourage. In the photos,

Daum was wearing a traditional Chinese qipao, which sparked a range of responses online.

Replies from Asian American commenters varied in indignation. Twitter user Jeremy Lam had

replied “My culture is NOT your goddamn prom dress,” which was followed by “I’m proud

of my culture…For it to simply to be subject to American consumerism and cater to a white

audience, is parallel to colonial ideology.” (Ford 339).

In the same tone as the Rihanna case, Daum’s qipao prompted a more complimentary

reception in China. One user said “As a Chinese I really like your dress. And I think it’s kind

of a way to show respect to our culture,” with another user suggesting that Daum try out Hanfu,
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another form of traditional Chinese clothing. Hong Kong cultural critic Zhou Yijun described

the very notion of the dress appropriating Chinese culture as “ridiculous,” saying that “From a

perspective of a Chinese person, if a foreign woman wears a qipao and thinks she looks pretty,

then why shouldn’t she wear it?” As for Daum herself, she clarified that she did not mean to

generate such a response online, and conceded that the issue of cultural appropriation “is an

important discussion we need to have,” although she stated that she did not regret her decision

and would wear the qipao again (Ford 339).

According to Ford, fashion is constantly creating cultural hybrids, as the form “grows

and evolves from popular cultural and commercial practices, relatively unconstrained by the

type of tradition-bound cultural institutions that control other art forms, such as theater, dance,

literature, and the visual arts.” In fact, Ford states that the appearance of such hybrids have

become more prolific in recent times, as cultural identities and traditions have become more

subject to questioning and reinterpretation.

The qipao or cheongsam – as it is known in Mandarin and Cantonese respectively – is

an example of one such hybrid. Created not from strictly Chinese means, the dress was adapted

from changshan, a men’s long robe which itself was based upon a Manchu garment called

magua (Lin and Khuen 13). The qipao was a mark of liberation for Chinese women, as it was

first donned in 1912 by female students from Peking University as a pitch for gender equality.

The dress gained popularity in late 1920s Shanghai, an influential city for fashion at the time.

The qipao eventually spread to Taiwan, Hong Kong, and Singapore, where the garment went

through more developments within each of the countries. The dress began being influenced by

Western fashion when Chinese women started styling qipaos with high heeled pumps,

stockings, and marcelled waves (Ho, 2013).

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Due to its hybrid nature, cultural commentator Anna Chen declared that “The current

outcry [regarding Daum’s dress] could be compared to taking offence because someone in

Asia wore a tuxedo.” Another cultural fashion hybrid, the tuxedo combines the Western

element of a sporty short jacket with a cummerbund, which was first found in South Asia and

adopted by British soldiers in colonial India. By doing so, the British appropriated traditional

clothing to “add individuality and panache to their wardrobe.” (Ford 339). However, to

compare the tuxedo to the qipao as similar to this situation would be to disregard the

development of both garments since their creations. While the tuxedo has become a decidedly

Western garment with its tailored and structured silhouette, the qipao remains firmly Asian. In

fact, it is likely the most recognizable Chinese garment in modern times, due to its mandarin

collar and frog closures on the bodice, both of which are well known facets of Chinese fashion.

The Western influence that has spread on a global scale means that a tuxedo would not cause

complaints of cultural appropriation most anywhere, whereas a qipao – which is linked to

ethnicities that are the minority in many Western countries – would and has prompted much

debate. In fact, when one types the word “cheongsam” into the Google search bar, one of the

top suggestions that appear is “cheongsam cultural appropriation.” (Figure 1).

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Figure 1: Google Search of "cheongsam"

Even after analyzing these cases in which cultural appropriation was claimed, I

personally find it difficult to determine whether they actually committed the act. Yet this very

debate brings the subjectivity of such a question into clearer light; how such discussions

depend on context and only result in deeper thought and conversation, rather than a set answer.

From my own judgement, there are key differences that determine the presence of

cultural appropriation. The two situations do bear similarities – notably in terms of reactions

from Asian Americans and Chinese mainlanders. The Rihanna photoshoot in particular,

featured garments that were mostly conjured from ancient historical fashion. Although ancient

styles are reviving in popularity with Chinese citizens (Zhuang), they are removed enough that

they do not have much interaction or influence with Chinese diaspora. With Daum’s qipao,

however, the garment in question still has strong cultural ties with the former and the latter.
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As previously discussed, it is hard to tell whether the garments worn by Rihanna are

accurate or not, even to those who are Asian. To this I speak from personal experience, for

without further analysis, at first glance I would have assumed the Harper’s Bazaar China

photoshoot to be appropriating Chinese fashion. And though I have had more interactions with

qipaos, I cannot say I am an expert on the accuracy of its historical accuracy either. However,

it is because those aforementioned interactions are within my cultural experience and formed

by my Chinese American upbringing, I am more confident with determining whether Daum’s

prom dress is cultural appropriation. These interactions stem from my youth up until now,

where I have seen the designs of qipaos diluted in significance, reinterpreted into garments

that are more scantily clad than what is traditionally called for, and marketed as lingerie or

worse, Asian cosplay (Figure 2), thus reinforcing Orientalism and the fetishization of Chinese

women.

Figure 2: Qipao sold on Amazon

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In addition, unlike Daum, who is Caucasian and wore a qipao more as a fashion

statement and less of an ode to Chinese culture, I cannot wear traditional Chinese garments

without the fear of being stereotyped and labeled as an ‘other.’ Therefore, while I deem the

photoshoot of Rihanna to be respectfully done, I personally consider Daum’s prom dress to be

leaning towards cultural appropriation.

Still, I understand the importance of the proliferation and spread of fashion. In the

article, “Should Fashion Be Politically Correct?”, fashion critic Vanessa Friedman delineates

the vital roles that controversial sartorial choices play. “Often the best fashion is about

transgression. It challenges convention. At its most basic level, that’s how we got women in

pants and in miniskirts, all of which horrified plenty of viewers back in the day.” She states

that fashion is a tool which can be used to force certain issues into conversation. Indeed, upon

reading Friedman’s article, I realized it would be hypocritical of me to highlight a controversial

wearer of a qipao so heavily when the very garment itself was worn in an effort to advance

gender equality and was transgressive in its own right (not to mention that I wouldn’t have a

topic for my thesis).

But if not wielded properly, what are the results of these fashion “transgressions?” Here

lies yet another key difference in my diagnosis: the presentation. Rihanna’s photoshoot was

done with Chinese culture in close regard, as expected with Chinese creative talent at the helm.

Research was also involved in Daum’s decision to wear a qipao, who had bought the dress

from a vintage store, and discovered its symbolic nature for female empowerment when she

looked into its history after the purchase. However, in the photos that she posted, Daum can be

seen with her friends holding up her palms together, a gesture that is usually done to mock

Asians (Figure 3). The pose was not done with malicious or racist intent, as it was popularized
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by Ethan Klein, a YouTuber who coined the phrase ‘Papa Bless’, which inspired the pose

(Burke).

Figure 3: One of Keziah Daum's prom photos

It is here where the difference between the Harper’s Bazaar China shoot and the prom

dress situation is shown; the former which took many cultural details into its stylistic

consideration, and the latter which failed to take into account what that particular pose might

mean when paired with a traditional Chinese garment. The result of these two cases showcase

what people like to call “cultural appreciation” versus cultural appropriation.

One might say I am being too harsh in this situation – after all, Daum did not mean to

perpetuate racist stereotypes with her dress nor her pose – but I find it hard to be lenient, when

she as a white individual is able to enjoy Chinese fashion without having those stereotypes

forced upon her, whereas I am subjected to them no matter what I wear. In 2018, I was studying

abroad in Lyon, France, and was walking down the street with my fellow classmates when a

man stopped, put his hands in that same palm-to-palm pose and bowed, saying “nihao” in the

process. I was wearing a plain black T-shirt and denim shorts. It was a reminder that my race

alone is still something that identifies me an outlier by others, regardless of my clothing.

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Analyzing both of these situations does raise an interesting question – exactly who is qualified

to deem something as being cultural appropriation? Often, the role seems best fitted to those

who identify with the culture at hand. However, this identification can be an unclear subject

within itself. How closely must one be connected to that culture, in order to claim a proper

sense of identity with it?

In both of the situations, there are two main commentators – those who are native to

China, and those who identify as Chinese Americans. The two groups play an interesting

dynamic; while the former mostly praised the wearer in question, the latter group

overwhelmingly accused them of cultural appropriation. The answer to why this dynamic

exists can be found in each of the groups’ respective countries.

In China, 56 ethnic groups are officially recognized, with the largest group, the Han,

making up 92 percent of the country’s total population, which is approximately 1.4 billion as

of 2021. Many of the elements from the Han civilization are considered to be defining traits of

“Chinese culture” (“LibGuides: Chinese Ethnic Groups: Overview Statistics”). Compared to

the United States, Asians make up 7 percent of the total population. Chinese Americans are

the largest ethnic group in that statistic, with 5.4 million people overall (Budiman and Ruiz).

When taking into consideration the total population of the US at approximately 331 million,

this means that Chinese Americans account for roughly 1.4 percent of the total population.

With these numbers in mind, it becomes clearer as to why the aforementioned dynamic

came to be. The population of China is very homogenous, and especially when much of the

dominating culture comes from its largest ethnic group, the result is less interaction with those

who are non-Chinese and less possibilities of witnessing the appropriation of Chinese culture,

and most likely, one’s own culture. In the United States however, where the population is made
 22

up of multiple ethnic groups and races, the chances of people interacting with other cultures

are high, and the possibility of people appropriating another culture rises significantly.

This explains why Chinese Americans would be more likely to consider the issue of

cultural appropriation than Chinese natives, but it does not exactly answer if one group is more

authorized than the other to do so. It is a question that applies to me directly – am I rightfully

qualified to give criticism, along with every other Chinese American whom have also been

separated from their origin country? Compared to those who grew up and live in China, our

judgement may seem illegitimate due to our Western-influenced backgrounds.

The discussion of cultural appropriation hinges on people’s ties to a particular culture,

and their experiences in carrying that culture as a part of their existence. In many cases where

cultural appropriation is being deliberated, such situations are affected not only by the accuracy

of the culture portrayed, but also by the lens from which they are viewed. Simply because one

is removed from the main culture does not mean they do not have a claim or a “correct” lens

on whether the issue of cultural appropriation should be called into question. The nature of

diaspora means that cultural traditions and thinking are carried long after the original departure

from that country. In my analysis of the two cases, I recalled my personal experiences growing

up, an act of implementing my own “lens” to determine if cultural appropriation was at hand.

Of course, my perspective alone is not the final determination. My judgement that the prom

dress situation does qualify as cultural appropriation does not invalidate the praise granted by

Chinese natives. Nor does it discredit those who feel that Rihanna did appropriate Chinese

clothing. There is no complete answer to these situations, for there are so many individuals

involved in the discussion whose backgrounds may be valid on several levels. But each time

people are driven to have conversations about important issues concerning fashion, identity,
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and culture, they become more knowledgeable. As Vanessa Friedman says in her article, “…

each time, there was protest. And each time, the clothes moved the needle of understanding a

little bit.”
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Garment Design

Conception and Inspiration

When approaching the design part of my thesis, I had known from the beginning that I wanted

to create a qipao, as it is the garment from Chinese culture that resonated the most with me.

The qipao has changed dramatically since it was first worn by the female students at

Peking University. Once bearing a looser form, qipaos nowadays are associated with a more

form-fitting silhouette with slits along the sides of the dress. All qipaos however have frog

closures and a high mandarin collar, with the latter often being regarded as the most important

part of the dress.

Though the qipao has a classic look, it is has undergone changes to keep up with

modern trends. Such changes include swapping the frog closures for a zipper, integrating

different types of sleeves (ex. puffed), or having an overall looser shape to make it more

suitable for everyday wear.

During my search for inspiration, I explored different forms of media, which ranged

from movies, e-commerce stores, and social media platforms. One of my first sources of

inspiration was the film In the Mood for Love directed by Wong Kar-Wei. Although released

in 2000, the plotline is set in 1960s Hong Kong, and features beautifully fitted qipaos from that

period (Okwodu). That was the only “historical” reference that I looked at; as I was curious

about how people were translating the qipao in their own terms, I mostly searched for modern

interpretations. A source that I found compelling was the Instagram account

@cheongsam_connect, which posts photos of both classic and contemporary versions of the

qipao. I also found a couple of brands that offered contemporary clothing with traditional

Chinese elements; the first is a brand called Mukzin and the other is the eponymous label
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Samuel Gui Yang. While Mukzin takes a more casual approach to their ready-to-wear fashion

with colorful designs and quirky prints, Samuel Gui Yang offers tailored pieces that

incorporate both Chinese and Western design elements from historic and contemporary

references. Although these brands don’t focus on qipaos in particular, they gave me inspiration

for how to merge modern details with traditional Chinese fashion. For more qipao-specific

content, I decided to look on XiaoHongShu or Little Red Book, a popular Chinese shopping

app where users can share posts about fashion, art, and other lifestyle interests (Achim). When

I searched for qipaos on the app, I was met with thousands of photos featuring traditional and

modern interpretations of the dress, as well as videos on how to style both.

After reviewing these sources, I decided to take a similar approach and create more

modern pieces fused with traditional Chinese design details. My original plan was to create a

collection featuring several garments, but by the end of my brainstorming process, I had settled

upon making only two dresses instead – one that was my own interpretation of a qipao that I

could potentially wear in everyday life, and which represented my position as a Chinese

American in modern society. The other dress I wanted to act more as a metaphorical piece

rather than an actual wearable garment – it would represent the feelings that I felt growing up;

the emotions that I had towards Chinese clothing and my own culture in general. When

presented together, they would represent my personal understanding of traditional Chinese

fashion, and how it has evolved throughout my life.

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Designs

Having worn a traditional qipao before, I wanted to create a dress that was more comfortable

to wear for daily life. Though there are modern versions of qipaos that feature a looser

silhouette, I still wanted to create something was more closer to the traditional form-fitting

shape. For the design of the first dress, I went with a sheath silhouette which followed

traditional qipao design, but which had more room especially in the skirt area to allow for

easier movement. To modernize the dress further, I shortened the skirt part and added a back

zipper which would give me quicker access into the dress. It was also a sturdier option

compared to frog closures, which had a tendency to open when one was wearing the garment.

I didn’t want to leave off the closures completely however, so I kept them as decoration on the

front of the qipao. I kept the collar as that is the essential part of any qipao; making the

adjustment of slightly shortening it, as a taller collar can dig into the neck and be quite

uncomfortable. For the sleeves, I integrated those into the front and back of the dress, so they

would be part of the one piece that also included the bodice and the skirt. For the first dress, I

went to get fabric from Mill End Store, which is an independent fabric store in Milwaukie,

Oregon, and got some black brocade with traditional Chinese motifs.

I had a bit more trouble coming up with the design of the second qipao. As this dress

was meant be more of a metaphor for what I felt in the past and was inextricably linked to how

I was in the present, I ultimately ended up creating a design that was an echo of the first dress.

This design however featured a looser silhouette, and no functioning closure, which would

show that while that particular part of my life is still connected to how I feel now, I cannot

access it now in order to change what I had felt in the past. For the fabric, I went with some
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material that I had bought from Beekman Place Antique Mall in Corvallis, Oregon. The

material was actually curtains made out of white chiffon with floral embroidery.

Figure 4: Original qipao sketches

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Figure 5: Technical flat of first dress

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Figure 6: Technical flat of second dress

Patterns

Originally, I had wanted to use draping to create the pattern for the dresses. However, I realized

that it would be difficult; since I was meaning to wear one of the qipaos personally, I could not

use a dress form that was a different size than my own. Instead, I decided to modify a pattern

that I found online, which was meant to produce a more traditional qipao (“Free Qipao Dress

Pattern”). I first combined the bodice and skirt pieces, which was what the maker of the pattern

had originally intended, but I took out the front side darts and added that to the center darts

instead. Since this pattern had working frog closures which I didn’t want, I added an inch of

material to the front shoulder piece so that I could attach it to the main bodice. For the sleeves,
 30

I honestly didn’t have a set plan for how to create them and just extended the shoulder to

incorporate them into the bodice. For the back piece, I split the original pattern in half, and

added some space for the invisible zipper. I decided to forgo the bias tape that was meant for

the original pattern, as the faux frog closure piece didn’t need it and for the collar, I could

instead sew two pieces for each side and flip them inside out, which would cover the raw edges.

I shortened the front and back pieces, as I wanted the dress to be shorter in general. Finally, I

added seam allowances of 5/8” to all the pieces except for the collar, which had a seam

allowance of ½”, and the dress hem, which was 1 inch. Since the second dress was supposed

to be similar to the first dress, the only modification I made was to take out the darts to create

the looser silhouette that I wanted.

Figure 7: Collar pattern piece

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Figure 8: Dress front pattern piece

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Figure 9: Dress front shoulder pattern piece

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Figure 10: Dress back pattern piece

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Construction

The construction of the two dresses was the same, with the exception of the darts on the first

dress. After cutting out the pieces, I first sewed the darts in place on the front piece, and then

to that I attached the front shoulder piece. Then, I sewed the darts on the two back pieces,

sewed those pieces together, and attached the zipper. I put together the front and back of the

dress by sewing the shoulders, and then I worked on the collar. The collar was by far the most

challenging part of both dresses; I first had to add interfacing to the first piece of each side in

order to stiffen the collar. After that I sewed the corresponding piece with right sides together

leaving the bottom open and flipped it inside out. I basted the bottom of the two sides of the

collar, so it would be easier to attach it to the bodice. After the collar was attached, I sewed the

sides of the dress. Then I hemmed the sleeves and the dress itself. Finally, I finished off by

hand sewing the frog closures on the front seam, as well as a hook-and-eye closure at the back

of the collar.

Some issues I had during this process mainly concerned the second dress, simply due

to the material. Typically, qipaos are made with woven fabrics that are sturdier, such as

jacquards or brocades, the latter of which I had used for the first dress. With the chiffon, the

material created the airy loose silhouette that I wanted, but it was fairly flimsy to work with,

and often snagged while sewing due to the nature of the fabric and its existing embroidery. In

addition, the collar did not come out as stiff as I wanted it to be, even with the attachment of

interfacing.

I did like how the first dress came out, and only wish that I had made the dress smaller

overall for a better fit. If I had to make it again, I would try to make it with an A-line silhouette

for a more flowy effect.

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Figure 11: Front view of first dress

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Figure 12: Side view of first dress

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Figure 13: Back view of first dress

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 39

Figure 14: Close-up photo of dress details

Figure 15: Front view of second dress

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Figure 16: Back view of second dress

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Interpretation of the Garments

The first dress, as explained earlier, represented my position as a Chinese American. It

combines both modern, decidedly Western design elements with those of traditional Chinese

fashion. The black fabric that I chose also represents the rebellion against traditional Chinese

beliefs. Like many cultures, black is often associated with evil and darkness in Chinese culture

(Bromley). However, it is regarded as a highly modern color (St. Clair 263). It is also a color

that I wear on a daily basis; anyone that has seen the wall of black clothing in my wardrobe

will know that it is my favorite. In addition, by choosing to use brocade specifically, I reject

those views within Orientalism which imply that such rich materials are effeminate and inferior

to those used in Western clothing. By incorporating this color and fabric into this traditional

Chinese garment, I am integrating different parts of my identity into this dress, which help me

to embrace the sartorial aspect of my culture.

The second dress represents the aforementioned emotions that I felt in my youth; a

sense of embarrassment, discomfort, and confusion when viewing Chinese fashion. It is only

a wisp of what I understand now, as indicated by the light, airy fabric. Although I wish I could

go back and let myself accept this part of my identity earlier – even if only to enjoy Chinese

fashion earlier – I cannot go back and change my feelings on the matter, as those thoughts only

helped to form what I feel today. Regarding the color choice, white in Chinese culture is

typically worn for mourning, so in a way it fits; while I may feel pain and regret towards how

I viewed my own culture for many years, it is fortunately tied to a more developed sense of

identity that I have embraced.

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Art Installation

Throughout the brainstorming process, I had also wanted to create or add something that would

clarify the metaphor behind these two dresses. I came up with the idea of connecting the two

with red thread and enhancing its visibility with yarn, thus rendering the garments as more of

an art installation, rather than an actually wearable set. By physically showing this “link”, I am

portraying how these two selves are entangled, and cannot be separated when perceiving my

culture. The combination of both red thread and red yarn represents the different aspects that

has impacted the lens through which I view my culture: being born and growing up in the US,

my position as a woman, the Orientalist perspectives that persist even today. In the photos, one

can see that the two dresses are connected in several places by the thread and yarn. This shows

how I cannot disengage from my culture easily – it would be a process that would be both

difficult and painful. Yet the fact that the black qipao exists is proof that I have come far in

understanding myself and how I relate to my culture, it is evidence that I have embraced my

heritage in my own way.

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Figure 17: View of art installation with garments

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Figure 18: Alternate view of art installation

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Conclusion

Throughout my research into how Chinese fashion has been impacted by Orientalism and

analyzing how that has affected modern life situations, I became more sure of my own

relationship with Chinese culture. As culture itself is so subjective, it was clear that my

experience as a Chinese American did not invalidate my thoughts on the cultural appropriation

of Chinese fashion (as compared to someone who is native to China). Yet there were times

throughout the design and construction process where I questioned myself on whether I was

allowed to do this, to make these alterations to such a tradition design, to present it in such a

way. After seeing so many poor renditions, it seemed almost blasphemous to think about it at

all. However, I had to remind myself, that my own personal experience with traditional Chinese

fashion has been shaped primarily by my position as a Chinese American. There are reasons

why I would be hesitant to approach this; Asian culture has not exactly been respected in

Western countries. But upon seeing the modern qipaos from contemporary Chinese creatives

and brands, I felt compelled to combine two crucial parts of my identity: my role as a Chinese

American, and my love for fashion and design. By creating my own interpretation of a qipao

and presenting it as showcased, I was able to not only learn more about Chinese culture, but

also reclaim it. And I must remember, that as traditional it may be, the qipao was born with

equal parts of exploration and risk. In the future, I hope to delve deeper and create more

versions of traditional Chinese clothing that can push the boundaries of cultural thinking like

the original qipao did – even if it is only my own.

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