East Meets West: Oriental Influence

East Meets West: Oriental Influence on Western Fashion

Clothing is rarely recognized as a political force, yet fashion and design may be one of the most internationally regarded forms of trade, communication, and influence among countries worldwide. Perhaps more than any other form of shared knowledge, fashion permeates the boundaries of nations to influence the styles of people everywhere. According to an official defitnion, "fashion consists of a current (constantly changing) trend, favoured for frivolous rather than practical, logical, or intellectual reasons." (Kobres et al.) However accurate this statement may be in some ways, it does not at all encompass the vast array of cultural and social implications that a mere mention of the word "fashion" will entail. "So pervasive has the role of the imagined and real East been in Western culture that Orientalism in fashion is inescapable. The subject raises provocative issues, including many of gender, class, colonialism, and racism that seem to be more political than sartorial. But there is never a means of separating the issues of politics and dress." (Martin) The phenomena of fashion is a social aspect of clothing, aesthetics, art, and attitude, occurring in the intersections of a diverse range of cultural existence. Fashion is an expression of personal style; it is an expression of the individual's emotions, beliefs, and personality. In addition to identifying one's separateness, it can also create community and interpersonal bonds. Fashion can identify members of a social or economic group, and can draw those with similar personalities to one another.

Fashion within a particular region identifies the culture of that area. The life experiences that each person has within a geographically enclosed area are connected in a way that outsiders may never grasp. The climate, the social structure, and all other elements of life create elements in fashion. Fashion is life reflecting art to the highest degree, for it is the art that each person takes into his or her identity, it is the art that becomes the self and the self that becomes art. Those people with status in a particular culture have the ability to start and end fashion trends and styles as those who respect them will model their own aesthetic style after said people. Peers within each culture share a special bond through fashions that are popular among those of the same age group, social class, or special interest groups. Those who stray outside of the predefined fashion circles may be labeled a "slave to fashion" (Kobres et al.) as they try to identify with a dissimilar group of people. However, there is another possible outcome. Perhaps straying from fashion norms can start new styles; perhaps grabbing ideas for clothing, accessories, and personal appearance can spread the influence of a region to other areas in a positive growth cycle.

Fashion evolves as quickly as any other fast-paced element of society, never becoming stagnant. Some people are critical of the movement and growth of the industry, claiming it encourages people to become materialistic, rushing at every opportunity to spend more and more money on unnecessary items. However, this change and growth is precisely what makes fashion a true form of human expression. Diversity, experimentation, expression, and metamorphosis are what define human culture and fashion culture. As cultures touch, fashions exchange and spread. The in-look for the young rebels are eventually passed on to the older generations. The styles of one region are sent to another. "Young people, enjoy the diversity that changing fashion can apparently provide, seeing the constant change as a way to satisfy their desire to experience 'new' and 'interesting' things. Note too though that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of Mainland China." (Kobres et al.)

This is just one example of a common thread in world designs. The Orient has been a wellspring of fashion influence for both the Eastern and Western world since ancient times. "In the past, new discoveries and lesser-known parts of the world could provide an impetus to change fashions based on the exotic: Europe in the eighteenth or nineteenth centuries, for example, might favour things Turkish at one time, things Chinese at another, and things Japanese at a third."

Kobres et al.) The eighteenth century is not unique for having Oriental trends underlying fashion chic throughout the world. This was just one time period in a long history of Eastern fashions influencing the designs of the West.

Orientalism is the study of the East (the Orient) by Westerners. This study inevitably becomes an absorption of cultural elements.

The adoption of foreign styles has deep-running effects on both the culture of origin and the culture which absorbs the fashion. The East and Oriental design elements are striking to Westerners, representing the exotic and strange. Yet once these elements are accepted as part of the fashions of the West, it opens up an entirely new level of understanding between cultures. "These attractive visions of Non-western world reduces the "traditional" from being frightening "Other" to a mere fashion statement within the contemporary Orientalist discourse." (Solen) There are some objections to this trend, of course, from those who find the incorporation of traditional design elements from Asia, many of which have sacred or religious origins, into a culture which has no knowledge of the significance or importance of these images to be offensive or denigrating to the Orient. However, appreciating the beauty of a design, and bringing elements of ancient traditions into modern living might be a deep enough appreciation in and of itself to avoid being disrespectful. Asian styles which are an integrated part of Western fashions become removed from their origins and may be seen as an oddity or exotic specialty. Originally, these elements would have been natural, but upon reinterpretation they may be anything from natural to supernatural, prehistoric to futuristic. Fashion elements which are imported from the Orient into Western culture become something very different then they are when evaluated within the original context. A kimono worn by an American simply does not have the same artistic message as a kimono worn by a Japanese woman, yet both can appreciate and promote the beauty of this style. True fashion is not bound by any definition; boundaryless fashion benefits the world.

The professional Fashion designers that create Japanese styles for the world work for the culturally elite and socially advanced patrons that crave new styles and cutting edge status symbols. In ancient times, the most elegant of fashions were designed only for royalty and members of the court, not only in the Orient, but also across the world. However, designs for less-than-royalty wear have also made their way into the most fashionable and fancy designs of later time periods. Peasant or layman clothing styles from past centuries are an exotic commodity in fashion today, especially those styles worn by the "exotic" peoples of different cultures. Likewise, oriental fashions which were once reserved for only the mot elite of society are now designed for and marketed toward the common person that buys clothing at the mall or department store. Clothing based on the designs of that which was once used for hard-labor wear is now incorporated into elegant formal wear; what was once formal is now a part of everyday clothing. Time passing and cultural boundary crossing can completely transform the purpose and message of a clothing piece

Let us take a look at some of the historical fashion designs of Japan, one of the oriental countries with the most influence on Western styles throughout many time periods, including today. Everyday, ceremonial, and elite historical designs all influence today's fashion.

Everyday" Japanese dress for males and females, 4th-6th centuries:

Clothing was revolutionized in Japan when designs first emerged that utilized sewn fabrics, as opposed to simple garments without stitching of any kind. This was during the days of the Yamato court political structure emergence, in the fourth century Japan. The sewing of garments is of course an incredibly monumental moment in fashion history, and without the historical occurrence of such an idea, fashion today would certainly have little resemblance to the reality we know. The styles for both men and women were similar, but distinctive, assuring a sense of belonging throughout the community while defining the sex role differences. The top of the ensemble was designed rather androgynously with only slight variation between the male and female counterparts; the sleeves were tight and straight, and the hem of the shirt extended below the waist in a form-fittingly simple manner. The men wore "hakama" ("Japanese Dress in Former Times...") trousers, which fit loosely and had ties to bind them to the legs below the knees. The pleated simple skirts worn by Japanese women during this era were known as "mo" ("Japanese Dress in Former Times...") and extended to the ground. The floor-length pleated skirt has emerged throughout time as both a conservative and stylish alternative to straight-pressed fabric, and can be found among oriental-inspired professional Western styles today. Of course, the much shorter pleated skirt we now associate with modern Japanese school girls is also a chic look, and the carrying over of this simple design into a popular and often fetish-linked fashion for Western girls of modern times is an important note of timelessness.

Court" Fashion for Japanese Males, Asuka Period (593-710):

Eastern influence is not reserved for Westerners alone, as one can see in Asuka and Nara period clothing designs from Japan. Chinese influence was strong during this time period for clothing styles in Japan between 593 to 794 AD. Buddhism and Chinese culture design was popularized by the imperial court members that wore clothing of this kind. The hakama trousers remained intact, but without the binding ties below the knee that earlier periods had emphasized. The upper garment of this period, the "ho" ("Japanese Dress in Former Times...") was less form fitting than previous designs, sporting loose-fitting sleeves that allowed the wearer to clasp hands together completely engulfed in the fabric. This covered hand fabric enclosure style would be all the rage throughout Europe many centuries later, when proper ladies would warm their hands within the fuzzy confines of the stole accessory, which are still seen occasionally today in retro-fashion chic.

Japanese "Soukutai" Ceremonial Court Dress for Males, Heian period (794-1185):

Japanese Ceremonial Court Dress for Females, Heian period and Kamakura period (1185-1333):

The Heian period in Japanese culture was more complicated fashion-wise. The world of fashion designs was growing more diverse, and for court apparel alone there were now three categories of clothing ensemble variations. The first of these categories was Special Ceremony dress, which was the clothing worn to special occasions at court. The second category was Formal Dress which was worn to imperial court. Finally, there was the ordinary clothing worn on a daily basis in court. The Formal Dress style was called "sokutai" ("Japanese Dress in Former Times"). For women, the clothing style was particularly cumbersome and dressing was a lengthy progress, as the "junihitoe" ("Japanese Dress in Former Times") apparel consisted of twelve individual layers of formal clothing. Both male and female fashions for this period share the "ho" ("Japanese Dress in Former Times") with extremely long, flowing exaggerated sleeves, the style of which would be mirrored by Western-style cloaks with very open and draping arm coverings. The male and female styles also both had the "hakama" visible under layer of clothing on the bottom half. The female outfit made use of a "karaginu" ("Japanese Dress in Former Times") shawl, an elegant timeless piece that has been utilized in fashion design throughout the world. This bulky layered style would be mirrored in many other fashions, such as the corset, petticoat, bustle, outer shawl, etc. ensemble of Western women's clothing of future periods.

Japanese Samurai "Kariginu" Dress for males, Kamakura period and Muromachi period (1333-1568):

Japanese Samurai Winter Court Dress, Muromachi period and Azuchi-Momoyama period (1568-1600):

Warrior clothing styles from Japanese Samurai have been influential in modern design, especially drawing from the popularity of the Samurai image in popular media such as movies and television in the West. During the Kamakura and Muromachi periods between 1185 and 1568, the clothing of the Samurai warrior class remained relatively consistent. Formal occasions called for the "sokutai" ("Japanese Dress in Former Times") outfit which was elaborate and ornate in comparison to the everyday uniform. Ordinary Samurai clothing was "kariginu," which comprised of a hitatare top, with loose-fitting sleeves, and hakama pants, also loose-fitting.

Japanese Dress in Former Times"). This style was based on the fashions of Japanese hunters. Samurai class women also had several types of outfits that were worn. Everyday clothing for these women was made of quilted silks in the form of "kosode," and while these were the less formal styles for Samurai ladies, the design actually bears a striking resemblance to oriental formal wear that is worn to special occasions in Japan and abroad today. "Uchikaka" or "kaidori" were the more colorful formal clothing choice for warrior-class women during this period.

Japanese "Kamishimo" Samurai Court Dress and Everyday Dress, Azuchi- Momoyama period and Edo period (1600-1868):

Japanese Formal dress of married women, Edo period:

The Edo period in Japan was the beginning of several more Japanese styles that remain popularized by Western culture fashions for centuries. The "Kamishimo" was worn by both males and females of the Samurai warrior class during special occasions and attending shogun. This outfit featured stuff shoulder garments that crossed the shoulders and chest, called "kataginu," and skirt-like robes beneath called "hakama." ("Japanese Dress in Former Times"). Both of these elements are vital to the Samurai-image held by Hollywood and other popular culture creations in the West today. The "kosode" robes were the normal wear for everyday Samurai class, both male and female again. The similarities between male and female fashions were quite pronounced during this period; "kakama" was also a shared clothing item between the sexes. While both genders wore a wrapping of cloth around the waist called "Obi," it was not long before the women's obi became more decorative than functional. The belt was quite utilitarian for the men of the class who carried swords by their side. For women, the obi wrap eventually would cover the entire abdominal area, an important part of the Oriental woman image that is held by the West, picturing the Oriental female with loose-sleeved kosode robes, bound tightly in the midsection by contrasting cloth. The evolution of the Obi wrap was not the only change during this period that moved Oriental designs towards the more ornamental, decorative, and detailed styles commonly associated with the exoticism of the East. The simple daily clothing came to be far more intricately decorated as dyed and patterned fabrics became the norm in Asian designs. The festive kimono designs that are common in high and low fashion throughout the world in modern times are derived from this time period as well.

Japanese Everyday Dress for Males and Females, Meiji Period and Taisho Period (1868-1928):

The end of the Edo period in Japan in the late 1860s led to beginning of the Meiji period and the dawning of a new day for Japanese fashion. Western influence began to infuse the clothing worn by those in government appointed positions such as the military and police force; it was very much the end in many ways of the elegant Samurai style. While the average person was not necessarily dressing in such Western ways, it was the beginning of a trend that would continue, as the East and West exchanged cultural elements with growing fervor. Still, the kimono -- the pinnacle of Oriental feminine beauty and elegance in the Western minds eye -- was hugely popular and the most commonly adorned clothing item. The traditional Oriental waistcoat "haori" ("From Japanese to Western Dress") was the most popular outer garment for men attending formal events. Beneath, the flowing hakama was worn, another traditional clothing item. However, the men would wear on their heads hats in a Western style not native to the region. Likewise, women wearing traditional Oriental dress such as the kimono or slightly less popular formal clothing of the era would often accessorize with Western style boots. This juxtaposition of "East Meets West" in popular fashion is still present in Japan today, as can be seen by the clothing worn by girls at college graduation where a kimono and boots are the norm. Also, this look is strongly present in the East. Many designers have created kimono and boot ensembles that combined these cultural elements. Other East-inspired styles, such as the "school girl" look, are also commonly combinations of Oriental clothing with Western boots and other accessories.

Japanese Dress in Western Style for Males and Females, Meiji Period:

During this period the Western business suit became standard for professionals and businessmen, solidifying the economical and, in many ways, political significance of the cross-cultural influence.

The fascination of the West with the East is due in large part to the fact that the culture of the Orient is so vastly different from that of the Western world. Wild images seeped into European society of the marvels and wonders to be found in the Orient, yet the geographical location of the East left it untouched by most Westerners who could only dream about the riches reported to be there. Clothing has always been among the most important trade items to transfer between the East and West, and the Orientalism and complete understanding of the East (as it is) has been created by fashion and clothing more than any other elements. According to fashion experts at the Metropolitan Museum of Art, costume and fashion are readily absorbed and are not affected by language and other cultural barriers. "The option in dress afforded by the East is charged with enchantment, with a seeming sweetness and seduction that allows the East's presence to seem innocuous. While never losing the characteristics of its place of origin, clothing has shown itself a readily assimilated object. Eastern ideas of textile, design, construction, and utility have been realized again and again as a positive contribution to the culture of the West." (MET, "Visions...") While Western dress was certainly assimilated into Eastern culture in obvious ways, Oriental influences were a wellspring of newfound freedom to Western designers. "Eastern dress emphasizes the flat terrain of cloth, the looping and wrapping of the garment, and the integrity of the untailored textile. These values, antithetical to postmedieval Western dress, have offered a paradigm of dressing and dressmaking to the West that has been sporadically influential, and notably so in our time." (MET, "Visions...")

The seventeenth and eighteenth centuries were a period of vast growth of Oriental influence in fashion in the West. Many of the oriental influences that are sill applicable to fashion today were first seen in Western fashion during this period. The styles brought by traders were immediately recognized as important and England and France began creating clothing in Oriental styles. "The Orient of the imagination and reality has had an influence on Western dress from the time of the earliest European colonization of the East down to the present. So intriguing, so exotic were Chinese and Thai ambassadors to the eighteenth-century courts of Europe that their world gave rise to any number of Orientalist preferences." (Martin)

The Banyan, Britain

The Banyan is an outfit that was brought to Britain from the Orient. Usually made of silk, It was popular during this time period, and attractive as an alternative to the tight-fitting men's clothing that was worn regionally. Local men's clothes were very narrow and constraining, while the banyon was cut in a simple, comfortable T. shape. This was one example of comfort and luxury imported from the Orient that contrasted the Western styles of the region. Fashion ideas brought from the Orient were often associated with luxury and mystery for intimate wear, such as robes and "at-home" clothing.

At-home Dress, England

In the mid-1850's, it was quite fashionable to incorporate Oriental material into English designs, and this at-home dress continues the tradition of the banyan, that Eastern clothing was meant for comfort and leisure. This suggestively exotic piece has Chinese characters on the selvage, and the sleeves are the traditional loose-fitting style that was presented throughout the ancient oriental designs. The West adopted the title "Pagoda Sleeves" for this pattern, and it is one of the distinctive features that can be found in a wide range of Eastern-influenced items. The patterned silk from china is a beautiful testament to the importance of export fabrics in orientalism.

Court Gown, France:

In France in the mid-1700's, court dresses such as this one were also influenced by Oriental designs. Chinoiserie -- Chinese and related influence -- was popular. The elements that were brought in from exotic cultures of the Orient did not stay intact. Oriental elements in the cut and pattern of the dress are morphed into the European dress. "Palm trees signify the foreign, and the pagoda-inspired follies -- "Eastern architecture transplanted to the West -- "are posts with tented swags." ("Court Gown.")

Mantle, Cape, and Dolman:

The French Mantle and American Opera Cloak and Dolman, all from the mid to late 1800's, are similar in design and influence taken from the East. The mantle is made of white wool with metallic braid. The Opera Cloak pictured made of ivory silk and also embroidered with a gold braid. The dolman is made of white silk poplin. The golden braiding and fringed borders on these pieces are influenced from the designs of North Africa and the East. These outer garments are a testament to the rich nobility to be found in formal wear in the East.

The designs used in these pieces are common in the most ornate East-inspired formal items from the nineteenth century. A similarity can be seen between the court dress and these pieces for pure elegance in intricate patterns and details.

Throughout the 1800s, oriental influence was heightened by colonial exchange.

The focus for many designers became adapting the foreign ideas into the fashions already popular in the West. Beautiful fabrics were imported from the East to be made into European and American garments.

Eastern ornate designs such as embroidering and fringes were added to Western clothing and accessories, and design ideas became integrated into the very creation of clothing. "Eastern dress have come to be a part of Western dress, including saris and dhotis from India, kimonos from Japan, caftans and djellabahs from North Africa, and cheongsams from China." (MET, "Visions...")

The Pagoda

The beginning of the twentieth century did not mark an end of the orientalism in fashion that was experienced in the nineteenth century; the West continued being impressed and fascinated with Oriental designs. Above is a french colored print of the pagoda. The pagoda, from China, was the inspiration for the majority of Chinese designs in the West for a great portion of the 1900s. A perfect design to incorporate into the changing art styles of the West which were moving towards abstractions such as cubism, cutting edge designs in the first part of the 1900s were emulations of the tiered pagoda dress. "The shifting silhouette moved away from the body and became an abstracted tube or cone." ("Pagoda")

French Evening Ensemble:

In the 1930's, French designers were drawing formal wear from Japanese designs, such as the above dress made of oriental black silk which is pattered after the kimono. The "tubular" design has been maintained, as well as a similar sleeve cut. Yet the kimono pattern has been toned down by minimizing the elements. The metal diamond design seen here is also modeled after a Japanese clan insignia, and it was popular to add embellishments such as this to heighten the identification with the fashion's Eastern roots. This has been a trend throughout fashion, to mark designs inspired by the orient with characters or symbols from that region. (Today, asian characters and symbols are trendy on everything from scarves to skirts.)

Evening Jacket:

In the 1930's, French designers had become even more daring in the blatancy of oriental design. This evening jacket, made of silver lame with fox fur, was designed as a representation of the Mongols that were a popular fantasy subject for art and fashion of the time. The extreme shoulders and exaggerated silhouette of this piece was an expression of the fascination with Genghis Khan and the Qing court as elegance.

Evening Dress:

This American evening dress is made of red silk. The fabric is Eastern, and additionally the design draws from Chinese clothing. The pleating and color of the dress were inspired by the styles found in Chinese wear. There is also Japanese style incorporated into this dress. The sash is reminiscent of the obi worn by Samurai class men and women Japan, and the crisscross shape of the bodice is similar to the cut of the kimono in the way it cradles the neckline.

Paul Poiret was one highly influential fashion designer of the early 1900's that incorporated Orientalism into his work. In the teens, he incorporated bright vibrant colors from the East into his designs when most designers were still utilizing the muted tones of the years before. He was highly influenced by oriental costumes from ballet. In 1913 Poiret began creating lines of clothing inspired by brightly colored harem pants of the orient, as well as tunics and turbans with beads and exotic designs, all drawn from the East. "Inspired by the exotic fashions of the Ballet Russe, French designer Paul Poiret featured brocade or embroidered tunics worn over baggy harem trousers in his 1910 collection. Western women everywhere were also swathed in the vibrant colors inspired by this 1909 ballet." (Cawthorne et al.) His work was revolutionary and once again orientalism was freeing fashion wise. Women were wearing pants in a setting where that had never been a fashion OK for formal wear. (Actually, the previous fashion movement of the "Rational Dress Campaign" started by women's rights activists in 1849, which allowed women to wear "bloomer" pants for sporting events, were also an Eastern inspired designed. [Cawthorne et al.])