When China Rules the World полностью

The Western-style dress now preferred by the Japanese nonetheless retains important elements of national individuality. One example is the ubiquitous soft hat with round brim much favoured as casual wear by Japanese women. The choice of dress and footwear is also influenced by the fact that the Japanese are relatively small. Young Japanese women dress with a marked femininity, reflecting the conservative gender roles that still characterize Japanese society. For men and women alike, in dress as in so much else, there is also a strong group mentality, with less stress on individualism than is the case in the West. Thus, up to a point, there is a distinctive Japanese look, as exemplified by the kawaii child-woman cuteness, a girlie look which has also enjoyed some popularity outside Japan in recent years. [355] The three most famous Japanese design houses – Comme des Garçons, Yohji Yamamoto and Issey Miyake – all of which arrived on the global fashion scene in the 1970s – lie broadly within the Western tradition. However, they demonstrate a marked distinctiveness in comparison with European and American designers. Although each is very different, they are all distinguished by a strong emphasis on materials, the use of sombre and austere colours, a greater willingness to play with the boundaries, and an extremely rapid cycle of collections. While Western fashion is preoccupied with clothes that reveal and emphasize the female form, for these designers the shape of the body and the display of flesh are of much less concern. Indeed, Comme des Garçons’ Rei Kawakubo avoids representing the body as overtly sexual. Collectively they can be seen as representing a modestly distinctive Japanese sartorial aesthetic within a global fashion world which remains Western-dominated. [356]

The Chinese story is different from the Japanese but ends up in a rather similar place. For thousands of years, Chinese dress was deeply entwined with social hierarchy, being one of its more important and visible expressions. Only the emperor, for example, was allowed to wear yellow; his sons were required to wear golden yellow, while nobles wore blue-black. [357] As Valerie Steel and John S. Major write:

Clothing was considered a matter of great importance in ancient China. It was an instrument of the magical aura of power through which the emperor ruled the world: in addition, it served to distinguish the civilized from the barbarous, the male from the female, the high from the base, the proper from the improper – in short, it was an instrument of order in a society dedicated to hierarchy, harmony and moderation. [358]

It is not surprising, therefore, that the 1911 Revolution, which overthrew dynastic rule, was also the occasion for a sartorial revolution. The demise of the Qing court led to the dissolution of the old rules. Foot-binding for women, which had persisted for a thousand years, disappeared as did the tradition of male queues (hair worn in a long ponytail), which had been introduced by the Manchus. Chinese dress had been the subject of growing Western influence after the Opium Wars and the establishment of the treaty ports, but the rise of nationalism after 1911 made Western dress more problematic for both sexes. [359] The result was a hybrid, the most famous example being the woman’s qipao, better known in the West as the cheongsam, which combined Chinese, Manchu and Western elements, and which became indelibly associated with Shanghai in the 1930s. Its heyday was between 1930 and 1950, though it persisted for rather longer amongst the overseas Chinese, especially in Hong Kong. [360]