epitomized by the tension between two tendencies, sheath
bridal gown , each represented
by a well known designer: Paul Poiret, whose exoticism was
ascendant; and Jeanne Paquin, whose innovations were inspired by
22 Richard Wilk, “Consumer Goods as
Dialogue about Development”: 84.
23 Sem, Le Vrai et le faux chic (Paris:
Succès, 1914), 4.
24 Ibid., 4.
25 Nancy J. Troy, Couture
Culture: A Study
in Modern Art and Fashion (Cambridge,
MA: MIT Press, 2003), 183.
52 Design Issues: Volume
25, Number 3 Summer 2009
the European past. Sem blames Poiret’s use of African and other
non-Western influences for the “moral and material perversion” of
French fashion.26 In the
context of the present investigation, Sem’s
critique provides a vivid example of the construction of Africa as the
embodiment of fashion’s opposite. He treats the presence of African
and other non-Western influences on clothing styles in the City of
Light as patently absurd; an inversion so disturbing that it sends
an urbane Parisian packing for the remoteness of Timbuktu! Sem
was likely disappointed by what was yet to come in French fashion
trends, for non-European influences continued to gain prominence
in the years after World War I.
The influence of African and other non-Western cultures on
French fashion and textile designers during the first three decades
of the twentieth century was largely mediated by the carefully
constructed colonial expositions. These government-sponsored
events, which celebrated national identity and achievement in a
wide range of areas, were held in numerous European and North
American cities, and occasionally in other countries within the
orbit of Western influence such as New Zealand and South Africa.
During the height of their popularity, from the mid-nineteenth to the
early twentieth century, expositions were leading public events that
attracted immense crowds and front-page headlines. France’s largest
expositions required the construction of entire districts—buildings,
landscaping, monuments, and the infrastructure of a small city—as
well as the mobilization of public relations efforts to reap the benefits
of such immense efforts. The numerous expositions held in Paris in
the late nineteenth and early twentieth century celebrated the city’s
dual roles as global fashion capital and as colonial capital.
France’s African colonies were prominently featured at these
expositions, often through reconstructions of African towns and
villages, populated with people brought from the colonies to add
drama and realism to these temporary African settings.27 Many of
the “Africanisms” in French fashion of the 1920s and 1930s were
clearly linked to the colonial enterprise, and more directly to the
representation of the colonies at expositions. Japanese
school uniforms .Designers and fashion
promoters gained access to imagery, objects, and people from the
colonies at the expositions, and many sought to link their products
with the immensely popular events.
http://mltailorfashion1.canalblog.com/archives/2013/03/22/26708842.html
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