Shaping Traditional Chinese Culture in Contemporary Fashion: ‘Guochao’ as a Rising Aesthetic and the Case Study of the Designer Brand Angel Chen
With the unprecedented spread of cultural Chinese fashion design in the global fashion system, the under-identified ‘Guochao’ aesthetic that has emerged in the global market needs to be academically emphasized with a methodological approach looking at the Western-Eastern cultural hybridization present in fashion visualization. Through an in-depth and comprehensive investigation of a representative international-based Chinese designer, Angel Chen’s fashion show ‘Madam Qing’, this paper provides a methodological approach on how a form of traditional culture can be effectively extracted and applied to modern design using the most effective techniques. The central approach examined in this study involves creating aesthetic revolutions by addressing Chinese cultural identity through re-creating and modernizing traditional Chinese culture in design.
[1] R.T. Lin, M.X. Sun, Y.P. Chang, Y.C. Chan, Y.C. Hsieh, and Y.C. Huang, Designing ‘Culture’ into Modern Product: A Case Study of Cultural Product Design, in ed N. Aykin Usability and Internationalization, Springer-Verlag Berlin Heidelberg, Part I 2007, pp. 146–153.
[2] B. Titisari, M. Rigout, T. Cassidy, and A. Dallabona, “Designing an Appropriate Technology for Revitalising Traditional Craft Practice Case study: Indonesian Stitch Resist Dyeing”, The Design Journal, 22(sup1), 2019. pp 1071-1086.
[3] S. Wu, “The Application of Traditional Culture in Industrial Design in New Epoch”, MATEC Web of Conferences 176, https://www.matec-conferences.org/articles/matecconf/pdf/2018/35/matecconf_ifid2018_02009.pdf Accessed in 15th May 2020.
[4] F. G. Mariutti and M. Medeiros M., “Culture as a dimension of country brand: highs and lows of Brazil’s brand image”, Tourism & Management Studies, 14(1), 2018, pp 117-127.
[5] Z. Peng, and E. Bazaki, “Foreign brand image, culture, customer loyalty: A study on Chinese young customers.” In Global Fashion Conference: Stockholm, Stockholm University, 2016.
[6] R. Lin, “Scenario and story-telling approach in cross cultural design.”, Art Appreciation 2(5), 2006, pp. 4–10.
[7] K.P. Lee, “Design methods for cross-cultural collaborative design project.” Proceedings of Design Research Society International Conference DRS Futureground, (Monash University Australia), 2004.
[8] D. Leong and H. Clark, “Culture -based knowledge towards new design thinking and practice- A dialogue.” Design Issues 19(3), 2003, pp 48–58.
[9] B. English, Japanese fashion designers: the work influence of Issey Miyake, Yohji Yamamoto, and Rei Kawakubo., London: Bloomsbury, 2011.
[10] B. English, A cultural history of fashion in the 20th and 21st centuries: from catwalk to sidewalk. London: A&C Black, 2013, pp. 151-167.
[11] T.W. Zhang, “EXCLUSIVE: H&M Teams Up with Angel Chen on First China Designer Capsule”, Available at: https://wwd.com/fashion-news/designer-luxury/exclusive-hm-teams-up-with-angel-chen-on-first-china-designer-capsule-1203224357/ 2019, Accessed in 10th May 2020.
[12] Y. He, and Q. Cong, “Analysis on Characteristics and Value of Dragon Boat Culture”. International Conference on Education Innovation and Social Science, ICEISS 2017, 2017, Atlantis Press.
[13] W. Wang, “Research on application of Chinese culture in animated movie KungFuPanda”. 2nd International Conference on Economics, Management Engineering and Education Technology, ICEMEET 2016, 2017, Atlantis Press.
[14] G. Wang, and E. Y. Y. Yeh, “Globalization and hybridization in cultural products: the cases of mulan and crouching tiger, hidden dragon”. International Journal of Cultural Studies 8(2), 2005, pp. 175-193.
[15] J. Zhang, “A Cultural Discourse Analysis to Chinese Martial Arts Movie in the Context of Globalization: Taking Crouching Tiger, Hidden Dragon and Hero as Cases”. Advances in Language and Literary Studies, 10(3), 2019, pp. 32-41.
[16] L. Hallanan, “5 Chinese marketing terms you must know in 2020”, Available at: https://www.forbes.com/sites/laurenhallanan/2020/01/07/5-chinese-marketing-terms-you-must-know-in-2020/#5bca341539c6, 2020, Accessed in 17th May 2020.
[17] J.Q. Luo, “Can made in China be cool? Yes, if the west think so”, Available at: https://www.goldthread2.com/culture/made-in-china-guochao-hipster/article/3027942, 2019, Accessed in 15th May 2020.
[18] ZH. “China Focus-Yearender: Chinese elements gaining ground in fashion field., Xinhua”, Available at: http://www.xinhuanet.com/english/2019-12/29/c_138664615.htm, 2019, Accessed in 19th May 2020.
[19] G. A. Williams, Fashion China, London: Thames & Hudson Incorporated, 2015.
[20] C. Tsui, China fashion: Conversations with designers., Oxford: Berg publishers, 2009.
[21] E. Chan, “China’s home-grown brands benefiting from resurgence as trade war shifts focus closer to home”, Available at: https://www.scmp.com/economy/china-economy/article/3012930/white-rabbit-candy-leading-resurgence-chinas-home-grown , 2019, Accessed in 19th May 2020.
[22] Barnard, M. Fashion theory: A reader, London: Routledge, 2020.
[23] Z.Y. Wu, J. Borgerson, and J. Schroeder. From Chinese brand culture to global brands: Insights from aesthetics, fashion and history. Springer, 2013.
[24] C. Chai, D. Shen, D. Bao, and L. Sun, “Cultural Product Design with the Doctrine of the Mean in Confucian Philosophy”, The Design Journal 21(3), 2018, pp. 371-393.
[25] D. Margarita. Visual culture: The study of the visual after the cultural turn. Mit Press, 2005.
[26] L. Zhang, “Chinese Dragons — Facts, Culture, Origins, and Art, China Highlights”, Available at: https://www.chinahighlights.com/travelguide/article-chinese-dragons.htm#:~:text=The%20Chinese%20dragon%20symbolizes%20the,chairs%20were%20%22dragon%20chairs%22. 2019, Accessed in 18th May 2020.
[27] Business of Fashion, “The people shaping the global fashion industry’, Available at: https://www.businessoffashion.com/community/people/angel-chen , 2018, Accessed in 10th May 2020.
[28] G. Rose, Visual methodologies: An introduction to researching with visual materials, London: Sage, 2016.
[29] D. Chandler, Semiotics: the basics. Taylor & Francis, 2017.
[30] J. W. Drisko, and T. Maschi. Content analysis. Pocket Guides to Social Work R, 2015.
[31] Z. Wang, “An anti-elitism ideology in the new generation of Chinese independent designers: the multi-dimensional design identities and their survival in today’s heteronomous fashion industry”, The 4th International Congress on Visual Culture Rome, 2018, 28th May.
[32] Z. Wang, “Shanghai Fashion Week: A Socially Engaging Mass Entertainment Event with A Professional Infrastructure”, ZoneModa Journal 10(1s), 2020, pp. 283-307.
[33] J.C. Davidson, Staging art and Chineseness: The politics of trans/nationalism and global expositions. Manchester University Press, 2019.
[34] T.C.G. Lim, An Introduction to the Culture and History of the Teochews in Singapore, World Scientific, 2018, pp. 02-08.
[35] A. Chen, “ANGEL CHEN 2019春 夏 系 列 “清夫人” 于 上 海 时 装 周 LABELHOOD 呈 现 电 子 花 车 展 演(ANGEL CHEN presented her spring/summer 2019 collection ‘Madame Qing’ with an electronic truck at Shanghai Fashion Week LABELHOOD)”, Available at: https://cn.angelchen.com/pages/ss19 , 2018, Accessed in 19th May 2020.
[36] P.J. Feng, and S.L. Zhao, (洞 )見 :視 覺 文 化 與 美 學 (In)Sight: Visual culture and aesthetics, 書 林 出 版 有 限 公 司 Shulin Publication, 2011, pp. 119-126.
[37] SinoXiaMen, ‘中 国 厦 门 中 秋 旅 游 嘉 年 华 观 音 山 梦 幻 海 岸 同 安 日 花 车 巡 游 现 场 直 播 (Live-broadcast of the Tongan Day Float parade at Guanyin Mountain, Xiamen, China)’, Available at: http://mn.sina.com.cn/news/s/2012-10-08/11239843.html, 2012, Accessed in 16th May 2020.
[38] Toutiao, ‘教你怎么从灯笼上的“灯号”判断这家人的姓氏 (Translation: Teach you how to judge from the “lights” lantern on the family name)’, Available at: https://kknews.cc/zh-sg/news/l9j32j9.amp. 2019, Accessed in 10th May 2020.
[39] S.S. Shen, Traditional Taiwanese electronic trucks designed by Shen Chao-liang. 2015, Accessed in 15th April 2020.
[40] A. Chen, MAC Angel Chen 2019 Collection. Available at: https://m.weibo.cn/search?containerid=231522type%3D1%26t%3D10%26q%3D%23ANGEL%20CHEN%20x%20MAC%23&extparam=%23ANGEL%20CHEN%20x%20MAC%23&luicode=10000011&lfid=231522type%3D1%26t%3D10%26q%3D%23MAC%20x%20Angel%20Chen%23&featurecode=newtitle%3Ffrom%3Dyn_cnxh , 2019. Accessed in 25th April 2020.
[41] X.Yi, 潮汕桐油灯笼 (Translation: Traditional Chaoshan lanterns), Available at: https://kknews.cc/culture/vp96q2y.html 2015, Accessed in 18th April 2020.
[42] Read01, 斗笠, 传统手工编织下的艺术品 (Translation: Coolie hats, the traditional hand-woven art pieces), Available at: http://read01.com/AJQL6GM.html, 2018, Accessed in 25th June 2020.
[1] R.T. Lin, M.X. Sun, Y.P. Chang, Y.C. Chan, Y.C. Hsieh, and Y.C. Huang, Designing ‘Culture’ into Modern Product: A Case Study of Cultural Product Design, in ed N. Aykin Usability and Internationalization, Springer-Verlag Berlin Heidelberg, Part I 2007, pp. 146–153.
[2] B. Titisari, M. Rigout, T. Cassidy, and A. Dallabona, “Designing an Appropriate Technology for Revitalising Traditional Craft Practice Case study: Indonesian Stitch Resist Dyeing”, The Design Journal, 22(sup1), 2019. pp 1071-1086.
[3] S. Wu, “The Application of Traditional Culture in Industrial Design in New Epoch”, MATEC Web of Conferences 176, https://www.matec-conferences.org/articles/matecconf/pdf/2018/35/matecconf_ifid2018_02009.pdf Accessed in 15th May 2020.
[4] F. G. Mariutti and M. Medeiros M., “Culture as a dimension of country brand: highs and lows of Brazil’s brand image”, Tourism & Management Studies, 14(1), 2018, pp 117-127.
[5] Z. Peng, and E. Bazaki, “Foreign brand image, culture, customer loyalty: A study on Chinese young customers.” In Global Fashion Conference: Stockholm, Stockholm University, 2016.
[6] R. Lin, “Scenario and story-telling approach in cross cultural design.”, Art Appreciation 2(5), 2006, pp. 4–10.
[7] K.P. Lee, “Design methods for cross-cultural collaborative design project.” Proceedings of Design Research Society International Conference DRS Futureground, (Monash University Australia), 2004.
[8] D. Leong and H. Clark, “Culture -based knowledge towards new design thinking and practice- A dialogue.” Design Issues 19(3), 2003, pp 48–58.
[9] B. English, Japanese fashion designers: the work influence of Issey Miyake, Yohji Yamamoto, and Rei Kawakubo., London: Bloomsbury, 2011.
[10] B. English, A cultural history of fashion in the 20th and 21st centuries: from catwalk to sidewalk. London: A&C Black, 2013, pp. 151-167.
[11] T.W. Zhang, “EXCLUSIVE: H&M Teams Up with Angel Chen on First China Designer Capsule”, Available at: https://wwd.com/fashion-news/designer-luxury/exclusive-hm-teams-up-with-angel-chen-on-first-china-designer-capsule-1203224357/ 2019, Accessed in 10th May 2020.
[12] Y. He, and Q. Cong, “Analysis on Characteristics and Value of Dragon Boat Culture”. International Conference on Education Innovation and Social Science, ICEISS 2017, 2017, Atlantis Press.
[13] W. Wang, “Research on application of Chinese culture in animated movie KungFuPanda”. 2nd International Conference on Economics, Management Engineering and Education Technology, ICEMEET 2016, 2017, Atlantis Press.
[14] G. Wang, and E. Y. Y. Yeh, “Globalization and hybridization in cultural products: the cases of mulan and crouching tiger, hidden dragon”. International Journal of Cultural Studies 8(2), 2005, pp. 175-193.
[15] J. Zhang, “A Cultural Discourse Analysis to Chinese Martial Arts Movie in the Context of Globalization: Taking Crouching Tiger, Hidden Dragon and Hero as Cases”. Advances in Language and Literary Studies, 10(3), 2019, pp. 32-41.
[16] L. Hallanan, “5 Chinese marketing terms you must know in 2020”, Available at: https://www.forbes.com/sites/laurenhallanan/2020/01/07/5-chinese-marketing-terms-you-must-know-in-2020/#5bca341539c6, 2020, Accessed in 17th May 2020.
[17] J.Q. Luo, “Can made in China be cool? Yes, if the west think so”, Available at: https://www.goldthread2.com/culture/made-in-china-guochao-hipster/article/3027942, 2019, Accessed in 15th May 2020.
[18] ZH. “China Focus-Yearender: Chinese elements gaining ground in fashion field., Xinhua”, Available at: http://www.xinhuanet.com/english/2019-12/29/c_138664615.htm, 2019, Accessed in 19th May 2020.
[19] G. A. Williams, Fashion China, London: Thames & Hudson Incorporated, 2015.
[20] C. Tsui, China fashion: Conversations with designers., Oxford: Berg publishers, 2009.
[21] E. Chan, “China’s home-grown brands benefiting from resurgence as trade war shifts focus closer to home”, Available at: https://www.scmp.com/economy/china-economy/article/3012930/white-rabbit-candy-leading-resurgence-chinas-home-grown , 2019, Accessed in 19th May 2020.
[22] Barnard, M. Fashion theory: A reader, London: Routledge, 2020.
[23] Z.Y. Wu, J. Borgerson, and J. Schroeder. From Chinese brand culture to global brands: Insights from aesthetics, fashion and history. Springer, 2013.
[24] C. Chai, D. Shen, D. Bao, and L. Sun, “Cultural Product Design with the Doctrine of the Mean in Confucian Philosophy”, The Design Journal 21(3), 2018, pp. 371-393.
[25] D. Margarita. Visual culture: The study of the visual after the cultural turn. Mit Press, 2005.
[26] L. Zhang, “Chinese Dragons — Facts, Culture, Origins, and Art, China Highlights”, Available at: https://www.chinahighlights.com/travelguide/article-chinese-dragons.htm#:~:text=The%20Chinese%20dragon%20symbolizes%20the,chairs%20were%20%22dragon%20chairs%22. 2019, Accessed in 18th May 2020.
[27] Business of Fashion, “The people shaping the global fashion industry’, Available at: https://www.businessoffashion.com/community/people/angel-chen , 2018, Accessed in 10th May 2020.
[28] G. Rose, Visual methodologies: An introduction to researching with visual materials, London: Sage, 2016.
[29] D. Chandler, Semiotics: the basics. Taylor & Francis, 2017.
[30] J. W. Drisko, and T. Maschi. Content analysis. Pocket Guides to Social Work R, 2015.
[31] Z. Wang, “An anti-elitism ideology in the new generation of Chinese independent designers: the multi-dimensional design identities and their survival in today’s heteronomous fashion industry”, The 4th International Congress on Visual Culture Rome, 2018, 28th May.
[32] Z. Wang, “Shanghai Fashion Week: A Socially Engaging Mass Entertainment Event with A Professional Infrastructure”, ZoneModa Journal 10(1s), 2020, pp. 283-307.
[33] J.C. Davidson, Staging art and Chineseness: The politics of trans/nationalism and global expositions. Manchester University Press, 2019.
[34] T.C.G. Lim, An Introduction to the Culture and History of the Teochews in Singapore, World Scientific, 2018, pp. 02-08.
[35] A. Chen, “ANGEL CHEN 2019春 夏 系 列 “清夫人” 于 上 海 时 装 周 LABELHOOD 呈 现 电 子 花 车 展 演(ANGEL CHEN presented her spring/summer 2019 collection ‘Madame Qing’ with an electronic truck at Shanghai Fashion Week LABELHOOD)”, Available at: https://cn.angelchen.com/pages/ss19 , 2018, Accessed in 19th May 2020.
[36] P.J. Feng, and S.L. Zhao, (洞 )見 :視 覺 文 化 與 美 學 (In)Sight: Visual culture and aesthetics, 書 林 出 版 有 限 公 司 Shulin Publication, 2011, pp. 119-126.
[37] SinoXiaMen, ‘中 国 厦 门 中 秋 旅 游 嘉 年 华 观 音 山 梦 幻 海 岸 同 安 日 花 车 巡 游 现 场 直 播 (Live-broadcast of the Tongan Day Float parade at Guanyin Mountain, Xiamen, China)’, Available at: http://mn.sina.com.cn/news/s/2012-10-08/11239843.html, 2012, Accessed in 16th May 2020.
[38] Toutiao, ‘教你怎么从灯笼上的“灯号”判断这家人的姓氏 (Translation: Teach you how to judge from the “lights” lantern on the family name)’, Available at: https://kknews.cc/zh-sg/news/l9j32j9.amp. 2019, Accessed in 10th May 2020.
[39] S.S. Shen, Traditional Taiwanese electronic trucks designed by Shen Chao-liang. 2015, Accessed in 15th April 2020.
[40] A. Chen, MAC Angel Chen 2019 Collection. Available at: https://m.weibo.cn/search?containerid=231522type%3D1%26t%3D10%26q%3D%23ANGEL%20CHEN%20x%20MAC%23&extparam=%23ANGEL%20CHEN%20x%20MAC%23&luicode=10000011&lfid=231522type%3D1%26t%3D10%26q%3D%23MAC%20x%20Angel%20Chen%23&featurecode=newtitle%3Ffrom%3Dyn_cnxh , 2019. Accessed in 25th April 2020.
[41] X.Yi, 潮汕桐油灯笼 (Translation: Traditional Chaoshan lanterns), Available at: https://kknews.cc/culture/vp96q2y.html 2015, Accessed in 18th April 2020.
[42] Read01, 斗笠, 传统手工编织下的艺术品 (Translation: Coolie hats, the traditional hand-woven art pieces), Available at: http://read01.com/AJQL6GM.html, 2018, Accessed in 25th June 2020.
@article{"International Journal of Business, Human and Social Sciences:80714", author = "Zhe Ginnie Wang", title = "Shaping Traditional Chinese Culture in Contemporary Fashion: ‘Guochao’ as a Rising Aesthetic and the Case Study of the Designer Brand Angel Chen", abstract = "With the unprecedented spread of cultural Chinese fashion design in the global fashion system, the under-identified ‘Guochao’ aesthetic that has emerged in the global market needs to be academically emphasized with a methodological approach looking at the Western-Eastern cultural hybridization present in fashion visualization. Through an in-depth and comprehensive investigation of a representative international-based Chinese designer, Angel Chen’s fashion show ‘Madam Qing’, this paper provides a methodological approach on how a form of traditional culture can be effectively extracted and applied to modern design using the most effective techniques. The central approach examined in this study involves creating aesthetic revolutions by addressing Chinese cultural identity through re-creating and modernizing traditional Chinese culture in design. ", keywords = "Style modernization, design identity, fashion show, Guochao, Chinese culture, Angel Chen.", volume = "16", number = "3", pages = "102-9", }
