Imperial Dragon Robe, (Long Pau), Silk with metallic embroidery, China, 19th century Qing Dynasty (1644-1912), Anonymous gift The dragon (long) is a legendary creature in Chinese mythology representing power, strength, and good fortune. It was traditionally used to represent the emperor and, by extension, China. Sumptuary laws restricted the wearing of the Long Pau only to members of the imperial court. The blue of this sumptuous robe was a color that lower-ranking princes, nobles, and officials wore. Bright yellow (Minghuang) was the color reserved for the emperor.

Cheongsam, Shanghai Tang, Silk and Rayon jacquard, Hong Kong, circa 2000, FHCC Purchase Shanghai Tang’s founder, Hong Kong businessman David Tang, wanted to create a “quintessentially Chinese” fashion brand. This cheongsam, with its bold pink and gold jacquard depicting auspicious symbols and characters, recalls historical examples but is modernized by its short skirt and slim fit.

Dress, Kenzo, Acetate, France, c. 1978, FHCC Purchase. Kenzō Takada was a Japanese designer who reclaimed orientalism from within the confines of Paris fashion. Although his Japanese heritage was ever-present, Kenzo espoused a design philosophy of “peaceful internationalism” from various cultural sources. In this dress, Takada has modified the Chinese Cheongsam of the early 20th century, replacing the frogs with plastic buttons and the traditional floral patterns of peonies and plum blossoms with roses.

Evening Dress, Vivienne Tam, Nylon mesh with embroidery USA, c. 2000, Gift of Lauren Bajus Henry Vivienne Tam, who grew up in Hong Kong, is a designer known for her playful take on Chinese fashion and culture. This “East-West fusion” is too much for some but represents significant reclaiming of historic chinoiserie regardless. This evening dress is no exception; the legendary Chinese dragon has been liberated from the court robes, while oversized hooks and eyes have replaced the frog closures of the Cheongsam. Furthermore, the traditional silk has been replaced with nylon mesh.

Ballet Costume, Harriet Jung, Spandex and nylon, USA, 2021 Lent by Phil Chan Label by Professor Jaeyoon Jeong, Fashion Design, Antoinette Westphal College of Media Arts and Design ~ "Harriet Jung blends her oriental aesthetic with artistic expression in her ballet costumes, creating a unique and seamless fusion of sensibilities. Her ballet costume reflects her artistic sensibility, achieved through the incorporation of oriental elements into Western dance. The perfect art is expressed through the fusion of ballet performance and costumes that embody Harriet Jung's artistic sensibility."

Jacket (Ao), Silk with silk floss embroidery China, 19th century, Qing Dynasty (1644-1912), Gift of Sue A. Zitnick Prior to 1912, the Chinese language did not distinguish between blue and green. Qīng was the name given to all shades between the colors of the sky and fresh produce and was associated with health, prosperity, and harmony. This woman’s jacket (Ao) displays six distinct shades of blue, likely derived from indigo.

Evening dress, Richard Tam, Estron acetate and silk (Onondaga fabric), USA, 1970 Gift of Connie Wilf Richard Tam was the first prominent Chinese American fashion designer, but in keeping with the culture of the 1960s, his designs did not explicitly reference his heritage. However, the bold blue and white textile design recalls the famous and influential blue and white porcelain from China produced in the Ming Dynasty (1368-1644), while the voluminous form recalls the robes of traditional Asian dress.

Imperial Dragon Robe (Long Pau), Silk with metallic thread, China, 19th century, Qing Dynasty (1644-1912), Anonymous gift The elaborate etiquette of the Chinese court impressed visitors, and imperial robes, like the ones on display, were highly coveted by visitors who brought them back to Europe and the United States. These robes were often worn for loungewear since the intimacy of home was regarded as an appropriate venue for the transgressive act of wearing garments from another culture.

Woman's Imperial Surcoat, Silk gauze with tapestry (kesi), China, last quarter of the 19th century, Qing Dynasty (1644-1912), Anonymous gift This lightweight surcoat incorporates much of the traditional imagery of the dragon robes. Besides the five-clawed dragon centered in each roundel, it also incorporates the parallel diagonal lines (Lishui) representing sea waves traditionally seen at the hem of the dragon robes.

Pajamas, Unknown, Polychrome printed rayon, Japan, c. 1925, FHCC Purchase Pajamas, with their loose construction and bifurcated legs, represented freedom and daring modernity in Euro-American fashion during the 1920s. In this example, the waves and rocks of the Dragon Robe have been transposed alongside peaches, flowers, and modified frog closures. These pajamas were printed in Japan (using a Japanese technique) for American consumers.

Evening Dress, Callot Soeurs, Silk satin, polychrome embroidery, France, c. 1924, Gift of Alexander J. Cassatt The French couture house of Callot Soeurs was known for their pan-Asian exoticism and garments that rejected the constraints of Western fashion in favor of the slim, uncorseted body. This simple tubular evening dress is ornamented with satin stitch floss embroidery loosely derived from Chinese models.

Two-piece day dress, Strawbridge and Clothier (possibly) Homespun wool, USA, 1903, Gift of Pauline Thomas DeLong This stylish day dress was part of a bridal trousseau purchased in 1903 from Philadelphia retailer Strawbridge and Clothier and ready-made embroidered appliqués representing flowers and the mythical phoenix. Label by student, Lena Tran: Detailed with phoenix depictions in the embroidered applique, the Chinese Phoenix is associated with auspicious occasions and known, in Chinese mythology, to indicate harmony and a glorious period of prosperity and peace.

Clogs, Vivienne Tam for Crocs, Croslite foam with gold-tone metal, USA, Spring 2019, FHCC Purchase These Crocs debuted on the runway in 2019 at Shanghai Fashion Week. Vivienne Tam’s collection for Crocs cheekily embraces stereotypically Chinese motifs such as clouds, fans, and, most prominently, dragons. These limited editions sold out now sell for double the original price on resale sites such as Poshmark, proving the desire for chinoiserie remains strong even in this global age. Label by June He, Assistant Professor of Product Design at Westphal College of Media Arts and Design: "This pair of Crocs used the most common symbol dragon to represent a sense of China. However, as a designer from China, I do not use obvious symbols like dragon or phoenix. My inspirations often come from literatures in Chinese traditional culture, or memories from my childhood. This Pond collection with Swarovski elements is based on my memory visiting a green pond with lotus flowers. It visualizes a calm summer afternoon in Suzhou, south of Yangtze River, east of China, my hometown."      https://www.junehetheartist.com/pond-collection-details