Project Orientation: Goals and Aims
Having already had a strong interest in haute couture, I thought it would only make sense to pursue my midterm through this lens. In learning more about Guo Pei, and the influences she draws from in creating her pieces, it felt like I was looking at all of her pieces with a new pair of eyes. This is especially true for her Alternate Universe (Fall 2019) collection. When the collection first debuted, I was entirely drawn in by the intricacy of the stitching and fabrics used, but in this first viewing I completely overlooked the underlying inspirations for the featured figures, and the collection’s overall purpose. However, upon doing the research for my midterm I was able to gain an appreciation for these featured elements, although I still very likely am unaware of all of the references in the garments. While my paper focused on sole inspirations for specific garments and collections, it is clear that Guo Pei’s works are an amalgamation of various influences, notably Confucianism, Buddhism and Daoism. In approaching this project, I wanted to evoke similar inspirations in clothing I made, focusing on drawing inspirations from these various philosophical traditions in order to create pieces similar to those of Pei’s, although obviously lacking the quality and skill of her pieces.
The Plan and its Alterations
As mentioned, in approaching this assignment I planned to create a garment. While I knew the final product would not rival the quality of anything Pei has put on the runway, I wanted to challenge myself to not only create a piece that properly incorporated various sources of inspiration, but to create a garment in the first place. However, I quickly realized that such a feat was more fantastical than practical, and made the executive decision to move away from constructing a haute couture-esque garment to trying to repurpose a more simple article of clothing.
For this new plan I purchased a plain white t-shirt to repurpose. On it I outlined the design of a phoenix, drawing inspiration from the Confucian tradition, where I note in my paper:
“Qing sponsoring of matrimony as a public event ended up being represented within operatic performances, turning the iconography of dragons and phoenixes into representations of the ideal Confucian husband and wife.” (Lulgjuraj 3-4)
In this vein, I planned on incorporating a stitched dragon into the piece as well, as such would help to further emphasize the Confucian imagery I was trying to display. However, much like Pei, I wanted to incorporate additional influences into the piece. This would not require any additional imagery, as in the Daoist tradition such figures of the phoenix and the dragon are represented as well, embodying both yin and yang. One of the most remarkable concepts to me was how, when placed together with dragon motifs, the nature of the phoenix imagery can change as Zapolska notes:
“Although the phoenix is seen as a symbol of the yang element, which is associated with warmth, midday and the Sun,) it embodies the feminine yin when presented with the dragon that is the phoenix’s counterpart in the animal kingdom and has the male position yang.” (Zapolska 127).
Execution: Physical
With all of this planned I began to hand-sew my shirt, but I quickly realized the process would prove too time consuming (and I mean very quickly)!
If I was to continue with this project, it surely would have taken over 10 hours to properly hand sew the phoenix alone. After realizing this I began to think about how I would be able to sew something on a smaller scale, but I lacked any other fabric to use. So instead, I decided to use a mask as fabric, and would only hand-sew a phoenix alone. The center of the mask also features a hand-sewn circle, which I hoped to use as a way to portray continuity and the cycle of yin and yang, but also of life. This was meant to hark back to the first piece in Pei’s Alternative Universe collection, which featured a circular motif in its center, filled with various opposing images (such as angels and crows, whites and blacks etc.). I also used a more yellow tinted thread for the outer portion of the wing, as I had no gold thread, referencing to Pei’s profuse use of gold, which is tied to Confucian principals of knowledge. This inspiration is also shown through the phoenix being the central focal point of the piece, calling attention to its symbolic qualities, which according to Zalposka, were seen as “wise-monarchs” in the eyes of Confucius (1).
Yet with this endeavor too, after I had hand sewed about half of it, I had realized that the sewing process was being made quite difficult due to the plastic filter within the mask. As I was going through the process of hand sewing, I couldn’t help but be reminded of the story of Cook Ding. While I obviously have not been sewing for years, just going through this short process of learning to hand-sew I saw myself grow immensely. Starting off I was very slow, and often put too much emphasis on trying to make it all perfect, which would further compound how long it took me to get a few stitches done. This changed when I started to hand-sew while putting less emphasis on the end product and began to relax more as I worked. I noticed that when sewing while not stressing about perfection I had been able to sew not only much faster, but in all actuality, the quality seemed to be much better as well!
Execution: Sketching
After these efforts it became clear to me that my best bet would be creating sketches, as was suggested. At the start my sketches were quite bad, to say the least. I found it quite difficult to get the proportions of the models correct, so I often ended up creating figures that had improperly sized upper bodies. I knew that going into these first sketches I wanted to really focus on incorporating Daoist concepts of yin and yang, much like the first piece showcased in Pei’s Alternative Universe collection. However, rather than focusing on doing this through different motifs I noticed that I was relying on color for such contrasts.
Here I was trying to use the darker colors of the garment to contrast the lighter colors of the face, but oddly enough I ended up incorporating almost every color of the Five Color Theory except for green (2). These colors, coming from Daoist conception, are seen as representative of the cosmos when all combined, and here in this piece becomes a representation of Daoist inspiration. I also tried to use contrasting shapes to emphasize the pieces inspirations of yin and yang, with the top of the garment being firmer in structure, harshly contrasting the more flamboyant and free-flowing skirt.
In the end, this drawing still falls short of what I wanted to create, as it is severely lacking in specific motifs and detail, and the inspirations that are seen in the garment are not properly executed or incorporated (for example, green is missing, if I want to reference the Five Color Theory, green must be present in the garment). Going forward from this point I wanted to make a clear effort to include symbolism and continue along with the idea of incorporating other influences on top of a ‘base’ Daoist yin and yang inspiration.
When thinking about the next garment I drew, I made sure to identify a set of motifs that I wanted to feature in the piece. Firstly, as with the previous pieces, I had to come up with an idea to represent yin and yang, but one that didn’t just rely solely on colors. Thus, I used the previously mentioned dragon and phoenix motifs, while also incorporating the sun into the center of the piece. The sun was then entirely surrounded by blues, meant as a way to further bring out the Daoist concept of existing in contrast.
This is why the scene on the upper half of the garment resembles that of a sunny day with clear skies, as the image is common and people can relate to it, but also because such an image also embodies the idea of harmonic contrasts. While the sun is warm and bright, and starkly contrasts the blue sky it is up against, the two are able to coexist without detriment. In order to include different inspirations, I also made it a point to have the piece feature jade eyes for the dragon and phoenix, and large and flowing sleeves, referencing Confucian values of proper clothing (with that being, clothing that allows one to move freely is more preferred). In a Confucian context jade is “…considered a referential point for the exemplary person to measure and reflect on their own character,” and thus to wear it is to embody the qualities of someone exemplary (3). I talk about the point of deep-clothing, and the free flowing sleeves specifically in my midterm as well:
“Large flowing sleeves like the one depicted were seen as beneficial and praised in shenyi specifically because they allowed for the wearer to “…move [their] body as freely as possible,” which was thought to allow “one to cultivate one’s comportment (Hsu 567-588).” (Lulgjuraj 4).
As can be seen, my skill with proportions had still not gotten that much better, but this garment features a more advanced execution of the same concepts present in the previous piece. In regard to the white faces, while they are used – in a way – to further the presence of the yin and yang in the garment, they are also featured as a means of showcasing cultural fusion. Guo Pei, while her works are based in East Asian philosophical beliefs, also has created many works that fuse traditional east Asian motifs with western garment figures (or vice-versa), or mixed and matched materials from these regions, with some pieces featuring influences coming from the Christian faith and the Buddhist faith and so on (4). Here, the white faces are references to traditional Albanian bridal makeup from the Kerçova region, also practiced by Gorani women and others.
After completing the previous piece, I was left wanting to do more. I felt like I had explored Daoism somewhat significantly and had left Buddhism on the back burner. While the previous pieces might be able to fit Buddhist ideas of reincarnation, due to featuring cycles of light and dark, they really were meant to showcase the harmonic existence of both yin and yang , rather than focusing on the shifts and changes of any cycles (expect for the mask piece).
While a cliché at this point, I wanted to create a garment that reflected the idea of the lotus flower. Starting from the bottom up, the shoes are meant to be stoned with a combination of grey larger chunky crystals and dispersed jade pieces. Furthermore, the brown thread that is horizontally stitched across the pants would also be threaded about the shoes. This is meant to produce an image of the undersoil one might find in a lake, rocky and filled with various roots, and perhaps even some precious stones. The jade here is meant to act as a contrast to the overall imagery portrayed by the Buddhist idea of the lotus flower, which essentially proscribes the ability for one to reach enlightenment despite the obstacles that may preoccupy them, or the mistakes they may make. The jade pieces directly contrast this, as these stones are symbolic of one who carries out the ‘proper behavior,’ or one who follows the rites properly, leaving no room for mistakes or error. The pants continue this rock imagery along the sides of each leg, with horizontally stretched brown threads adorned throughout the entirety of each leg. These threads reflect the roots of the lotus flower, intertwined amongst a variety of matter, from stone to gems to mud. The green top represents the leaves of the plant, with the top coming together to form a thinner piece of fabric emblematic of the seed pod. The hat, or course, features the lotus flower, with the root motif still featured behind it.
The yellow top, however, harks back to the contrasts seen between Confucianism and Buddhism, with the large flowing sleeves contrasting with the tight clothing adorning the rest of the body (5). The yellow/gold coloring is intentional as well. Usually symbolic of royalty and upper classes, the color yellow ties into how Confucianism was largely used as a way to keep the masses under the authority of the reigning dynasty, urging citizens to faithfully abide by the laws and rules set before them. This strictness opposes the relative openness of Buddhist thought, such as the Parable of the Burning House from the Lotus Sutra, where the father of the story uses material objects to save his children despite materialism being looked down upon by the Buddha himself (6). The pairing of these two helps to contrast the stricter ideas of Confucianism with the more ‘by any means necessary’ attitudes reflected in Buddhist parables.
Finally, after creating all these pieces I wanted once again to visit my original Daoist inspirations, inspired strongly from Guo Pei’s Alternate Universe (Fall 2019) collection. Having already explained many of the motifs mentioned, I will save time and only discuss newly featured elements.
Immediately I must ask that you ignore the relatively cartoonish nature of this piece, which I only really realized upon completing it. To be succinct, this piece features two sets of wings, a green pair of angel’s wings, and a pair of black bird wings just below them. In the center of the top half of the garment are two identical juxtaposing monkey faces, portraits of the monkey god Wukong. Below Wukong is a centrally placed sun. A rusty-brown colored cape-like feature of the garment follows behind, adorned with identically replicated black birds on each side, and a circular motif just behind the model’s thighs.
Here the black birds, along with the black wings, are contrasting the angel wings, focusing mostly here on – yes, yin and yang – but also on Buddhist ideas of reincarnation and the circular nature of life. This is emphasized by the sun featured at the center of the garment, implying that it is the source of all that surrounds it, the giver of life, and by the circular feature behind the model, showing how everything is interconnected (as it is adorned with dozens of small intercrossing lines).
On Wukong, as noted in my midterm:
“Wukong, originating from Journey to the West, is depicted in the tale as having gained his mystical power through practicing Daoism and achieving the way… [with the] acquisition of powers like those possessed by Wukong often involv[ing the] achiev[ement of] an inner balance of yin and yang.” (Lulgjuraj 6)
The incorporation of Wukong in this piece emphasizes the possibility for both good and evil to coexist, and how these elements together actually encompass what it means to exist. Without yin or yang, or with too much of one element, the outcome would be chaotic and as balanced would be lost, and one would not be able to reach the way like Wukong was able to. Featuring Wukong encourages the viewers to ponder about how they too can reach an inner balance of the positive and negative, of yin and yang.
What I Learned
Throughout this process I learned that sewing is hard, especially when being done by hand. But I also learned that design is just as difficult, as can be seen by the quality of the sketches I produced. Along this line of design, I also discovered that it is much more difficult than one might think to create pieces that mend various sources of inspiration together, especially as seamlessly as Guo Pei does. The piece that was easiest for me to construct was undoubtedly the Buddhist piece, but this is also one of the pieces that had the smallest variety of influences used in its creation. The process of sketching alone has helped me to grow a greater appreciation for the work that Pei does, especially when considering that much of this work goes un-noticed by western audiences (in terms of being able to understand the motifs she adorns her garments with).
This led me to wonder, who are these garments being made for? If Pei knows, as I am sure she does, that many of these motifs and inspirations she so painstakingly incorporates into her work goes un-noticed, then why bother to do it in the first place? The answer to this is one that I can only assume, but I can’t help but feel that part of the reason may be representation. In just sketching the pieces that featured the white faces, I couldn’t help but feel excited at seeing part of my culture reflected in an art that I so deeply adore, and I am sure the same can be said for Pei. This is further compounded when considering the fact that much of her inspiration is drawn from the Qing Dynasty, which has seen much of its cultural heritage forgotten.
As touched upon briefly, my biggest challenge in this project was my inability to sew. Yet, this obstacle only led me down a fruitful path, where I learned how to sketch much better, and even learned some basic hand- sewing skills. All in all, this project helped me learn more about the hardships that come with the creation of garments and moving art, especially when trying to incorporate a variety of inspirations into a single garment.
Citations:
- Zapolska, K. (2020). CONFUCIAN VALUES PRESENTED IN DEPICTIONS OF BIRDS ON CHINESE TEXTILES from the Qing Dynasty period (1644–1912). Art of the Orient, 9, 115-133.
- https://www.nationsonline.org/oneworld/Chinese_Customs/colours.htm
- Hsu, N. (2021). Dressing as a Sage: Clothing and Self-cultivation in Early Confucian Thought. Dao, 20(4), 567-588.
- https://www.vogue.com/fashion-shows/fall-2018-couture/guo-pei
- https://hanbokinfo.wordpress.com/2012/05/31/the-simeui/
- http://www.mpcmontreal.org/?q=en/node/885