Western designer with an Eastern touch Essay

Designer Vivienne Tam has received rather a multicultural upbringing as she was born in Canton. brought up in Hong Kong. and finally settled in New York. She has made a name in the manner universe by being advanced. and holding her ain typical manner. “I want to plan harmonious and beautiful vesture that enhances one’s personality. ” she says. Vivienne first became celebrated with her signature aggregation of Eastern inspired vesture with a modern border on the New York phase in 1994. After that. East-meets-West manner became her hallmark and typical characteristic.

Pieces of her now authoritative Buddha aggregation of 1997 finally became portion of the lasting archives of the Andy Warhol Museum in Pittsburgh. The Museum of FIT and the Metropolitan Museum of Art in New York. and the Victoria and Albert Museum in London. Tam’s designs that have been described as simple but at the same clip unique in their combination of East and West. traditional and modern have attracted the attending of famous persons including Julia Roberts. Goldie Hawn. Madonna. and Britney Spears. At the minute. Tam owns dress shops in New York. Tokyo. Hong Kong. and Kobe. Japan.

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In November. 2004. Vivienne Tam opened her 2nd freestanding shop in Xian Tian Di in Shanghai. China. and her 9th shop in Hong Kong. located at The Peninsula Hotel in Kowloon. One of her recent successes is a partnership with The Mandarin Oriental Hotel Group where she is a trade name embassador. Her plants will be featured in an advertisement run to interrupt in spring of 2005 in nationally distributed U. S. publications. Vivienne herself described her manner in her book “China Chic” where she dwells on different facets of Orientalism including manner. nutrient. art. architecture and place decor.

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She describes in the book in item her ain crosscultural manner that unites Western and Eastern elements. Vivienne Tam describes the Chinese manner that is native to he rand teaches readers to appreciate the Chinese design and measure the beauty of her favourite Ming chair. Vivienne Tam’s manner has ever been characterized by distinguishable characteristic of Orientalism. or something that is perceived by the preponderantly Western public measuring her creative activities as oriental. Most critics describe her manner as eclectic. that is. uniting the elements of the “Oriental” and “Occidental” .

Her vesture are transporting the tendencies similar to the common people Chinese costumes. such as the glistening cloths and loose cut while staying attached to the spirit of New York City’ s cultural life. Said’s Orientalism and Barthes’ “signifier” Thus. Vivienne Tam’s stylish art can be linked to the construct of Orientalism described in Edward Said’s celebrated work “Orientalism” . Said himself. being of Palestinian descent. had a “cross-cultural” background. Said defined Orientalism as a “way of coming to footings with the Orient that is based on the Orient’s particular topographic point in European Western Experience” ( Said 1979 ) .

Said insisted on the Orientalism being a cultural construct that is conditioned by the being “cultural contestant” to the European Occident. and a repeating image of the “Other” . The Orient is therefore an elusive impression that is simply a merchandise of the European imaginativeness and is utilized to assist the Occidentals to gestate themselves in contrast to the Oriental tradition. Said describes Orientalism as a ‘style of idea based on an ontological and epistemic distinction’” between the Orient and the Occident” ( Yang ) .

Said insisted that Orientalism is a impression that was unnaturally created by the artistice circles of the West who were unable to hold on the petroleum world of Eastern life and conjured up for themselves a sugared “Orient” . He wrote in his work: “By virtuousness of the fact that the poet. bookman. and politician speaks for. or writes about the Orient indicates the Orient is absent. and that the Orientalist is outside the orient… Poets make the Orient speak. and renders its enigmas plain to the West. ” ( Say-Saue 2001 ) .

Therefore Said sees Orientalism as a sort of representation of the Orient by the Orientalists. found in the alleged true texts. such as history. diaries. or. in other words. as cultural stereotype other opposite to the Occident ( Yang ) . In Orientalism Said described this impression as it surfaces in the plants of the European authors seeking to supply an history of Eastern realia. Said connected the orientalist attack with the European civilization that tried to command its dealingss with the Eastern subsidiary provinces.

He denoted the Western tradition of Orientalism as “corporate establishment for covering with the Orient — covering with it by doing statements about it. authoring positions of it. depicting it. by learning it. settling it. governing over it: in short. . . a Western manner for ruling. restructuring. and holding authorization over the Orient” ( Edward Said ) . Therefore. the tool of the Orientalism was utilised by the West in order to repress and suppress the East. The ideas nowadays in Said’s works show that the application of Orientalism to the description of an vague phenomenon was similar to the thought of a “signifier” used by Bathes.

In the sense used by Roland Bathes’s theory of semiologies. “signifier: ” is in some ways a replacement. For illustration. words. both unwritten and written. are forms. subsequently exchanged by the encephalon for a on the job definition. The difference between the word “tree” and the substance which the encephalon replacements for the input “tree” lies in the fact that you can do something out of the entity that is symbolized by the word. but you can non utilize the word itself in building. The form is hence a sort of icon ( Rowland Barthes Theories ) . Interesting in this regard is the thought of myth utilised by Roland Bathes which he determines

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