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This community might carefully be local to collaborate. In this article, Vogue acknowledged that at least these revolutionary Chinese women were modern and had fashion. As I will demonstrate, the appeal of Chinese goods to American consumers became less about owning nostalgic symbols of a past China than about imagining new relationships with fashionable Chinese women. Both women have exaggerated slanted eyes, similar noses, and small rouged mouths.
To Thornley it was obvious that Chinese clothing had changed. Other articles began to use the dress and consumption practices of wealthy urban women in China to make claims about societal changes motivated by Chinese people, not by European or American intervention. The second photograph is of the actress Hu Die unnamed wearing an outfit with a huge frill, bell sleeves, and a sash fig. Furthermore, the first picture would have seemed outdated to fashionable Chinese women, and the Westernized outfit, if worn as daily wear at all, would have been less common than the combination of skirt and top described by Thornley.
Nevertheless, Gilbreath used these images to present China as having two extremes from which to draw for fashion; Chinese women could look to native inspirations or, like American women, imitate Parisian fashions. Gilbreath also saw Chinese people as embodying a developed civilization rather than a backward one. Even the sight of a beggar girl with a silver earring and her hair tied up struck Gilbreath as evidence that centuries of civilization had rendered Chinese people of all classes dignified.
She also did not view Westernization as the only progressive option China could take. His informant on China was a woman known as General Dan Pao Tchao, born Princess Shou Shan, who had Manchu heritage, had served the Qing imperial family, and at the time was a secretary for Nationalist government officials. This dress must be long and straight and have a stiff, high collar. General Dan Pao Tchao offered an alternative explanation for new fashions in China. Like Gilbreath, Sauerwein also used changes in dress to make claims about progress in China.
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Vogue also included Chinese counterarguments to claims that America was a progressive influence on China. But although the types of Chinese women he describes might enjoy dances, teach at colleges, and sport permanent waves, he characterizes deeper societal changes as having mixed effects on the quality of life for Chinese women. Women were never oppressed in old or modern China. The differences of social etiquette and restrictions of liberties of movement were mere differences of social code.
The illustration representing China was front and center. From what can be seen of her clothing, she appears less traditional than the Hungarian women in ethnic dress at the bottom, the seminude women in the illustration from India, and the Japanese women in kimonos.
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A smaller photograph showed her seated behind a screen, her top half obscured by shadows. Such images reinforced her foreignness.
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The few Chinese writers who were published in Vogue supported the belief that Chinese women could be political agents. They have proved most satisfactorily their capability to bear responsibility with enviable ease. Instead, Chinese women appeared beautiful, fashionable, and social. For Soong May-ling and select other Chinese women, Vogue became a way to promote a favorable image of Chinese people among elite Americans.
She also stood for what Americans saw as the progress China had made toward modernity. Soong was not alone in representing China to the world. Describing herself as a longtime Vogue reader, and with her fashionableness shown by her accompanying portrait, Kuo sought to establish commonalities with American readers at the expense of their common enemy, Japan:.
May I whisper something about our enemies? She tried to exotify the Japanese by describing their society as one that treats women as subhuman, and she also idealized Chinese women as independent and proud in comparison. The accompanying text details their education, occupation, contributions to the fight against Japan, and relationships to important Chinese men. She wore a qipao embroidered with pagodas, gardens, and a dragon. Soong appears not only as fashionable but also as powerful, and as the righteous protector of China.
This is particularly obvious in the picture of Mrs. In the late nineteenth and early twentieth centuries, Americans scrutinized Chinese dress in ways that produced images of China and relationships to Chinese people. The presence of fashions in China that differed from those produced by European or white American designers challenged the idea that fashion, and by extension modernity, had a single origin. Recognition of a certain class of Chinese women who had fashion encouraged Americans to see China as increasingly modern, but writers in Vogue did not consistently equate modernization with Westernization.
Instead, many articles on China encouraged Americans to think of China as modernizing in a uniquely Chinese way.