“The Cultural Economy of Asian Chic” talks about how the influence of Asian fashion has had on European and Western clothing. It also talks about the financial capitalization these nations have gained by marketing Asian inspired fashions. According to the chapter Asian chic was at its height before September 11 2001. One piece of evidence I can think of that supports the views of this chapter is Gwen Stefani’s Harajuku Lovers fragrance line. Stefani became somewhat of a spokesperson for cultural Japanese fashion. Asian chic is compared to other eroticized fashion movements in American and European fashion trends such as tribal African inspired chic and Native American chic.
How has Asian inspired fashion reemerged into American fashion trend within recent years?
“Material Mao…” chapter 4, discusses how Asian fashion designers used their ethnic identities as a way to authenticate there fashion designs and capitalize as well in a western or European market off of their own heritage. Asian designers participated in the Asian chic demand in a number of ways. Some obvious, some unobvious such as creating designs that had more historical mean behind it. These designers who took a more subtle approach to Asian chic fashion sought out to not only provide style but to educate the people who would buy them. These designers had several agendas that they conveyed through their fashion on dealing with both political and social views.
From reading this chapter I thought of the question: Would it be considered conforming to western and European ideals of Asian culture by partaking in creating Asian chic clothing appealing to those markets? Or where these designers using western and European fascination with Asian fashion as a way to correct these societies on their misconceptions of its many cultures? Those questions tied into the readings on “Asia on my mind…” on how cultural and historical genealogies played into Asian chic fashion.