Introduction
It is undeniable that each Goe Pie development has a meaning and tells a specific historical and/or personal tale.
First Impression
I still recall how I felt when I first walked into the exhibition hall a week ago. She had evoked an exotic imperial emotion in me with her dramatic themed gowns accompanied by traditional Chinese music that played at the hall in her legendary and glorious creation. This made me feel as though I was asked to participate in a histrionic mythological dream while admiring her Ancient Chinese gowns. As a consequence, this essay investigates the parallels and variations between Guo Pie's costume and clothes from a certain period.
Guo Pie's Taste for Fashion
Guo was born in an era of Cultural Revolution in which people were forced to abandon any trace of individuality and finery. However, she had a taste for fashion and color. I recall a particular majestic royal gold dress that according to the specialist in the exhibition was inspired by a uniform worn by Napoleon Bonaparte. This appealed to me and made me think of another royal dress from the Rocco period worn by Marie Antoinette – the last queen of France before the French revolution. She was one of the great fashion icons of her time. Both of the dresses reflect exquisite craftsmanship as well as noble qualities. However, Goe Pie’s gold dress is more intricate. The dresses also communicate different social messages and cultivate contradicting attitude toward the viewers.
Comparison with Marie Antoinette
Both Marie Antoinette and Goe Pie share a unique taste in design and fashion. However, during the Rocco period fashion was perceived differently by different classes. The Rocco period was characterized by Romance and elegance, which was centered on the luxurious life of the aristocrats. With wealth and power concentrated in the hands of the aristocrats and bourgeoisie, the fashion industry flourished. At the same time condition worsened for the ordinary French people. Marie was perceived as an influential character in Rocco fashion. She was legendary due to her exceptional taste, specifically her affection for grand and new fashions and headpieces as well as jewelry. Her portrait that reflects her extravagance caused her to be a convenient target for French people’s rage and created negative attitude towards her and aristocrats in general. Rocco fashion found its way to French revolution and revolutionaries differentiated themselves from public and aristocrats and wore patriotic colors, such as red and blue. Comparing that to Goe Pie’s imperial collection, fashion in the current era does not only shape the social roles but also can be used to communicate historical information and personal experiences. When I contemplate the gold-embroidered dress of Goe Pie, I did not only admire her intricate craftsmanship but also it said something about the Chinese heritage and evoked oriental sense. It communicated to me about woman empowerment in society.
Conclusion
In summary, it is clear how fashion differs in the two eras. Currently, fashion does not only reflect social roles or the status of an individual but also can be used as an expression. Marie Antoinette’s clothes, which reflect her extravagant spending and luxurious life, aroused outrage among ordinary French people. On the other hand, the embroidered imperial gold dress of Goe Pie provides an insight into the Chinese rich history and culture and call individuals to appreciate the designer’s masterful work.
Bibliography
Cavender, Ben, Kevin Der Arslanian, and Conlyn Chan. “Luxury in China: The End of Bling.” In Luxury Brands in Emerging Markets, pp. 148-154. Palgrave Macmillan UK, 2014.
Goodman, Dena, and Thomas E. Kaiser. Marie Antoinette: Writings on the body of a queen. Routledge, 2013.
Hu, Shuangzi. “China in Contemporary American Museum Culture: Reality or Exotic Orientalist Fantasy?.” Ph.D. diss., The University of the Arts, 2016.
