Paris and the designers – Processes of engagement of Oriental designers in

the fashion capital

Dr Wessie Ling

London College of Fashion

The University of the Arts London

2 Traits of Engagement

Modes of Differentiation

Self-Orientalising by Choice

Modes of Differentiation

“Paris is so used to receive foreign designers. They do get noticed. Their designs may not always be outstanding but have personality. They bring in new vision to fashion like the use of colours, materials, silhouettes, and evolve with it. This vision is important for young designers in search of style.”

(Frédérique Mory - Madame Figaro, 2001)

“I am a Korean living in Paris. I can tell more about what I like, where will I usually go. Because I am not French, I don’t have to become one of them. And because I am not a French designer, people get more interested in me and want to know more about me.”

(Haye, 2001)

“Being a foreigner in Paris, ... I’ve personally found it an advantage bearing different cultural background. I ... have more things to talk about while living here. I can talk about my country, my history and how I rise up. This enriches a person. […] It gives out a message if you are working in fashion. Particularly, the industry is so competitive nowadays, if you do not stand out, you will not be able to survive.” (Ege, 2001)

“Every time they the press will ask me how do I come about to Paris, what did I do before? […] They like to have an idea of who I am, where I am from, and where do I get inspiration from. I told them it has been written somewhere else before but they still want me to go through it. Well, eventually, if I can have more press, it is always a good thing.” (Pashaî, 2001)

Self-Orientalising by choice

“When I first started in Paris, my African origin has always been talked about. […] I use recycle cloth, and cheap materials. This is part of African cultures. […] My design concept links with where I am from. This gives good references to my style. I don’t know if this is exotic. But I am more recognised with what they the press have labelled me.”

(Kouyate, 2001)

“I was showing my collection and some clients asked to see something Turkish ... like symbols and images from Turkey. So, […] I printed some Ottoman heads on T-shirts and they ordered them! Since then, I keep a set of Ottoman heads’ T-shirts in my collection. I don’t show them as part of my creations, but if clients ask for things Turkish, they can have the T-shirts.”

(Chambrey, 2001)

“…[W]here I am from ... is my source of inspiration. […] There is an emotional link there because of the Turkish connection, but then I come back to the everyday life. This is not to say I have to design things Turkish. My previous collection was inspired by the 30s of Chicago. The coming one is Mexico. I come up with a different theme each season. It could be from anywhere in the world.”

(Ege, 2001)

“I use Korean and Italian silk. I sometimes use Korea as an inspiration, often the nature like the landscape, the sea, the mountain, wind and air. […] I give the cut a feminine touch. I am not asked to make things Asian. I put these Chinese buttons and embroidery on because they echo with the theme and complete my collection.”

(Haye, 2001)

“We source everything in France and we even manufacture our collection here. […] We learn everything here from sourcing, design, production, marketing, and sell. [.…] I think our collection is more French than anything is. Maybe only the label is not because we adopt it from our grandfather. We even use the French tricolour as our trademark!” (Fanja, 2001)

The label of Paris designers

“Paris is so competitive. Designers have to be creative. Style and character are important for designers. People here are not looking for Shanghai Tang or Vivienne Tam. Shanghai Tang is too ethnic. There is not enough personality.” (Joëlle Piganeau - Journal du Textile, 2001)

Engaging in Paris and in Paris Fashion System

Modes of Differentiation

Self-Orientalisingby Choice

Paris Paris

Fashion

System

CREATEURS

ORIENTAL