The Qipao and The Western Tendency to Sexualize Eastern Culture
Have you ever heard of the cheongsam, also known as the qipao? If you haven’t heard of it I can assure you that you have seen this elegant design worn. One of gorgeous silk, decoratively vibrant florals, an iconic mandarin collar that dates back to 17th century China, and small pankou knot closures that add further detail. This design has sprung into the United States to be seen all throughout pop culture, from television, to runways, to the red carpet. While some may say that the qipao is a beautiful design of a dress that has been globalized, and integrated into American popular culture for the enjoyment of all. The qipao is a traditional cultural garment, with much significance, history, and identity rooted in china. In the US wearing one out of context can signify cultural appropriation, insensitivity, and the tendency for Americans to exoticize, and sexualize eastern cultures, and women. Effectively through the necessity of foreign cultural translation in the states that need to abide by stereotypes and the idealization of male desires.
The context of the qipao is very specific, and special to the history of women in China. Yin discusses that in the 1920s chinese women were protesting to break away from subordination, and hindering acts such as foot-binding. The qipao quickly gained popularity in China with its form fit and robe-like quality, as during this Han period, the qipao was outlawed as robes were only allowed to be worn by men. (Yin) The qipao soon became a cultural staple, and a form of protest, with women liberating their femininity with this newfound fit of garment. Currently the qipao is still a cultural garment worn at weddings, and formal tea ceremonies, with its significance remaining throughout the test of time. Western women who wear, and purchase this garment are often not aware of this significance.
Therefore, when the garment is translated into the U.S. people are attracted to it’s new and unusual quality, with men in particular being attracted to the exoticness that highlights fetishes one may possess. Hence the sexualization of eastern cultures, through the beauty and allure of the exotic. Take tropes like the sexy geisha, this trope in itself proves western grouping of eastern cultures with affiliation of the geisha, which is japanese, and the qipao. In order to romanticize the ‘exotic’ eastern woman, the male gaze is looking only at the rarity of the cultural presence. By sexualizing this stereotype it makes it easier to interpret, and comprehend, as one only has to understand the stereotype and not the culture. Often this sexualization of a culture comes from perceiving the culture as inferior, by not bothering to become educated. Not to mention that when a woman is seen as being subordinate it is even easier for male gazes to objectify. The qipao in particular is a perfect dress to sexualize, as this garment signifies a subservient woman through the known history of the subservience of women in China. In terms of male pursuits, with their tendency to want women to abide, it is quite simple to understand why this dress would be romanticized. But when we look at the cultural significance of the qipao actually representing the liberation of women out of strict subservience in China, this common sexualization is truly insensitive.
As a result of this attraction, western and American fashion have taken a hold of the qipao, making alterations to this traditional garment to make it even more appealing to the male eye through sexualizing it’s design. The American translation features a tighter fit, cheaper fabric, a shorter length, added slits, and the removal of sleeves for a more relatable mass American consumption. Zuahar notes how famous fashion designers like Louis Vutton, and Anna Sui have pushed sexualized qipaos down their runways. (Zuahar) This has effectively integrated the qipao into American culture as the latest fashion trend, and has seen many revivals since its first appearance in the 1950s.
Currently we can even see fast fashion brands spitting out the trend, that display the fetishization of eastern women with titles, and designs that specifically adhere to the American stereotypical perspective. For some examples of modern American translations that are being sold to American masses, and in turn being worn in any given context. First take this dress currently being sold on the website AKIRA. Its description claims “set your heart ablaze in the AKIRA Label Heart Of Fire Dragon Satin Mini Dress. The short satin dress features a dragon print pattern and is complete with a mandarin collar, cap sleeves, a back zipper, a stretchy bodycon fit, and a short slit at the hem. Wear it with a pair of sky high heels…” This dress is extremely short, and instead of a traditional form fit, features a bodycon fit, meaning it is tighter than tight, adhering to male preference by leaving little to the imagination. Along with the fact that the title implies love and attraction with the word “heart” and implies desire, and sex through the word ‘fire.’ All implying a context that is far different from the original context of women liberating themselves from men. As attraction, and desire binarily come from male sexual interest.
Admittedly, I want to be clear that I have no issue with creativity, expression, and women wearing revealing clothing if they choose to do so. In fact wearing clothing that may be revealing can be liberating to women, but why pick a garment from another culture? The answer is that it is simply not necessary. The issue is that a traditional garment is being placed into a sexual context, evolving outside, and against the culture that created it. As Thang upsettedly states in an article regarding another qipao design sold by the brand Reformation “As a Chinese person, I’m offended by this callous design… the dress is a clear proclamation that the Qi Pao was your designers’ inspiration, or more accurately, imitation.” (Thang) This proves that people of this culture reveal perspectives of pushback, because these sexual alterations are not about the liberation of women, it’s about trying on a culture to play dress up for male attraction, and enforce problematic stereotypes. Effectively offending and hurting chinese women.
Although by contrast, some may argue that there are instances where the qipao can be worn sensitively, where it is being honored, and respected. Thus far we have discussed that sexualization is rooted in adaptations, or adjustments made to the design. To wear the qipao as is, could be considered appreciation. Although I argue that that appreciation never exists, specifically within pop culture we see racist, and sexist undertones always being present. Take for example a scene of friends where a traditional style qipao is being worn by Jennifer Aniston who plays the character Rachel. Rachel works in fashion, and is known for always wearing the latest and greatest outfits. Although we see her wearing the dress traditionally with no modification, this scene seemingly not by coincidence features Rachel not wanting to concede to a male stripper that visits the apartment. Rachel in the episode does not like Danny Devito’s dance performance, and votes for him to leave. She is not abiding to his preference of wanting to dance, and upsets him. Even if this was not the intention of the screenwriters to feature a significant cultural garment into a scene playing a somewhat sexual situation that leads to racist undertones the historical context of the garment never goes away. The undertones of racism and known subservience of women in china can be ingrained unconsciously or consciously within choices of costuming. Intentional or not the message still reads, and can be harmful to the creators of the cultural garment. Even in day to day wear there are hundreds of instances where incorrect contexts could arise, and harm can be done.
To elaborate, exotic allure, and harmful context never disappear, therefore someone’s culture should never be a fashion trend. Trends fluctuate, change, and contribute to capitalism, while culture and tradition forever belong, and relate to the identity of their creators. That being said it is inevitable that as globalization continues foreign cultural objects will be seen and integrated into new cultures. So how can we learn to approach these new exciting cultural presences here in the US without appropriating, fetishizing or turning them into a trend? I believe that if you are within the original context of the object and invited by the creators of the culture, that celebration and respect can occur. As long as nothing is being stolen or changed, and you have an understanding of the garment’s original cultural significance and remain within that context. The U.S. houses many different cultures, and it is important to continue to be a forever learner about the best ways to move forward with sensitivity, and compassion to see a more inclusive, and inviting United States for everyone.
Thang, Farisia. “An Open Letter to Reformation on Its Culturally Insensitive Leopard Print Qi Pao.” HYPEBAE, HYPEBAE, 7 Jan. 2019, hypebae.com/2019/1/reformation-cultural-appropriation-leopard-print-qi-pao-open-letter.
Yin, Rachel Ka. “The Rise and Evolution of the Qipao.” PHASER, PHASER, 30 Apr. 2019, phasermagazine.com/main/2019/4/29/the-rise-and-evolution-of-the-qipao.
Zuahar, Catherine. “A Brief History of the Qipao: China’s Sexiest Dress.” SupChina, 20 May 2020, signal.supchina.com/a-brief-history-of-the-qipao-chinas-sexiest-dress/.
