Symbolism Of Japanese Flowers

Eastern blooms

FASHION:  The Chinese Garden at this weekend’s Bloom festival in Dublin’s Phoenix Park serves as a backdrop for this celebration of oriental fashion. Kimonos are in, don’t you know.

EVERY NOW AND again Western fashion falls in love with the Far East. When Marc Jacobs sent out his post-modern take on Chinese fashion of 1930s Shanghai at his spring 2011 show in Paris for Louis Vuitton, he triggered a high-street trend for cheongsams, tassels and mandarin collars. Many saw it as a collection pitched towards emerging Asian markets, but those close-fitting sheaths, sexy slits and slick hair, delivered instant supercool status in lacquer red and cloisonné blue, two colours set to cast their stardust over the coming winter season, too.

Other illustrations of the Chinoiserie effect are the bold flower-printed silk tunics and dresses in Dries Van Noten’s current collection. These unique prints may be impossible to copy, but I found two cheongsams in Temple Bar’s new vintage shop Shotsy this week, one in a deep purple wool, the other more traditionally in pale silk brocade, each about €40.

Japanese designers once shocked Paris; now their deconstructed tailoring and monochrome palette are taken for granted. What they introduced was the Eastern tradition of layering on the body rather than cutting close to its shape. Even the late Alexander McQueen acknowledged the Japanese designer Rei Kawakubo as a huge inspiration. “Their influence isn’t direct, but comes through an attitude; it’s about being challenging and not being afraid to operate in a way that might be at odds with the fashion world,” says Catherine Ince, curator of the recent Barbican exhibition on Japanese fashion in London. One of the first to have a fashion dialogue with the East was the designer Paul Poiret, whose embroidered fur-trimmed kimono coat in Paris in 1911 made his fame and fortune. Here in Ireland, John Rocha’s native Chinese sensibility mixed with his adopted Irish homeland has energised traditional Irish craft and handwork.

But it was Yves St Laurent in 1977 with his haute couture collection inspired by 18th-century China, whose lovely satin kimonos and mandarin tunics in vibrant colours made a huge impact and controversially launched what became the brand’s best-selling perfume Opium.

With a 1970s revival fanning out again, many are revisiting that famous 1977 YSL collection as an opportune time to reconsider its impact. As the Chinese economy becomes a dominant world force, and next year is the Year of the Dragon, it pays, as someone once said, to be one leap ahead. There’s even a touch of Studio 54 and the disco glamour of the 1970s rocked into the look.

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