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UNIVERSITY OF SOUTHERN QUEENSLAND
Crossing Borders: A Formosan's postcolonial
exploration of European Art Deco women designers
A dissertation submitted by
Li-Hsun Peng 彭立勛
M.A. (Université de Paris VIII Vincennes-Saint-Denis, France) M.F.A. (DNSEP, École Nationale Supérieure d'Arts Paris-Cergy, France)
For the award of
Doctor of Philosophy
2007
Eileen Gray Coco Chanel Sonia Delaunay Clarice Cliff
1878–1976 1883–1971 1885–1979 1899–1972
Li-Hsun PENG
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Abstract
This is research on cultural identity and the history of design. The project, by
applying aspects of postcolonial theories (third space, border theory and hybridity)
to the history of the four women designers in the Art Deco period in Europe,
explores the influences of Eastern cultures in developing their Western design
perspective.
Their experience in fighting against patriarchal society toward success is a useful
analogy for my country Taiwan’s struggle to win recognition in the world. It is
through the recognition of these four women designers’ contributions to design
history that I present their stories as models to my design students in Taiwan to
assist them in establishing their own design identity.
The research findings indicate that these women designers’ benefited from
Eastern culture and created a successful cultural mélange between the East and
West. Similarly, my design students in Taiwan will have the opportunity to
reverse the pathway in appropriating from the West to create new possibilities in
the East. I argue that hybridity is a key component for responding to and for
addressing the identity crisis and internal disruption in present-day Taiwan.
Through knowing and understanding these women designers’ achievements,
Taiwanese students have a model for self-reflection to recognise the importance
of our own cultural value to the world.
Li-Hsun PENG
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Li-Hsun PENG
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Acknowledgements
I would, firstly, like to thank my supervisor, Associate Professor Dr Robyn
Stewart for her unfailing support, intelligence and patience throughout my
candidature. With her supervision and encouragement, I discovered and started
my postcolonial exploration across my own identity and the four women
designers in the Art Deco period. Secondly, I also owe gratitude to my associate
supervisor, Senior Lecturer Dr Janet McDonald, for her unconditional support
and effective guidance in my dissertation structure and methodology.
I give thanks to my country, Taiwan, and to our Government, for providing me
with the opportunity for this research, an undertaking through a two-year full
scholarship award from the Ministry of Education, Taiwan. Many thanks to
Associate Professor Dr Laurent and Dr. Pauline Weng, Associate Professor Wen-
Kuang Huang, Associate Professor Pedro & Daisy Tsai, Associate Professor
Kathy Kou, Assistant Professor Dr Chien-Wen Chen, Assistant Professor Dr
Hong-Sheng Chen, and all my friends for their warm support and also my
colleagues in the Ling Tung University. With their friendship and administration
help, my research and study in Australia has become possible.
This thesis has been edited. I would like to thank my editor, Tony Roberts, for
the quality and effort he has contributed to my dissertation. Tony is a senior
editor who specialises in linguistic and I.T. fields.
Li-Hsun PENG
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Finally, my greatest debt of gratitude and love is to my charming wife Caroline
Jeng-Jia Lou; without her constant and mutual support, I would not have
accomplished my study. I owe profound thanks to my parents, Ms. Tsue-Une Lai
and Dr. Tsu-Hsin Peng, both for their encouragement and because my research
and exploration is a part of their life-long experiences. Finally, I want to give a
special thank-you to my whole family, Professor Thomas & Hsio-Ying Hlawatsch,
Dr. Richard and Cathy Peng, Hsio-Yu and Jacob Wang, Diana and Jackson Lou,
Stephan Hlawatsch, Hannah Wang, Laura Lou and also many other relatives.
With their blessings and help, this research has become meaningful.
Li-Hsun PENG
vi
Contents
Abstract ii
Certification of Dissertation iii
Acknowledgements iv
Contents vi
List of Figures xi
Prologue 1
Chapter 1
Description of the study 3
1.0 Introduction 3
1.1 Methodology: 7
1.1.1 Historiography 7
1.1.2 Bricolage as methodology 9
1.2 Background to the problem 12
1.3 Statement of problem and limitation of the study 14
1.4 Rationale and significance of the study 15
1.5 Proposed outcomes of the study 17
1.6 Commencing a third space narration 17
1.6.1 Oral history on the shifting spaces
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experiences in my family 19
1.6.2 The nature of Formosan culture 28
Chapter 2
Crossing borders 32
2.0 The cultural scene in Europe before the end of
the First World War 32
2.1 Cultural frames and women’s professional
development 36
2.1.1 Development of Art Deco 39
2.1.2 Challenging patriarchal barriers 44
2.1.3 The impact of the Great Depression 47
2.1.4 Art Deco and the Great Depression 49
2.1.5 Women in the Arts: Gender identities 53
2.1.6 Postcolonial theory: colonialism and
postcolonialism 55
Chapter 3
Art Deco and Exhibitions 72
3.1 Art Deco movements: the background, causes,
influences and outcomes 72
3.1.1 Historical colonisation 73
Li-Hsun PENG
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3.1.2 Colonial and empire exhibitions
and their influence 74
3.2 Connecting myself with colonial and
empire exhibitions 87
3.3 Orientalism on display 93
3.3.1 Utopia book of Formosa 93
Chapter 4
The analysis 98
4.1 Domestic and utilitarian concern 98
4.1.1 Personal experiences and border explorations 98
4.1.2 Comparing Eileen Gray and Clarice Cliff’s domestic
experience 106
4.1.3 Hybridity and my domestic experience 110
4.1.4 Establishing Taiwan’s third space Identity
from our history 114
4.1.5 The four women Designers and third space experience 123
4.2 Gender issues 140
4.2.1 Comparing the four women designers’ border 140
experiences from a gendered perspecti38
4.2.2 The gendered social environments of Gray, Chanel,
and Cliff 157
4.3 Appropriation 167
4.3.1 Appropriation and my third space experiences 167
Li-Hsun PENG
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4.3.2 Cultural appropriation and these four women 169
designers in Art Deco
4.3.3 Gray, Delaunay and Cliff appropriated from De Stijl 180
4.3.4 Appropriation and hybridity 185
4.4 Issues of exoticism 199
4.4.1 Multi-culturalism and exoticism in Paris 199
4.4.2 Hybridity into Exotic style among the four women
designers 201
4.4.3 Using hybridity to become a successful brand name 223
Chapter 5
Conclusion, making alliances with "Colonisers" 230
5.1 Significance of the study: Women designers
success and appropriation of Orientalism 230
5.1.1 The inspiration of Eileen Gray's story 231
5.1.2 The inspiration of Coco Chanel's story 235
5.1.3 The inspiration of Sonia Delaunay's story 239
5.1.4 The inspiration of Clarice Cliff's story 242
5.1.5 Women designers did appropriate
from the East and from Orientalism 245
5.2 My appropriation of concepts from the West 246
5.2.1 Lessons from the Exhibitions concerning Taiwan 248
5.2.2 The importance of regaining cultural autonomy
Li-Hsun PENG
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and self-respect for Taiwanese 249
5.2.3 Hybridity of different cultures and
races merging together 252
5.3 Fine art and design – a Taiwanese perspective 254
5.3.1 Cultural identity for my students in Taiwan:
when the West meets the East 254
5.4 Key future directions for this research 255
5.4.1 Posting my ideas online and the copyright issues 255
5.4.2 A research website should include the following 255
Notes 257
References 260
Web site and newspaper references: 274
Bibliography of Images: 277
Li-Hsun PENG
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List of Figures (See details in Bibliography of Images, page 277)
Image 1.1: 1966; George Kerr, Formosa Frontier Island 17
Image 3.1: 1925; ‘View from the Northwest’, and ‘Night Scene in Grand Palais’ 80
Image 3.2: 1937; ‘Pavillons des colonies: Indochine & Afrique équatoriale’ 85
Image 3.3: 1887; ‘Aborigines from Southern Formosa with their guns’, 1875,
‘Savage Man and Woman’ 87
Image 3.4: 1884; ‘Formosan Types and Costumes – Butan Captives in Japan’ 90
Image 3.5: 1935, Taiwan Exhibition held mainly in Taipei with Art Deco
style 91
Image 3.6: 1935, Taiwan Exhibition showed the Art Deco style
Architecture 92
Image 3.7: 1704; George Psalmanazar, ‘An Historical and Geographical
Description of Formosa’, ‘Figure of Formosans’, 94
Image 3.8: 1704; George Psalmanazar, ‘The Funeral, or Way of Burning the
Dead Bodies’ 96
Image 4.1: 1990; my works and exhibition during the stay in Paris 103
Image 4.2: 1930s; Conical Sugar Sifters and Stamford Teapots 109
Image 4.3: 1633; ‘Fort Zeelandia built in Tainan’, ‘the Island
Formosa and the Pescadores’ 117
Image 4.4: 1926-29; Functional-oriented design, ‘Bedroom
Dressing table, designed for E-1027’, ‘Kitchen in E-1027’ 126
Image 4.5: 1912; Chanel Hat design for Gabrielle Dorziat 130
Image 4.6: 1916; Liqueur Poster, 1924, Harlequin Rug design 133
Image 4.7: 1931; Tennis series and Age of Jazz 137
Image 4.8: 1926–29; ‘aerial views of E-1027 140
Li-Hsun PENG
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Image 4.9: ‘Le Corbusier letter to Eileen Gray regarding E-1027’ 146
Image 4.10: 1925; Chanel’s prototype of ‘Little Black Dress’,
Chanel’s ‘Black Lady’ in Vogue 152
Image 4.11: 1938; Le Corbusier, ‘Three Women (Graffite à Cap Martin)’ 160
Image 4.12: 1990; My creation of stained glass and installation painting 167
Image 4.13: 1911; the first abstract design work, cover design
for Ricciotto Canudor 176
Image 4.14: 1926-29; ‘Plan for E-1027’, Roquebrune Cap Martin,
1926c Architect’s Cabinet 180
Image 4.15: 1926-28; ‘Costume design for Carnival in Rio’ 182
Image 4.16: 1922; ‘Cette Eternel Femme’, 1926, ‘Le Petit Parigot’ 191
Image 4.17: 1989; My stained glass restoration and creation 200
Image 4.18: 1913; Eileen Gray, ‘Le Destin Screen and Pirogue Sofa’ 204
Image 4.19: 1920s; Chanel ‘Faux Bijou’, ‘Chanel Exotic Styles’ 206
Image 4.20: 1924; ‘Chanel designed costumes for Diaghilev and Le Train Bleu’ 208
Image 4.21: 1913 Details of Bal Bullier and Sonia Delaunay wearing her
simultaneous dress 214
Image 4.22: 1918; ‘Costume Cléopâtre’, 1917, ‘Costume Aida Madrid’ 216
Image 4.23: 1928; Bizarre Ware Advertising, and Bizarre shop girls at
Work 218
Image 4.24: 1934-1939; Clarice Cliff, Plaques design 220
Image 4.25: 1924; Arab Figure & Miniature Vases, 1929, Fantasque Teapot 221
Image 4.26: 1920-23; Chanel Perfume No. 5, 2005, ‘a revised bottle of
Chanel No. 5’ 224
Image 4.27: 1932; Chanel Jewellery 226
Image 5.1: 1920-30; Furniture and tables made by Eileen Gray 232
Li-Hsun PENG
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Image 5.2: 1920s; Chanel Style of Les Années 20, the basic elements
in her costume design 236
Image 5.3: 1925-28; Sonia Delaunay’s fashion design with inspirations
from many styles 241
Image 5.4: 2001; Exhibition in Glasgow Museum, 2001,
Christie’s Clarice Cliff auction 243
Prologue
It was on 5 December 2004, I arrived at Brisbane Airport in the early
morning from Toowoomba; I had my confirmed-return tickets from my previous
flight five months ago and was about to take the Royal Brunei Airlines to Brunei,
then back to Taiwan to meet my family. A few months before, I had had a
pleasant trip from Taipei with a two day stopover in Brunei. I found it was a
small but charming Islamic state full of exotic colours. So I was looking forward
to take this return trip. However, this journey was beyond my expectation and
imagination. When I arrived at the Royal Brunei’s counter, the attendant told me
that my connected route back to Taipei was cancelled three months ago owing to
airline finances; they apologised for being unable to contact me. They said they
had arranged an alternative route for me; but I would have to fly from Brunei to
Hong Kong then change to Taipei. This change forced me to stay in Brunei for
two consecutive nights. They made the reservation of a hotel room for me and
told me everything was well arranged and not to worry about it.
When my flight arrived at Brunei Darussalam Airport it was late on a
Sunday afternoon; the Custom officers stopped me and told me that I was not
entitled to obtain an arrival visa because I am from China. I told them that I am
from Taiwan and that even though my passport is written ‘Republic of China’ it
means from Taiwan. Mainland China is the ‘People’s Republic of China’. They
pretended not to understand my English. As a result they put me into the
detention centre located inside the airport. Everything happened suddenly and
beyond my control. My status was simply because a Taiwanese citizen becomes
‘other’ to them; I had lost my own identity and was trapped in a political struggle.
Li-Hsun PENG
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My freedom was limited to staying in the international zone that included
five small duty-free shops inside the airport; and a small, dark, windowless room
that they provided for me. This limited zone in the airport was the third space for
me; I was misplaced between the two destinations and had become a neutral
person who was losing his identity.
As Bhabha argues, “by exploring this third space, we may elude the
politics of polarity and emerge as the others of our selves” (1994: 39). Through
this incident, I saw the power authority had over me. However, while standing
within the third space, I realised that this borderland was in fact a place of refuge
for me. It was a space to escape all kinds of political disruptions and to find inner
peace of self. I had therefore transformed as ‘other’ and had established a neutral
position for myself. Thinking about this point, I realised that my personal
suffrage was merely a small matter. Compared to people searching for identities, I
was still lucky to have decent treatment. My adventure was similar to Tom
Hanks’ character in the film The Terminal. I stayed in this third space merry-go-
round for two nights until my next flight on Tuesday morning.
My stay at Brunei Airport enhanced my determination; it not only helped
to complete my research but it also increased my understanding of the issues of
border crossing and the third space. It was at that moment I started to realise
Taiwan’s status in the world community. It also strengthened my will and
motivation for researching across the borders of postcolonialism through my
personal experiences.
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