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

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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.

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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.

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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.

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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

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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

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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

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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

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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

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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

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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.

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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.