Derek Lam, Thakoon Panichgul, Phillip Lim, Doo-ri Chung, Jason Wu, Alexander Wang, Richard Chai are among some of the most well-known names in fashion today. Even those who are less diligent about reading industry rags like WWD will recognize their names from widely publicized events such as the Democratic National Convention in which the future First Lady wore Panichgul’s raspberry and black floral silk dress or the Inaugural Ball in which she wore Wu’s white chiffon asymmetrical gown (beautifully!) or from two of the most popular fashion documentaries, Seamless (2005) and The September Issue (2009) in which Chung and Panichgul were separately featured. All of these designers, moreover, have won prestigious awards and recognition from the Council of Fashion Designers of America. This year – for the first time – all three awards given by the CFDA went to Asian Americans Chai, Wu, and Wang.
But what conditions led to the phenomenon of the rise of the Asian American designer? And what does the success of Asian American designers have to do with Asian markets, Asian consumers, and Asian immigrant labor? Finally, is there such a thing as an Asian American aesthetic – if so, what is it?
These are just some of the questions Thuy Linh Nguyen Tu explores in her new book The Beautiful Generation: Asian Americans and the Cultural Economy of Fashion (Duke University Press 2011). While numerous lay and professional journalists have written about this phenomenon, Tu’s is the first book-length study devoted to the topic of Asian American designers in fashion. Masterfully drawing together historical, ethnographic, and visual analyses, The Beautiful Generation is an incisive and elegant examination of “design as an Asian American practice and Asianness as a fashionable commodity.”
Throughout her book, Tu takes great care in tracing the complex tensions and intimacies between “a host of domains imagined as distinct”: Asian American designers and Asian immigrant sewers; transnational labor and consumer markets and local ones; and the symbolic and the material realms of fashion. As she points out, “The presumption of distance and disconnection has had the effect of obscuring the circuits that have always linked together culture and labor, material and immaterial, here and there.” The goal of Beautiful Generation is thus to tease out the institutional and informal exchanges and coalitions that constitute the art and practice of Asian American designers.
The Beautiful Generation is divided into two parts. It begins with a study of the material production of fashion – how Asian American designers have come to fashion and how they understand its nature. Tu’s discussion draws from interviews she did with designers, design students, fashion curators, and fashion publicists over the course of eight years. What is revealed in her interviews is “an architecture and aesthetic of intimacy” between fashion designers and garment manufacturers that disrupts common understandings that pit these forms of labor as separate and distinct from one another.
Asian American designers have been able to navigate the demands of the fashion industry in part by engaging in small, sporadic acts of exchange that allow them to access important resources and, in so doing, to transform what are usually considered market relations into intimate relations (of kin or culture) . . . These are acts of intimacy not just in the sense that they are private – though certainly they rely on and reconstruct the private domains of the family, with all its attendant problems – but also in the sense that they acknowledge proximity, contact, and affiliation between domains imaged as distinct.
In the second half of the book, Tu shifts her attention from the material production of fashion to its symbolic production. Specifically, she considers how the fashion industry frames ideas of Asianness. Analyzing more than 500 issues of fashion magazines published between 1995 and 2005, Tu argues that the aesthetic popularly known as Asian chic has fostered “in the fashionable public a sense of their distance from and superiority to Asia.” Tu contends, though, that Asian American designers who entered the industry during these peak years of Asian chic occupy a unique position.
While Asian American designers certainly contributed to the production of Asian chic, they failed to hew entirely to its economy of distance, struggling at times to forge connections to Asia (and beyond) and to assert the types of transnational intimacies that it precluded.
The author in 3.1 Phillip Lim.
The scholarly field of fashion studies is growing by leaps but it still tends to separate aesthetic considerations from material considerations, design from manufacture, culture from economy. The Beautiful Generation shows us the fiction of these divides. More than that, it demonstrates how some designers have imagined “a world of intimacies” among designers, manufacturers, and government elites; political histories and cultural icons; and Asian diasporas and “other streams of internationalism” (a phrase Tu borrows from Lisa Lowe).
It’s an absolute pleasure to recommend this brilliant, timely, and wholly approachable book to Threadbared readers! And it’s not just because we have buckets full of love for Thuy Linh N. Tu but because her book exemplifies precisely the kinds of critical discussions about fashion, culture, politics, and economies that Threadbared is all about.
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It’s Happening, Butterflies! It’s Happening!
Our much-anticipated promotional giveaway of this fabulous book is here, is now! We’re thrilled to offer 3 lucky readers a free copy of The Beautiful Generation, courtesy of Duke University Press! To enter our drawing, leave a comment below telling us who your favorite Asian American fashion designer is and why – no later than Saturday, December 4. We’ll choose from commenters at random and announce winners via Facebook and Twitter on December 6. Good luck!
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