‘’Edward Said would have a field day with the reified Orient implicitly characterized as a sexually ardent yet passive female, whose booty has been bought and fought over by active western males. There believes that Asian fashions are also created by Asian designers as the cultures tend to make representations of foreign cultures, the better to master or in some way control them. But, not all cultures make representations of foreign cultures and master or control them as the author believes as a distinction of modern Western cultures.’’ ( 2000 ‘Fashion orientalism and the limits of counter culture: Abstract’)
The usefulness of Said’s orientalism has paved the way for the globalization of Asian dress as it becomes an important aspect of the culture of people as the Western styles is changing people in terms of fashion and the way they dress were being inspired by ideals of orientalism as there were dress practices being followed due to globalization in a way of re-orienting fashion as the process of Said’s theory have garnered attention for Asian fashion that reflects the oreintalizing Asian people and its respected culture. (2003) As Sandra Niessen focus on the Asian practices that sheds light on ways integrating such ways of fashion globalization of how fashion operates and its aspects that are useful for recognizing the contribution of orientalism to fashion. Accordingly, the idea to which Asian dress is re-orienting fashion provides factors on who is performing under certain circumstances and the type of audience. Orientalism was crucial to the emerging Western style fashions like, in constructing a hand-woven cloth and market indigenous fashion lines that relates to the global fashion stage. (2003 )
Moreover, there were Western fashion dominance because of orientalism as it reflects how the people is responding to the modern styles of dress, orientalism gives indication to Western clothing systems that presents challenges to fashion icons and designers and approaches to fashion becomes more delicate and refined like the changes involved in batak clothing system as it changed from being an isolated tribe into a hierarchical society as Orientalism justifies the production of tribal dress to the making of global fashions as it supports to the daily life changes and lifestyle of the Western people and orientalism provides a great influence to the modifications of the Batak clothing as the cloth has its identity and spiritual significance and the people has learned to dress for new social roles and Western dress becomes popular that gives rise to better stability of fashion market impacting the greater society of fashionistas’ that implies a strong sense of Orientalism principles and values. (2003) There is an important characteristic of Said’s contribution that is achieved in Orientalism, where images and the role of imperialism are examined from a unified perspective, which seeks to do justice to the connections among them. The impact of orientalism implies to the widespread inclination that is found in Asian export statistics and product growth a justification for deriding economics, democracy and reason as the trifle of the backward West, whereas the Oriental is illogical, unusual, immature adheres the fact of several prodigious, independent economic achievement in Asia would be highly relevant in the oriental fashion respectively. (1982 )
Thus, Said’s work was influential that ‘Orientalism’ has become a generic term of anthropological thought by the power the West wielded over Asian societies since the Westerners were implicated in that dominance. The usefulness of orientalism emphasizes that fashion is a global phenomenon that is indisputable and there is persistent momentum in the perception of fashion as a Western phenomenon is equally indisputable. (Niessen et al., 2003 p. 221) An unquestioned, popular understanding of what fashion is can be found in any fashion magazine, on the fashion page of any newspaper, on the fashion channel of any social scenario everywhere in the world. It is also realized in the fashion world on haute couture airstrips that fashion is a Western phenomenon involving central component in the package of assumptions about fashion. (Niessen et al., 2003 p. 225) However, a conclusion was drawn from a narrow concentration on genre painting and fails to note that by the turn of the century Orientalist images in making the popular impact in Europe. Aside, changes in technology has marked a dramatic increase in the diffusion of Orientalist images of the veil and harem. (1982 )
The type reinforced the image of eastern women as well eroticize while, through the allegory of unveiling and disclosure of the harem, the Western eye asserted a colonial invasion and violation of the central values of Muslim society. ( 1978 ) There were indulging in the erotic fantasy and possession of the female has simultaneously underlined the inferiority and barbaric nature of Islamic society which enslaved women, through polygamy and force, to the horrible lust of cruel sultans. (1990) The key importance of Orientalism is that the representations of veiling, the harem and dancing bore little if any relationship to any social reality, almost no use was made of North African actors, except as background figures, while dress and architectural sets were a strange imitation of Egyptian, Indian, Hindu and other country styles. Erotic dancing featured an ‘improbable melange of Spanish and Indian dances combined with a touch of Arabian belly-dancing’. (1990,) There was then, a dramatic shift in the volume of press reports on Islam, as well as in the way in which Muslims were represented, both reflected and helped to generate and deepen these new concerns. (1990) The point to the ideological process has been the careful construction and manipulation, in image and text, of the veil, a type of fabrication that has been able to draw upon and reshape an older tradition of Orientalism and one in which the veiled women are shown carrying weapons, establishing an equation between the oppression of women, fanaticism and terrorism. (1990)
There are simply of veiled women, but in which the editorial preference has been for photographs which show the maximum or contextually most bizarre dress forms. The messages here are fairly obvious: the veil is the signifier, just as it was in the colonial period, of an entire social, political and cultural. (1984) For example, in Britain and the United States there have been numerous popular ‘authentic expose’ accounts by Western women of captive life in the harem, reviving an old Orientalist favorite (1996;1995 ). The characteristics of the French press use of images of veiling is that, as with earlier forms of Orientalism, less attention is paid to the sociological specificity of Muslim dress. (1996 ;1995 ) For instance, a magazine may select from its photographic bank a picture of an Iranian woman in complete length chador to exemplify a story on Islam in France and such misrepresentation can be interpreted as political construct rather than as editorial convenience. As with colonial Orientalism, the veiled woman is chosen as the symbol for an entire social and religious order, the immigrant community. (1996 ;1995) There are multiple levels of meaning such as that, the maximum veil indicates a barbaric order in which women are the victims of patriarchal oppression, seclusion and well-known practices like child/marriage and polygamy. (1995) The cultural distance between Muslims and French ‘civilization’ is made as wide as possible so as to suggest the impossibility of integration and to maximize the dangers presented to Republican values and unity. (1982 )
Orientalism composes a strong presence as it adheres and functions for such political service as the orientalist scholarship provided the means through which Europeans could take over Oriental lands. So, Edward Said is quite clear about the fundamental chain as being justified by Orientalism rather its realities that matter to the fashion world. (1985) Therefore, Said’s Orientalism demonstrates the process of change of such harmless philological masterpiece in terms of capacity for managing movement in politics as well as the administration of fashion within the ways of civil mission. (1985) The usefulness of Orientalism has successfully determined the self-image of the Western as it has less to do with the Orient than it does with the world. (1985) The construction of identity as well as societies has involved the establishing of fame of the Orientals as it implies every development and maintenance of heritage and culture requiring the upheaval of fashion ways as influenced by Orientalism within certain adaptability to such culture and provided Europe the wisdom seen in such ways of logical control. (1985) As the Western people have realized that they are vibrant, novel in fashion culture as well as the spectator, the judge and jury of each surface of Oriental performance.
Furthermore, Said had argued that Orientalism created a sense of invalid description of the Arabs and the Islamic culture because of the essentialist scenery that involves the belief within possibilities that has identified the necessary qualities of the Arab people and also the Islamic culture. (1978) The Orient, defined as a position secluded from types of human development found in sciences and arts process. Henceforth, Orientalism sensuality, inclination to absolutism, state of mind, custom of imprecision and the backward state. (1978) Where the Orientalism in the sense of fashion goes beyond in ways reflects the assumption that the Islamic culture has possessed a unity which can be read into each aspect of the modern fashion society. (1978 ) The functionality of Orientalism in fashion is visible also in China as part of Asia as the most fascinating civilizations, is an endless surprise of styles, colors, in fabrics, jewels, and fashion ways. (1980 ) The Western women look for the precious fabrics, the colored silks, the streamlined forms, the balance of contrasts and the accurate finish of Chinese craftsmen integrates the assumption of orientalism in its sense particularly, the Hong Kong fashion stylists that were stimulating and familiar in the process. (1980) So, there are small details that provide strength and spirits to tradition and the usefulness and the advances as achieved with fabrics and details pointing towards oriental tastes and compositions. (1980)
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