Feedback

After presenting much of the research to feedback and basing the concept around referencing the traditional imagery of Japan, China and India, this was the feedback received. 

In order to properly showcase the intricacy and details of the garments, the typographic identity of the festival should be minimal so as to not detract away from the Eastern visuals.

With much of the problem being that using these garments as is may lead to copyright issues, there was an idea to possibly make a collage of textile patterns in the recognisable clothing shape of each country. 

Most importantly, there was a comment to look back at the brief and to reconsider the context. The Japanese opera "La Princesse Jaune" was written by a French man and "The Chinese Conjuror" explores the life of a westerner in China performing magic. Only "Savitri" is true to Indian origin. 

The fact two of these operas are interpreted through a Western lens highlights the historic cultural appropriation by the West. "La Princesse Jaune" was written during the time where Japonisme was was in high esteem, in essence it was not from an original Japanese point of view. William Ellsworth Robinson goes to great lengths to maintain his perceived identity as a Chinese magician, Chung Ling Soo. This notion of the West interpreting Eastern culture could be the tension the brief wants to portray. 

On the other hand, this negative view of cultural appropriation can be seen as admiration by the West of Eastern ideals through the spectacle of opera. 

Perhaps to appeal to a new audience and to update the perceived connotations of Asia, there was an idea to completely remove explicit representations of traditional Eastern culture in the design. This helps the promotional image to stray away from stereotypical associations of Japanese, Indian and Chinese culture, which could probably discourage audiences from going. 

 

This idea springs to mind Ikko Tanaka's kimono posters. Here, the iconic silhouette of the kimono, an iconic symbol of Japanese culture and clothing, is removed of its traditional identity and is portrayed through modernity. The representation of the kimono becomes more neutral, alluding lesser to the culture it represents.