The period from 1890 to 1927 was an era which saw tremendous change occur in Western dress.  The late Victorian style was characterized by the hourglass silhouette.  It had a close-fitting bodice, floor length skirt, and an angular shoulder. However, by the 1910s, the style had shifted to a columnar silhouette with a draped, loose-fitting bodice and rounded shoulder; this silhouette was seen through the 1920s.

    In recent history, several distinctive Far-eastern influences on Western artistic forms have occurred.  Two predominant ones were the Chinoiserie period (18th century), and Japonisme (2nd half of the 19th century).  Japonisme began in France in 1856 and spread widely during the next thirty years.  It faded in the 1890s and merged with Art Nouveau, which had a curvilinear style very similar to ancient Chinese calligraphy and Japanese art.  Japonisme influenced much of the artistic world:  fine arts, decorative arts, industrial arts, architecture, literature and music.  It also prepared the way, so to speak, for the emerging influence of Sino-Japanism in Western women's apparel.  This influence was apparent during the first quarter of the 20th century.

    Sino-Japanism is a term used to describe influences from both Chinese and Japanese art.  It was a renewed interest in the art and culture of the Far-East, particularly China and Japan, which spread among Western artists and designers.

    During the period 1890 to 1927, Japanese influence first dominated fashion, then it was surpassed by Chinese influence.  Many socio-cultural factors contributed to the spread of Japonisme and the diffusion of Sino-Japanism.  These influential factors included the War between Japan & Russia in 1905, the Chinese Revolution in 1911, world exhibitions, fashion publications, and the work of creative designers.

Sino-Japanism influences can be identified by these common characteristics:

•  V-neckline
•  straight seams
•  contrasting wide waistband
•  banding along edges
•  full and rectangular sleeves, or full and rounded toward the ends
•  sleeves sewn to bodice at right angle

Period 1  (1890-1898)

• only a few examples.  Chinese banding, wide waistbands
• styles follow hourglass silhouette
• transformation level of cultural authentication

• most examples worn as intimate apparel; negligees, bathrobes, tea gowns, house gowns
• elements included kimono sleeve, dropped shoulder, collarless neckline
• S-curve, hourglass silhouette still in effect
• transformation level of cultural authentication

Period3 (1908-1915) 

• loose, slender silhouette characterized by use of Japanese elements including V-neckline, the kimono sleeve, waist and shoulder, the obi, banding effects, draped effects on skirts, narrow hems
• used in daywear and evening wear
• most women's garments included Japanese elements

Period 4 (1915-1927) 

• Chinese influence surpassed Japanese
• elements included round neckline, straight & tubular sleeves, the tunic, and banding effects
• all types of dress included - day wear, evening wear, private and public
• extensive transformation

Last Updated:  September  20, 1999
Copyright Belinda T. Orzada, University of Delaware, 1998.  All rights reserved.