Fashion trends changed through the ages. There were basically three main eras – colonial period, the period during World War II, and post-war period. Throughout these eras, one’s ethnic and cultural background, social class and historical events often shaped what people chose to wear. However, with time, some of these factors held lesser sway over one’s “fashionability”. But at the same time, Western influence was, and still is, greatly prevalent in the fashion industry.
Our analysis of the Singapore fashion scene focuses on female garments, as we witness how Western individual rights and values of freedom liberated their mindsets, and the clothes they wore to express themselves.
SUMMARY
Decades ago, clothes were simply for everyday wear, or special occasions. In those days, leisure activities were considered “special occasions”. People dressed up for a stroll as they would to see a movie. Shopping, for example, was an event to be dolled up for. Today, people can be seen in t-shirts, shirts and flip-flops in town. In those days, attires as such were reserved for the home, or indoors. Women were perfectly groomed when they were outdoors; Chinese put on their cheongsam, Malays had their sarong kebaya, and Indians, in their good saris. Today, most locals, especially the Chinese, reserved their traditional costumes for ethnic occasions or celebrations.
and mass industrialization opened a new world of department stores and large garment chains selling mass produced, ready-made clothes.
Along with capitalist ideologies came the escalation of English-educated locals. Values of the West were imparted especially to the schooling youths through exposure to English magazines, movies and leisure. Hollywood movie stars and rock and roll singers inspired youths to dress like them. Magazines taught them how to gussy themselves up. From then, the great cultural transmission from the West was inevitable and irreversible.
COLONIAL PERIOD – 1930s
Average housewives would buy fabric from textile merchants, and then go home to make their own clothes for the next event (possibly shopping again). The Singer sewing machine became their best friends because tailors were too expensive and the lower class could not afford them.
The upper class could afford the luxury of tailors. The tailors were commonly found in Northbridge Road, Tiong Bahru, Macpherson Estate, Tiverton Lane and in private homes who dressmakers would sew frocks from $8 to $12. The upper class locals also shopped at Raffles Place Shopping Centre. Giant retailers such as Robinsons, John Little’s, and Whiteaways there sold “made in Great Britain” goods. Western goods were considered premium and quality products – products the locals could hardly afford. The rich bought frocks from there to attend important balls.
The social class and culture that one belongs to scoped their dress-codes because of the events they attended, and the frequency of the attendance for these events differed. For the upper class, their social circles consisted of British counterparts and they were often better exposed and hence more well-informed than the lower class locals about Western trends. The availability of these clothes was also higher for them, due to the economic accessibility to Western departmental stores.
However, it is important to note that the cultural transmission was two-way. The Westerners gradually donned cheongsams. The tubular shape of the Western dress in the 1920s was very similar to loose cheongsams favoured by the Chinese. There was intercultural infusion when both the Westerners would wear cheongsams and the Chinese, Western dresses, at formal events. On the other hand, while nonyas and Chinese women began wearing western-style dresses for day events such as tea parties, they still preferred the cheongsam for a formal evening event.
For day wear, floral frocks and butterfly sleeves (exaggerated puffy sleeves) were rampant. The upper class locals and Westerns wore such frocks to tea parties. Secondly, this era celebrating femininity also focused on the waistline and fuller skirts, revealing a shapely silhouette. The locals were receptive toward it because they were used to the sarong which showed off one's curves as well.
[1] Singapore : National Heritage Board and Fashion Designers Society, 1993. Singapore, National Heritage Board. Fashion Designers Society.
WORLD WAR II
World War II cast a grave and solemn mood and this was reflected in fashion. Clothes had a military edge to them. Big shoulders and narrow skirts were popular, along with solid, dark colours.
After the war, colours, floral prints and curvacious styles were back into the trends.
In the 1940s and 1950s, the locals caught up with Western trends. Chinese were very taken into the floral frocks and butterfly sleeves mentioned to be worn by Westerners and upper class locals in 1930s.
POST WAR – 1950s
The post-war jubilant mood was palpable. There was a variety of parties to attend to. The social elites waltzed and tangoed at hotels like Goodwood Park and The Raffles Hotel. Clubs such as the Singapore Girls’ Sports Club, held parties. The Chinese businessmen, such as Loke Wan Tho, and Tan Kim Seng, held parties for the opening of various buildings and organizations. During formal events as such, there was a consensus amongst party-goers that their ethnic costumes, in the right fabrics, would be adequately appropriate. The cheongsam, saree and sarong kebaya were commonly seen, and they represented the national identity of these locals.
The Westerners were very taken into the cheongsam as well. There was a cultural infusion when Western costumes were paired with some elements of Chinese dressing – be it cheongsam or traditional Chinese tunics and trousers. Interestingly, upon Western adoption, Chinese girls who previously deserted cheongsams for Western-styled dresses quickly picked up feminine cheongsam again, especially for formal events. While there were still locals who stuck to their own cultural costumes, this segment of locals was more greatly influenced by Westernization. It took to such extents that when the foreigners were interested in their own culture, they similarly revisited the culture which they had so readily discarded. Even so, the return was not for genuine interest, but to blindly follow a fad led by the Westerners.
Even so, the cheongsam was infused with Western influence. From loose shapes to figure-hugging seams, it has greatly taken after Hollywood movie stars like Marilyn Monroe's style of dressing. Asian celebrities like Lin Dai and Singapore socialites like Christina Loke, were also photographed in such outfits. The cheongsam gradually became a symbol of glamour and sex appeal, a representation which differed from the elegant imagery previously associated with it.
Through the amendments made to traditional costumes, from loose-fitting clothes to form-fitted silhouettes, we witness the first baby steps of the local fashion scene being infused with the Western influence that they were experiencing.There were obvious changes in the identity of Singaporean women from the 1950s to the 1970s. Due to rapid industrialization and Westernization, women came out from the four walls of their houses and began working. Their personal disposable income gave them spending power, and they became an important market segment for the fashion industry.
1960s
The sensational mini was creating a stir. Skirts inches above the knees were very popular and this further revamped the iconic cheongsam. Lengths of cheongsam went up.
This created social concerns. Despite changes in the female social status, they were still expected to dress appropriately. Nevertheless, the sleeveless cheongsam was still an excellent example of cultural fusion. Apart from being “westernized”, women usually wore it with Western-style jackets, and its fabric was the same as that of the Malay sarong.
The kebaya suit was also “modernized” in the 1960s. Waistbands, ready-made pleats and side zippers were incorporated. It was figure-hugging and its fabric was translucent. School teachers were forbidden to wear it to school. The Indian Sari became popular because of its lightweight Nylex material which made one’s silhouette slimmer. Nylex was also cheaper and it came with stylish patterns and prints.
There has been great focus on the influence of Western-styled frocks. However they did not very much appeal to the everyday woman. For the Chinese commoners, it was only the pantsuit, which gradually came into style, that caught their fancy. Similarly, there were cultural reasons for this. The pantsuit resembled the Chinese samfoo (pants and blouse) and it was so popular it gradually replaced the samfoo altogether.
The variety of pantsuit adorned by these ladies of the lower class was representative of their occupations. Housewives favoured the floral pantsuit, but those working odd jobs such as cleaning ladies, or sold fishes and poultry in the market only wore floral pantsuits for special occasions. The younger career woman wore smarter versions of the pantsuit. They were solid colours and matched with scarves of abstract prints. For a day out, they wore flared pants and platformed shoes.
1970s
In 1970s, the 1950 baby boomers were engaged in a youth movement, largely influenced by Westernization, and this propelled fashion in Singapore to greater leaps of change. Singapore entered the 1970s as a politically stable state with a high rate of economic growth. With increasing education levels and the female working population, women had greater interaction with other ethnic communities, as well as greater contact with Western ideas of modernization. Exposure to Western perceptions also came from magazines which they were now able to purchase and read.
Their new cosmopolitan mindsets meant they no longer limited themselves to ethnic garments and looked to fashion centres in Europe and Asia (especially Hong Kong and Tokyo) for inspiration. Opportunities at work and school resulted in greater spending power and women paid more attention to fashion than they did before.
In the 1960s, Singapore became a regional textile hub and the availability and affordability of garments helped globalize women’s wear. Mass-produced garments and synthetic fabrics became the norm in 1970s, replacing the previous preference for self-made or tailor-made clothes.
As mentioned, the miniskirt caused a controversy, accusing women of attracting undesirable attention to themselves.
Meanwhile, the rock and roll scene was springing up amongst youths in Singapore. The youth culture was a culture that was especially taken in with British and later on, American popular culture. Brightly coloured clothes and psychedelic prints were must-haves in one’s cupboard. The bold prints and swirls recalled the effects of drugs, including distortion of senses and visions, and intensified colours. There was great influence from rock and roll bands, which were associated with hippie culture, sex promotion, and drug consumption. The government objected to these negative “yellow culture” influences and started to emphasize on Asian conservative values. When dance music became popular in the 1970s, people started frequenting discos. Their dresses were also shiny, bold, and loud. Music was also closely relevant to fashion.
When dance music became popular in the 1970s, people started frequenting discos. Their dresses were also shiny, bold, and loud. Music was a subset of fashion.
1980s
The lower income group discovered a new outfit of baggy tee-shirts and Bermudas. They paired them with rubber flip-flops because this was much more comfortable and convenient for their jobs which did not command formal wear.
1990s
The 1990s (1990-1999) is called the Golden Age of Singapore. It was a great time to enjoy modern style living, fashion and entertainment. The economy was peaking, (especially before the 1997 financial crisis) and there was a proliferation of many foreign brands taking Singapore by storm. For example, British streetwear Topshop, and Warehouse, Spanish fashion houses Mango and Zara, were popular brands amongst females, ranging from raving teenagers to chic corporate ladies. There were also expansions of these fashion bigwigs. Club21, a renowned franchiser of American, British and European brands, had existed in Tanglin Mall in 1972 as a modest tailoring shop. But it was in the 1990s that it spread it wings and landed itself in 11 spots in Singapore.
Fashion magazines such as Her World and Elle were staples amongst female youths in Singapore. They were their bibles, informing them of the trendiest ensembles, and where to purchase them.
21st Century
As the government pays more attention to the Arts, fashion was an aspect which began thriving. Fashion appears to be a key pillar of Singapore’s tourism industry. Visitors spent S$3.5 billion, with overseas visitors occupying 35% of total shopping expenditure, in 2007. International Enterprise (IE) Singapore, SPRING Singapore (SPRING) and the Singapore Tourism Board (STB) are coming together to propel the fashion industry forward. SPRING has helped local brands strengthen capabilities, IE Singapore showcased textile and apparel companies internationally, and the STB has put Singapore’s fashion industry on a pedestal, presenting international brand names while introducing local designers through the launch of Singapore Fashion Week and Singapore Fashion Festival.
The STB feels this would help Singapore “reinforce her position as Asia’s leading fashion hub.”[2].
There was also an influx of Western fashion brands, such as the American Gap, and Japan’s Uniqlo landing in our malls. Shopping centres in town expanded and there are constantly ongoing constructions for new malls, such as Ion in Orchard, and Illuma in Bugis. Budgets for shopping and entertainment has been on the rise, creating more outlets for indulgence in the fashion industry. Even heartland malls such as Parkway Parade and Tampines Shopping Centre introduced big brand names like Topshop and Uniqlo for greater reach of the market because standards of living in Singapore is on the rise. Heartlanders no longer wore only Bermudas and tee-shirts, they were paying a great deal of attention to what they wore outdoors.
The 21st Century saw a Web 2.0 generation who interacted, played, and was educated online. It was not surprising that shopping was done online too. Even while Western brands like Australian chain Supre and the American Apparel were not found in Singapore, youths aged 15 to 39 could still have them ordered online and shipped to their doorsteps. The online American giant ASOS.com (As Seen On Stars) selling fashionable garments and accessories, produced clothes akin to what Hollywood stars were spotted wearing. Its global success meant Singapore youths were also enthralled by the ability to mimic styles of Western movie stars and singers.
On the other dimension of the Web 2.0 generation was a spark of entrepreneurship. There is currently an explosion of online blogshops, owned by young local girls, and usually hosted by livejournal, blogger, or they might even own their own dot.coms. Their garments and accessories are sourced from low-cost garment factories in Bangkok, Shanghai, or Hongkong. These clothes and accessories are usually innovative adaptations of the designs by fashion bigwigs of Topshop, and the likes, and have similarly caused a stir amongst local youths because of it was both affordable and trendy. E-bay and other online websites bridged sellers and buyers into an exchange of second-hand, or even brand new items from across the globe.
Furthermore, fashion blogs such as Lookbook.nu and Fashiontoast.com offered insights into what’s-in and what’s-not in daily doses. Fashion knowledge was easily accessible, and literally at one’s fingertips. The fashion industry was also increasingly divided. Apart from the mainstream fashion bigwigs located in the heart of town, local designers such as Collage, and independent retailers like Style:Nordic, Asylum, WhiteRoom, selling alternative garments were found in Ann Siang Hill and Haji Lane.
Up-market independent local designers such as HarryHalim (bottom right), Nicolas Wong, and Baylene (bottom left) are some of the likes that have made their mark not only in Singapore, but in the global market as well. There has been great encouragement and emphasis on developing the Arts scene in Singapore and schools like NAFA (Nanyang Fine Acaedemy of the Arts), Laselle, and the newly opened SOTA (School of the Arts) constantly hold competitions to provide opportunities and platforms for design students to showcase their potential.
Other alternative fashion included Japanese street fashion, and local youth fans donned subculture attire such as Lolita, Gyaru, Bosozoku, and Visual Kei.
The Singapore Fashion is much more diversified, such that even within the high-end and street-fashion, various styles existed. Fashion was no longer a luxury for the rich, or the elites who were usually Westerners. Locals are becoming as educated, and had almost equal access to trendy goods. The majority of local youths shopped at malls, and interestingly, fashion brands themselves were beginning to woo the market, locating themselves conveniently at heartland malls unlike previous exclusive distribution in town areas. More importantly, it was because branded items were no longer the heart of fashion, that the elite barriers so commonly associated with fashion, diminished. One did not need to be well-to-do to afford the Christian Dior gowns and frocks the Westerners wore in the past to be fashionable. Fashion now has a new focus on the individual’s ability to mix and match, and various styles existed. One could be chic, bohemian, or funky.
The clothes vary from form-fitted skinny jeans and coloured leggings to loose, shredded hippie tops and headbands, bright colours to mod black-and-white, structured jackets, leopard prints, and so on. There is also a fashion fad revisiting the nostalgic past – vintage bags, belts, and garments including high waist skirts and pants, floral camisoles, and boots. It is common for fashion comebacks as a single outfit can be made up of conglomerated fashion trends from different eras.
[2] The Singapore Tourism Board Fashion Fast Forward, September 28 2008, http://app.stb.gov.sg/asp/new/new03a.asp?id=9343
CONCLUSION
Westernization has a huge impact on the local fashion scene, and it still does because it of economic development in America, England and European countries. Their influences and values held great sway over people all over the world, including Singapore, especially with its colonial roots. This was strengthened with the economic boom in 1970s to 1990s, due to rapid industrialization and the numerous garment production factories in Singapore. However, in the late 1990s till the current 21st century, local and Asian designers started to establish their mark in the fashion industry. Production shifted to other Asian countries such as Thailand and China, and a new world of affordable street fashion (sometimes imitations of Western designs) surfaced.
While there are still traces of Western influence, the Western domination is becoming less pronounced with the gradual permeation of Asian independent designers.
The analysis through time shows that the fashion today knows no boundaries. It is a porous equation where different identities come to together as globalization gradually takes the place of Westernization.
References
Picture references according to appearance
National Museum of Singapore, Fashion Living Gallery
www.flickr.com
www.cgi.ebay.com.sg
www.flickr.com
www.ajollyaffair.wordpress.com
www.chinavista.com
library.thinkquest.org
www.yawningbread.org
www.ladyironchef.com
www.sadhanayoga.com.sg
http://www.asiaone.com/Just+Woman/News/Women+In+The+News/Story/A1Story20070612-14516.html
http://en.wikipedia.org/wiki/Japanese_street_fashion
http://www.lookbook.nu
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