The topic I chose to base my zine on is one that is very personal too me and one that needs more light shedding on it. It is based on the cultural revolution of the traditional ‘Longyi’ skirt that has been prominent in Burma (now named Myanmar) for years. I’m also going to be be looking at how the Longyi has influenced fashion in the western world both in historic and contemporary brands. Myanmar is a country that exudes an element of mystery too me , it holds a big part in genetically making me who I am due to my Grandad being Burmese however before this project I knew nothing about the country and its heritage due to my Grandad deserting us when I was just a baby. The question of what this Burmese part of me was then became a taboo subject within my family , with my Grandad out the picture because he had been having an affair with another woman with whom he in fact already had 3 children with it left me with no one to turn to on the questions I’ve always wanted to ask about my ethnic heritage. This is why I’ve took it upon myself to learn what this part of my ethnicity is about. So I took our brief and tried to mould it too fit what I want to talk about and something I want too bring awareness too which is the Ethnic Cleanse that is impacting the Rohingya Muslims in Myanmar. Something that really caught my attention on the conflict between the two was that no matter what religion the Myanmar people are one of the products that unites the two is the wear of the traditional Burmese Longyi wrap skirt wether you’re a man , woman or child , Rohingya or Buddhist everyone still wears the traditional skirt which has been dated back too the late 1800’s. Therefore I thought that the Longyi movement , its historic background , its cultural effects on Burma now and my personal connection to the country would allow me to create a body of work of that exudes the passion and interest I have on the movement and on educating myself and others on Burma and all the aspects that come with it. This Zine will also be something I’ll be able to reflect on in the future and see if the Longyi is continuing to break down barriers in both the Political and Fashion world like how it is now.
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T H E 8
W E S T E
E R N W O R L D 9
BRANDS CONTENT PAGE
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ETRO 3.1 PHILLIP LIM PHOEBE PHILO CELINE ZARA
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E T R O
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“FAITHFUL TO LOVE AND BEAUTY”
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ETRO SPRING SUMMER 19’ 14
TYPICAL LONGYI PATTERNS BELTS RESEMBLE THE TIE MADE IN THE LONGYI 15
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“Since an early age, I’ve been intrigued by the idea of design evolution” 17
LON GYI INFL U E NCE S A R E F E AT U R E D I N A L M OS T E V ERY P H I LI P LIM CO L L E CT IO N , E V E N I F I T S A S M A L L M O T IF L IK E THE T I E I N T H E S K I R T. 18
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PHOEBE PHILO
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“I thought, If there’s anything to say at the moment, let it be with love, and let it be joyful.”
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IN MY PERSONAL OPINION I FEEL LIKE THE PHRASE IS USED TOO LOOSLY. PEOPLE FROM DIFFERENT CULTURES ARE ALWAYS TALKING ABOUT HOW THEIR CULTURES ARENT REPSRESNTED ENOUGH IN THE INDUSTRY HOWEVER WHEN DESIGNERS OR CONSUMERS DO USE STYLES FROM THEIR CULTURES THEY DUB IT AS “CULTURAL APPROPRATION” HOWEVER I DO THINK IF A DESIGNER IS GOING TO TAKE INSPIRATION FROM CULTURES THEY SHOULD CREDIT THE CULTURE AND SHOW THAT THEY HAVE RESEARCHED IT AND HAVE A CLEAR UNDERSTANDING ON WHAT THE CULTURE IS ABOUT.
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IN RECENT YEARS THE USE OF THE PHRASE “CULTRUAL APPOPRIATION” HAS BEEN A STAPLE IN THE MEDIA AND FASHION . THE PHRASE DESCRIBES SOMEONE WHO IS WEARING STYLES THAT HAVE BEEN TAKEN FROM DIFFERENT CULTURES AND USED IN THE MAINSTREAM . E .G THE USE OF HENNA AT FESTIVALS LIKE COACHELLA AND WOMEN WHO ARE NOT OF AFRICAN ORIGIN WEARING BRAIDS .
CULTRAL APPROPRIATION
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AT T H E B E G I N N I N G O F 2 018 Z A R A H I T A T O N N E O F B A C K L ASH FOR SELLING THIS SKIRT THAT LOOKS EXC ATLY LIKE THE LONGYI. THEY WERE ACCUSED OF “CULTRUAL APPROPRIATION.’ ZARA DIDNT GIVE ANY CREDIT TO WHERE THERE INSPIRTATION MIGHT OF COME FROM AND STATED “THE SKIRT IS DIFFERENT TO THE LONGYI BECAUSE WE HAVE PUT A ZIP IN THE SKIRT.” THEY ALSO SOLD THE SKIRT FOR A HEAFTY £70 WHEN A TRADITIONAL LONGYI RETAILS AT £3 ON THE BOGYOKE AUNG SANG MARKET IN YANGON (THE CAPITAL CIT Y OF BURMA/MYANMAR)
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Traditionally Myanmar is a Buddhist country however the one million Rohingya Muslims living in the Rakhine State part of the country are not accepted by Myanmar Buddhists and conflict between the two religions has been going on for some time now. The conflict has seen many Rohingya’s murdered from babies to the elderly and any age in-between as well as the rape and sexual abuse of Rohingya Women. The extremely sad part is that this abuse is being carried out by the the Burmese Military that has control over the country so there really is no where for these people to turn. Therefore I think it is crucial that the world starts to pay more attention to this crisis and my zine is a start at shining more light on Myanmar , its hertiage , fashion and their crisis. 31
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My Longyi Zine has really opened my eyes into how much the western world is increasingly borrowing motifs from the traditional Longyi skirt for years. All of the different collections I have looked at that have been inspired by the Longyi are taken from a variety of different seasons showing how timeless the Longyi really is. I believe that this timelessness is only going to continue to flourish In the fashion industry much like the way orientilism has. The heightened political stance in Myanmar at the moment and their main political figure being Nobel prize winner Mrs Aung San Suu Kyi will further push the traditional Myanmar Longyi skirt into the public due to the Longyi being her go to for politcal events. With the huge tension in the country and the need for change over the coming years I should imagine we will be seeing many more ‘Longyi Looks’ coming from Mrs Aung San Suu Kyi. This will draw more attention from all over the world and most likely influence designers who are looking to convey more of a political message or even if they just want to jump on the hype of it , In my opinion I don’t see the Longyi disappearing any time soon. 34
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FMC