Gui Pei. A China woman and true Couturier, Imhotep different

By 

Sampson I.M Onwuka 

 

I have been  trying to offer some felicity to the new image from China and the artist expression which attempt to impress with foreboding all the disappearing influences in China and in Asia. Perhaps too early to imitate the oracle that if and when artist in later years come together, there will be Gui Pei among the luminaries. 

For Midas, she is to be maintained by the sponsorship at the Fide Asian Fashion but the lavish couturier expresses the sublimity of the disappearing influences and cultures and vent for new meaning in the age China seeking to welter the problems of cultural repression.





















But here as perhaps elsewhere, I speak not in art alone or for art alone, for fashion is a world for itself and by itself and there are people who decide its future. A transition from Costume design to outfits and cloths we can wear is a thousand cuts to a thousand page.

But there is something about 1002th Arabian that is selected especially for people devoted to this kind of rendition. Art speak to art in cinema culture, it is a story told from the eyes of those who were there, perhaps not in person as they say but in ideas.

I beg a move on the ideas. What is Chinese in Fashion that is not fashion among the Chinese?

These idea suffer in gradual awakening beginning with fickleness of choosing the materials with cuts and tapers to make life what is on paper, then the execution of process endears the limits of the Arts. We speak clearly when we notice a wall separate Europe from China or Asia from Africa. That such walls is invisible, entirely active when they thread between Asia and Africa, for the monolith Arabian, the closer that to historic the more poetic and perhaps religious altogether.

The tales Arabian Nights, like Chinese Dragon stands out, but Gui Pei stand taller, magic the visceral from conception to Run Way, assures us of the connection between Africa and Asia or the world is sustained by Fashion. But away from tapestry as from art, there is a in-laid fashion that dispels these walls.

What we notice is academic exercise where in words of a certain African literati, Chinua Achebe,  the 'walls come down.' How thinly spread the ashes of these Ancient Arts vanishing with imbroglio explains the influence Asia - if not China - if not Gui Pei will more than likely on the ancient and undying continent; Africa.      

  

From a page addressed to her Art, it reads, "Having dressed many biggest Chinese stars and A-listers. Guo Pei is the biggest and most renowned name in China’s fashion scene, She has been designing Couture in Beijing through her Atelier “Mei Gui Fang” for many years. Her creations reflect a strong Oriental culture, with a striking mix of classic fantasy and modern avant-garde."




The page mentions that, "Conceiving and overseeing every outfit, her ideas are turned into reality by over 400 craftsmen, all of whom are trained by the artist herself. Her collections are entirely sewn by hand, with some dresses requiring over 50,000 man-hours before completion."

"Her last and most notable show, The Legend of the Dragon, which took nearly 3 years of preparation, first showed at Beijing in 2012. She also designed a costume for the Beijing Olympics." But this trite is good, inimitable but have it backwards.  Approached from behind, her is the definition of Beijing Olympic, excellence of the Eagle not withstanding.