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AbstractIn works that have profoundly influenced contemporary views of China's economic growth relative to the Europe's in the sixteenth to nineteenth centuries, Jan De Vries has concluded that "the East Asian industrious revolution is very much a supply-side phenomenon", while Kenneth Pomeranz and R. Bin Wong among others have concluded that consumer restraint was a characteristic of eighteenth century society. These views are not supported by economic behaviour in Qing Yangzhou, where middle-brow writings show a marked attention to household décor and a high level of interest in material goods, including imports.

in the post-mao era china competed successfully for a place in the international trade in textiles and apparel, but its economic success has not been matched by recognition of chinese fashion design on the world stage. one reason for this lies in the obstacles posed by the existing hierarchy of fashion capitals, which has proved notoriously difficult to subvert. shanghai may mean fashion in china, but unlike paris, it does not mean that to the world at large. yet the chinese fashion industry is also bedevilled by problems of its own. a high degree of national self-consciousness on the world stage is evident in international fashion shows featuring rather predictable pastiches of chinese culture. it may be the case that state-sponsored nationalism militates against both a more interesting approach to cultural heritage on the part of designers and a more receptive climate for chinese fashion on international catwalks.