Abstract
This study explores the process of cultural production in fashion, industrial design, and contemporary art in the era of globalization. It specifically addresses the following research question: “How is ‘Japaneseness’ constructed in the art worlds in western cities?”. To answer this question, I conducted a multi-sited ethnography in London, New York City, Paris, and Tokyo, using participant observation and in-depth interviews with twenty-one designers and artists who had migrated from Japan.
The results indicated that in the art world, being part of a network of people from different professions often leads to corporative activities that result in profits. However, people in positions of power, in particular, buyers, collectors, journalists, and editors, are mostly White, although Asian designers and artists have a stronger presence these days. Therefore, race often becomes an obstacle to networking and partaking in corporative activities in the art world for the designers and artists who were interviewed. Moreover, gatekeepers and legitimators of the art world often refer to the designs and artworks of these designers and artists as having a “Japaneseness” about them, often in conjunction with stereotypical images. In conclusion, networks and interactions, which are influenced by race relations in the art world, lead to the construction of “Japaneseness.”
