The company Jean Monro is a textile manufacturer with a focus on traditional English prints — lots and lots of flowers. They’re represented in the US through Clarence House (who in turn has individual representation in fabric showrooms throughout the country). The above “Geisha” pattern (I love that acid mint color) makes me wonder about the relationship between “the West” today and China — and how this relationship relates (or doesn’t) to periods of chinoiserie obsession in Europe, beginning in the 17th century. While art and decoration under this category expresses a European idealization of China, and the cultural fascination can be seen as a compliment of sorts, it’s not really about “becoming” Chinese in any true sense. Today I don’t think there are many examples of a broad Western interest in a Chinese aesthetic — but now China is seen as obsessed with Westernization. My thought process is clunky here but I guess what I’m getting at is a question: how does today’s artistic relationship between Europe and China relate (or diverge) from that of previous eras, what has been lost, replaced, or transformed in both region’s artistic view of the other?