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more justice to the size of most paintings included. Nevertheless, it is a testimony to a critical and logistical effort that sets the ground for further study adressing head-on Foujita’s elaborate brand of hybridity. 1 All quotes from the catalogue are my own translations from the French or Japanese

In: Journal of Japonisme

examines differences in the making and reception of Japanese kimonos, Chinese robes, and hybrid creations, arguing that the “fluidity” (p. 263) that characterizes such multicultural garments is to be acknowledged and shown rather than obviated through essentializing taxonomies. The concluding chapter

In: Journal of Japonisme