Marketing and consuming Beijing Opera (Jingju) costumes in pre-1949 China: a special stage costume with multilevel meanings

Purpose Drawing from multiple historical sources, this study aims to analyze the social, political and ideological values of Beijing Opera Costumes (henceforth Jingju costumes), a special stage costume, in pre-1949 China. Design/methodology/approach The Critical Historical Research Method (CHRM) and visual social semiotic analysis yielded a critical analysis of Jingju costumes’ profound historicity (that is, their sociohistorically embedded styles, multiple marketing functions, connotations and consumptions). Findings Relying on CHRM and visual social semiotic analysis, this study examines the multifaceted sociopolitical connotations and multilateral marketing functions of Jingju costumes in pre-1949 China. Research limitations/implications This study extends the discussion around stage costumes, informs cultural or entertainment marketing research and deepens a theoretical understanding of the relationship between consuming objects and consumers, and the embedding context that hosts such a relationship. Practical implications This study helps to broaden the understanding of fashion and stage costume industries. Social implications It helps to understand how stage costumes can be used to express political, social and culture values. Originality/value To the best of the author’s knowledge, this is the first comprehensive analysis of the sociopolitical multiplicity of Jingju costumes, an innovative cultural product marketed and consumed in pre-1949 China. In addition to elaborating on the theatrical and artistic functions of Jingju costumes, this study examines how specific designs and styles of Jingju costumes helped to market the Jingju (Beijing Opera), multiple political values and Chineseness in pre-1949 China.