Abstract Homi Bhabha’s “third space” theory provides a framework for deconstructing identity and creating new forms of expression in a space considered “in-between” cultures or boundaries. An Indian-embroidered English christening garment represents a multigenerational economic migration for a “self-portrait”-style investigation. This gown materializes a subjective narrative of the legacy of British colonization, postcolonization, and apartheid rule in South Africa. The stitch craft and associated cultural history of whitework reveal traces of the impact of class and colonial status barriers. In parallel, a trusted cotton indigo fabric iShweShwe1 is frequently worn in the post-apartheid, postcolonial nation. iShweShwe’s cross-cultural heritage includes links to German/Hungarian BlauDruk fabric and the English colonial cotton export trade. Cultural associations have crossed ethnicity barriers and the entrenched colonial color and class discriminatory practices. This preliminary research questions the experiences of the multigenerational migrants linked to the gown and the accompanying insider–outsider dislocated experience of a migrant influenced by colonial rule and decolonization in India and South Africa.

中文翻译：

---

反映侨民：介于 Whitework 和 Indigo 之间

摘要 Homi Bhabha 的“第三空间”理论为在被视为“中间”文化或边界的空间中解构身份和创造新的表达形式提供了一个框架。一件印有印度刺绣的英式洗礼服装代表了一次“自画像”式调查的多代经济迁移。这件礼服体现了对英国殖民、后殖民和南非种族隔离统治遗产的主观叙述。白工的缝纫工艺和相关的文化历史揭示了阶级和殖民地位障碍影响的痕迹。与此同时，在后种族隔离、后殖民国家经常穿着值得信赖的靛蓝棉织物 iShweShwe1。iShweShwe 的跨文化传统包括与德国/匈牙利 BlauDruk 面料和英国殖民时期棉花出口贸易的联系。文化协会跨越了种族障碍、根深蒂固的殖民色彩和阶级歧视做法。这项初步研究质疑与长袍有关的多代移民的经历，以及受印度和南非殖民统治和非殖民化影响的移民的内外部错位经历。