The first three decades of the twentieth century saw a resurgence in chinoiserie in the West. This chapter uses primary sources to provide an original exploration of the ways in which 'Chinese' styles of interior design, furniture and fashion were used in Britain to communicate modern feminine identities. Marked out as an indulgent, fanciful, and hence feminine and irrational style choice, early 20th century British chinoiserie drew heavily on its previous incarnations, such as 18th century wallpapers and Chippendale chinoiserie chairs, and yet fitted well with the colour and exoticism of modern art and design. Both old and new, elite yet commonplace, the fantastical but reassuringly familiar nature of 'Chinese' design made chinoiserie a potent vehicle for the expression of modern British femininities. The chapter forms the culmination of an edited collection produced as the catalogue for the exhibition 'Chinese Whispers: Chinoiserie in Britain 1650-1930', Brighton Museum and the Royal Pavilion, 3 May- 2 November 2008, of which Sarah Cheang curated the 20th century section. The exhibition received extensive and highly positive national press coverage and was awarded Best Temporary Exhibition at the Museum and Heritage Awards 2009. The catalogue was praised as ‘insightful’ and the ‘What’s in a Chinese Room’ essay was singled out as ‘excellent’ (Burlington Magazine October 2008) and widely quoted. The production of the catalogue was supported by a Paul Mellon grant.