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Interpretation Of Fashion Cheongsam: Forty Years Of Sketching Beauty

2010/10/23 17:34:00 163

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Fashion Cheongsam Suit

Speaking of cheongsam, many people first responded to the film in the Republic of China.

Star

People.

Their graceful posture is displayed in the elegant cheongsam parcel, showing the graceful beauty of Oriental women.

But you know, red throughout the Republic and was designated as a female "national costume".

cheongsam

When did it happen?

Yuan Ze and Hu Yue in the hundred years

clothes

"In this case, we found the answer. Not only that, this great work actually provided us with a history of Cheongsam in the past century.

"Changing clothes" records the cheongsam chronology table

Cheongsam can be seen from its name. It is related to Manchu.

When we first made the first cheongsam, we could not understand it.

However, in the Republic of China, the emergence time of women's Qipao was still valid.

For the first time, it is the comet's genius genius writer Eileen Chang who clearly put forward the appearance of modern women's Qipao.

According to Yuan Ze and Hu Yue's "hundred years of clothing" record: in 1942, Eileen Chang published the essay "changing clothes" in the English magazine "Twentieth Century" monthly magazine, in which Eileen Chang clearly pointed out the time of the modern women's Qipao appeared: "in 1921, the woman wore a flag robe."

In the "hundred years of clothing", the author humorously said: "Eileen Chang born in 1920, of course, is not likely to see the 1921 women dressed in cheongsam in their infancy. But the identity of Li Hongzhang's granddaughter and her special attention to women's dress is a combination of childhood memories and textual research.

If you still don't believe it, we can find some clues about modern women's Qipao from the literature of the Republic of China.

"Yu Ruixiang made a white silk silk cheongsam, which was very proud, because the cheongsam was rolled around two or three inches wide.

It is not the silk braid, but it is in the Hunan embroidery shop that embroiders one hundred green butterflies with clear silk.

This is a short paragraph recorded in Zhang Henshui's "the history of the spring and the Ming Dynasty" which was published by the author in 1924's "the world Evening News".

In the hundred years of clothing, the author (Yuan Ze) said: "in this novel, Zhang Henshui's female characters are all dressed in cheongsam, and these cheongsam is long and short with luxury and elegance. It is obvious that cheongsam has become an important choice for women in 1924."

When it comes to modern women's cheongsam, they should also focus on "Robe".

Because before the Republic of China, only men could "dress", and the appearance of the women's Qipao just catered to the appeal of feminism at that time.

The book also quotes from the book "changing clothes" to show that "feminism" has a special meaning in Qipao.

After the five Republic, the National Women suddenly unanimously adopted cheongsam, not to be loyal to the Manchu Dynasty, to advocate the restoration movement, but because the women deliberately wanted to imitate men.

In China, the pronoun of women since ancient times is "three locks of hair, two clothes."

One dress and two pieces of clothing are very subtle differences. There seems to be no injustice, but women in the 1920 were more easily absorbed.

They were influenced by western culture and were obsessed with the theory of equal rights between men and women.

At the same time, the author also stressed the new vitality and charm of cheongsam under the collection of eastern and Western cultures. The book says: "the cheongsam has been integrated into Western cutting and modern aesthetic elements, making cheongsam more considerate and better displaying the beauty of female body. It also promotes the design of Qipao to pay more attention to the beauty of Oriental women, and the changes of short sleeves, Gao Kaicha and tight waist.

By 1929, the Nanjing national government formulated the "Regulations on the service", which stipulated the dress and spirit of the women's dress, and the cheongsam was finally established as the "national suit" of the Chinese women at that time.

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In the early 20s, Qipao retained its early characteristics: wide and straight.

But in the late 20s, people began to wear trousers, and the cheongsam with slit became more and more prominent.

This change is naturally a bold breakthrough for women in pursuit of freedom.

Golden age of Cheongsam

According to Yuan Ze and Hu Yue in the hundred years of clothing, "cheongsam has become an important garment for Chinese urban women since 30s.

During this period, almost all the celebrities, celebrities, female students and factory women workers accepted cheongsam style.

The position of Cheongsam in women's mind is obvious.

From the hundred years of clothing, we can vaguely see the history of cheongsam. "In Shanghai, the cheongsam of the modern Qipao is exactly the same as the cheongsam of Southern Yangtze River. It quickly became popular in Shanghai and its surrounding areas.

More importantly, the cheongsam has been clearly integrated into the modern technology and aesthetics of the outside world.

The vast majority of women in the Yangtze River Delta have a graceful charm of cheongsam, thus becoming a typical fashion image with Shanghai style culture, creating a brilliant page in the history of modern Chinese clothing.

The structure of cheongsam is also varied. The main changes are concentrated on the length of the hem, the height of the collar, the number of buttons, the height of the side slit and so on.

According to the writer Cao Juren, "a cheongsam history can not be long, short, long, long and short. This telescopic watch is not far from the statistical chart of the exchange."

It can be seen that the main characteristics of cheongsam are the hem and slit.

In the book, the author systematically combed the development process of Cheongsam in 30s: "the first few years of 30s, the cheongsam followed the style of the late 20s: the middle length of 1928 was easy to walk, and the cuffs kept the elegant appearance of the short coat; the beginning of the cheongsam was raised up to the knees below, and the sleeves were shorter; the length of the cheongsam just covered the knees in 1930, but the waist gradually narrowed down, and the hem began to close.

After 1932, the cheongsam's hem is long, long and ankle or fibula, and it needs high heels to walk.

The lengthening of robes during this period plays a very important role in the modern pformation of cheongsam.

First, the length of the cheongsam embodies the lines of Eastern women. The premise is, of course, the proper fit between the waist and the buttocks and the hem. Secondly, in order to facilitate walking, the slender cheongsam must be slit, and the cheongsam has become the important standard of modern improved cheongsam.

Starting from 1933, the cheongsam became a high slit from no slit after low slits.

At that time, a popular star Gu Meijun often wore high paw cheongsam in the communication places, and his knee height was over his knees and even his hips.

Because of the star effect, it becomes popular.

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In 30s, the cheongsam went to its peak, the author commented: "in this bright cheongsam like bright moon in 30s, women draw their own beauty around cheongsam, and almost all fashions are linked with cheongsam.

With charming, enchanting or dignified and concise, cheongsam shows the Oriental women's charm in a silent form, and also achieves their golden age.

After the war, cheongsam style was raised again.

History entered the 1940s. At this special historical moment, the development of cheongsam also appeared a new track.

In the hundred years of clothing, Yuan Ze and Hu Yue said that in this period, because of the lack of material, "the national people did not mind dressing up, and the national government and the people all called for frugality, so the cheongsam style tended to be concise and suitable, and the materials were also simple.

The sleeveless sleeveless and double cardigan cheongsam is quite popular at this time.

However, after the victory of the war of resistance, women's cheongsam was ushered in again.

The author introduced: "the modern style of cheongsam basically established in 30s has been extended.

After 1946, the cheongsam's hem stays in the middle of the lower leg, and the tailoring is fit, which again outlines the curvilinear beauty of Oriental women.

At that time, celebrities frequently appeared in the fashion models, and the golden days of cheongsam were back. "

In order to give readers a more direct understanding of the importance of cheongsam to Chinese women after the war of resistance against Japan, the book contains a small story to illustrate.

"In September 1947, Song Qingling hosted a mid autumn garden party." women's voice magazine recorded:

Mrs. sun came in the morning. She wore a long cheongsam with white background and black broken flowers, and a dress on the linen cloth. The boss of Mei Long Town, Wu Mei, wore a qipao cheongsam. The star Huang Zongying was the host of the microphone, and she wore a dark blue cheongsam plainly.

The garden party starts at seven in the evening, and Mrs. sun changes to a cheongsam with deep blue and white flowers. The cloak of the same material is short and elbow. Hu Die is wearing a short blue coat, yak yellow short cheongsam, all high heeled shoes, and white poplar in deep coffee long sleeved cheongsam, orange red vest, snake skin high heels...

The garden party has almost become the cheongsam Grand View Garden.

It is not difficult to see that cheongsam is the fashion choice of women of all walks of life in this era.

You know, in the mid and late 40s, cheongsam was not only the representative of Chinese women's charm, but also the only dress that women pursued in fashion at that time.

It is written in the book: "whether it is a big family or a small family, it will add modern style to wearing a cheongsam.

The style of cheongsam is restrained but not open, elegant and not frivolous, virtuous but not contending. It is very compatible with the aesthetic psychology of Chinese people and the characteristics of Chinese women.

In addition, the author also made a detailed analysis of the characteristics of Qipao in 40s, "people always confuse cheongsam in different periods of the Republic of China.

In fact, the styles of cheongsam vary from 20s to 40s: from 20s to 30s, it is basically stereotyped, and then to 40s.

After 40s, cheongsam, apart from the changes in collar, sleeves and hem, has made many improvements in cheongsam's industry and decoration. The modern decorative techniques and techniques have made modern cheongsam more perfect.

In terms of technology, cheongsam's chest has been strengthened by the traditional collection of Tang Yun, and the structure has preserved traditional sleeves and Western style sleeves.

Because cheongsam tends to be concise, its material becomes even more important.

Cheongsam fabrics are mainly made of Chinese and imported printed fabrics. All kinds of satin, Yang Juan, brocade, brocade, and even lace hollow fabrics have become frequent customers of Qipao fabrics.

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This shows that cheongsam's two popularity is not accidental. The cheongsam with both ideals and beauty has naturally become the target of women's pursuit at that time.

After the Second World War, the mature cheongsam showed the appeal of curves in the female mind with an oriental beauty.

The beauty that has been removed

After nearly thirty years of development and glory, the time came to 50s, and cheongsam began to fade away from the Chinese line of vision.

According to "100 years of clothing", "at the beginning of the founding of the people's Republic of China, although the color of women's cheongsam was bright and bright, embroidery, applique, hand painting and other decorative techniques were still used.

However, with the frequent political movements, the cheongsam and cheongsam outfits did not realize that in the next few years, the clothing standards of new China would also list such clothes as the category of the old society.

In the very "left" political atmosphere, cheongsam was quietly hidden in the bottom of the box. Only a few people occasionally wore on festivals or special occasions, and often wore waistlines and sweaters outside the cheongsam to weaken their charm.

Yuan Ze and Hu Yue analyzed the reasons for the decline of Qipao in the book: cheongsam and washing equipment were marked by the "old society" and "non proletariat".

In the eyes of the society, the elegant suits and elegant Qipao are the embodiment of the crimes of the bourgeoisie.

Moreover, the traditional Qipao tight fitting form is not suitable for manual labor, and is extremely feminine and does not conform to the aesthetics of the new society.

The leisure women represented by Qipao have lost their living space in such a social atmosphere and are doomed to be doomed.

Thus, from 50s, Qipao entered its declining period.

The author said, "after 1957, the" left "trend of thought gradually prevailed, and the festival parade no longer advocated wearing western style Qipao.

As a result, western style cheongsam disappeared from the Chinese people.

Some people will be puzzled why the beautiful things will always be withered, and how can the Oriental women's beautiful cheongsam be properly displayed. Why is there only such a short life? Cheongsam, in its nearly forty years of popularity, has molded the enchanting and sexy women in that era with its own lines, so that people will recall the elegant appearance of cheongsam when they recall the women in the Republic of China.

It is hoped that the cheongsam should not solidify in history, and in the new historical period, it will continue to create new inspiration and grace for women's beauty with its own classic image.