On The Exchange Of Chinese Fashion Culture And Fashion

Our country is known as the "clothing kingdom", and the history of clothing culture has a long history.

However, nearly 100 years of clothing development is ups and downs, several exchanges, several fashion.

Since the beginning of history, the change of clothing has mainly been propelled by two kinds of driving forces. One is to make more changes, and the other is to fashion exchanges. Two.

Opening up the history of clothing development in our country, especially reading a history of Chinese national culture, the pformation of social culture, art trend of thought and aesthetic concept are all passed.

And show it.

The feudal system has been abolished since the revolution of 1911, and the clothing system and dress code that lasted for thousands of years have been abandoned. Our costume has changed from the two development threads of the past court and folk to the development stage dominated by folk fashion.

Clothing development tells us: clothing

Communication is multi angle and omnibearing, not only between local cultures, but also between Chinese and foreign cultures.

The fashion exchange of clothing culture can be said to start in 20s. There are two main reasons for it. First, a large number of overseas students are bringing in their dress ideas and wearing patterns while returning overseas, so that some progressives take off their long gowns and wear their Western style dresses. The second is the influence of Hollywood film culture and Shanghai style clothing from the United States. The metropolis women who are mainly in Shanghai are dressed as "modern girls". They pursue the modern style of western style, narrow and long skirts, and wear oval glasses, watches, bags and umbrellas. This dress is very popular in Shanghai, and fashionable women are eager to follow suit. The true meaning of this century

At the same time, cheongsam is also favored by women. The cheongsam has changed its traditional style. Its shape is waistline, long hem, body curves, slit and decorative lace.

Especially in some female movie stars and celebrities, they are more delicate and elegant, and become the representative clothes of new women for all ages.

Later cheongsam appeared in the form of sleeves, cardigan and pipa. According to season and different requirements, there were also single, clip and coat sleeves. The sleeves also had long, medium, short, loose and tight ties.

It can be seen that the development of clothing is based on the fashion culture, the replacement of the times, the expansion of culture and art, the deepening of people's knowledge and emotion, and their aesthetic needs constantly put forward new requirements for clothing. Therefore, the fashion of clothes is constantly renovated to reappear the new look of Shi Shangwen.

The same costume modeling will give new elements and different connotations to each period.

Clothing, food and housing are the necessities of international livelihood. Fashion communication is the necessity of clothing.

During this period, Mr. Sun Zhongshan, the Chief Marshal, attached great importance to the people's livelihood. He regarded "people's livelihood" as the core of his three people's principles. He even took part in the reform of clothing himself.

The first Chinese tunic suit was born in the "Rong Changxiang woolen suit shop" in Nanjing Road, Shanghai. The owner of this store, Mr. Wang Rong, had made many times for Mr. Sun Zhongshan.

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At that time, Mr. Sun Zhongshan brought the student bags from Japan to Wang boss to make the system change. Wang boss, on the basis of the assumption of Mr. Sun Zhongshan, combined the style of the student's clothes with the style of the western style clothes and the tailoring methods. The modeling features were: folded collar, single row of 7 buttons, and two stickers on the top and bottom. The structure of the pouch was folded with two decorative lines, and the top of the pouch cover was inverted Hill Style penholder style.

The appearance of the Chinese tunic suit is highly praised by progressive people and intellectuals, and it continues to last.

But after the founding of the people's Republic of China, the Chinese tunic suit was influenced by the fashion culture, especially by the influence of Lenin's clothing. There were new changes in the styles, such as the tip of the turned collar was sharpened, and the single row of 7 buttons was changed into 5 buttons. The upper and lower stickers were simplified on the original basis.

In 50s, Tian Atong, a special craftsman of Hongdu fashion company in Beijing, made a restructure on the basis of the Chinese tunic suit when making clothes for the leader. He remade and adjusted the shape of the tall, magnificent shape, the pocket and the front and back of the body, so as to make it more atmospheric and noble, and to strengthen its new style of Oriental culture.

As a result, the main leaders of the Central Committee, such as Liu Shaoji, Zhou Enlai, Zhu De, and so on, have been dressed in this style known as overseas media.

And this kind of wool clothing also affected the shape of the later Marshal costume.

In the development of clothing in China for nearly a hundred years, its

The most prosperous period of communication is the last 20 years.

The reform and opening up, the revival of economy and culture, and the rigid nerves of people who have just come from the turmoil of the past 10 years have begun to germinate. People find it hard to find that the costumes that were submerged in the "green sea" in the past 10 years are in a very special political environment.

With the opening of the door of reform and opening up, people's aesthetic sense and aesthetic vision have been opened.

At this time, the leaders of the country once again served as the vanguard of the reform of the dress culture. When the general secretary Hu Yaobang and the 5 standing members of the Political Bureau of the Central Committee wore their suits in the press conference of the thirteen Congress of the party, people were shocked by the fact that another spring of Chinese costume came.

As a result, Western-style clothes, denim clothes, skirts and other clothing with global colors go through the space and time and wear them on people.

1985 is a landmark year in the development of China's clothing industry. The fashion and communication between Chinese and foreign clothing culture in the new era have begun. In May of this year, three international fashion designers came to China's capital Beijing for fashion exhibitions and exhibitions.

Iv San Roland (Yves&nbspSaint&nbspLaurent) held a retrospective exhibition of his 25 years' personal works at the China Art Museum, so that we can see his classic works in his 25 years of art career, and let us explore the development track of the world's fashion art.

In his preface to the exhibition, St Laurent wrote: "China has always attracted me and attracted me to Chinese culture, art, clothing and legend.

Our western art is much more appreciated by China. Its influence is manifold and obvious.

Without China, our civilization can never be reached in today's situation.

"St. Laurent's language is sincere, which shows us the cultural exchange between China and the West in the three series of Chinese style costumes.

(Pierre&nbspCardin) after the first large-scale fashion show in Beijing in 1983, we held a personal fashion show in Beijing workers' Stadium again in May 1985. We witnessed the art and operation of Cartan in his hundred odd works.

Koshino Junko (Junko&nbspKoshino) also held the exhibition of fashion show entitled "JK" in Beijing Hotel in May 1985, which made us admire the economic development of Japan while watching the prosperity of Japanese clothing.

When Koshino Junko, wearing a cheongsam presented by Ms. Li Zhao, President of the Chinese clothing association, watched the state-owned garment enterprises in Beijing and only a few new clothing companies, "I'm full of hope for the future of China."

Then her clothing store opened in 1986 at Qianmen Zhukou market.

Obviously, since the reform and opening up in 1985, Beijing's clothing enterprises and designers have been shocked, and have also expanded their artistic horizons. In this new era of international clothing culture exchange, they have been enlightened. At the same time, they began to face the diversified development of clothing culture and ponder the new orientation of our clothing development.

A large number of garment enterprises and designers have driven the road of clothing entrepreneurship.

Just as the garment companies and designers have not yet taken a firm step forward, some well-known foreign clothing brands have entered the Chinese market one after another. They have taken a place in the corresponding clothing culture field, which has made the original fragile clothing culture and clothing market run out of rules and made preparations unprepared.

Enterprises and designers are in a mess and are at a loss as to what to do. The harsh facts have sober up the newly emerging clothing enterprises and designers. The prosperity of the overall culture of clothing is built on a comprehensive and multi-dimensional garment development system. It includes the maturity and perfection of garment culture, clothing theory, costume design, clothing technology, clothing market, clothing management, clothing education, clothing media, and clothing information network.