The Charm Of Oriental Cheongsam VS Bold And Unrestrained Western Skirt

Cheongsam is Oriental.

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Only Oriental beauties, especially Chinese women, have congenital physical conditions, and elegant and noble temperament is enough to wear.

Cheongsam makes Shanghai strong in colonial times.

A beautiful woman with a beautiful face and soft spoken language, swinging her swallows and buttocks out of the oriental flavor.

Cheongsam, first of all, is a erotic and sensational dress.

In the middle of the twentieth Century, a revolution ruthlessly swept away the lust of temptation. After decades, women's bodies were re loaded into hard clothes and even completely restored to their uniforms.

In recent years, Maggie Cheung's beautiful girl has been shocked by the charm of Qipao once again.

Cheongsam is a colonial, Oriental, feminine, modern and sexy clothing myth.

It mixed the Oriental tradition with modern style, and its plausible cultural semantics represented the ambiguity and ambivalence of Chinese culture in the twentieth Century.

We must interpret the cheongsam in the context of colonial culture, so as to truly understand the inherent cultural significance of cheongsam.

If there is no Western female dress system as a frame of reference, the cultural meaning of cheongsam will become unclear and even lead to serious misunderstanding. It will appear absurd or even mimic.

Western women's long skirts and Eastern women's

It is a dress that expresses the different tastes of two women's body beauty and appearance beauty.

Long skirts highlight the parts of the body by highlighting the contrast between the different parts of the body. Their grammar is declarative and has obvious romanticism and lyric style.

Western women's long skirts are long and complex in structure, and extend their body size and length to the maximum extent.

People have left, slowly dragging lyrical shadow, such as Western evening dress, wedding dress to the extreme.

From the extreme opening of the lyric to the high chest, through the sudden thrill of the tiny bee waist, all the way up and down, reaching the height of the sacred high buttocks, and finally pointing to an open peacock screen, the tail of the general spread of the open skirt, completely deducing the four part of the gentle, passionate - high - ending.

This extremely exaggerated curved narrative structure is like a story of Gothic novels.

Cheongsam quietly clings to the skin of the smooth body. It is like the gentle and gentle quality of the eastern woman. Its statement grammar is imaginative and has a distinct realistic and narrative style.

The silk texture of cheongsam symbolizes the bright and delicate skin of Eastern women, and even the body temperature.

The cheongsam's narration is gentle and compact. It seems that the novels of the same style are simple and dignified and mean infinitely.

Tight cutting will make the eastern woman's graceful and graceful lines appear. However, wearing Qipao must have the temperament of An Yi's demure. Otherwise, it will not be compatible. Even when a prostitute wears it, it is also elegant.

Western women's exaggerated shape is not very suitable for wearing cheongsam, tall figure, big breast, big buttocks, no small family jade, make Qipao rugged, rough, dangerous, always have the feeling of breaking the cheongsam, worrying, "see" can not bear to "see", and the appearance of Bobbi beauty, cheongsam is even more funny and annoying.

In 1959, an American woman named Ruth went to Germany for a holiday. She unwittingly discovered Lili, a height of 11 inches or 39 - 18 - 33.

She returned to the United States, and then, referring to Marilyn Monro's appearance, exaggerated the pformation of Lili, and launched the first batch of sexy dolls, which is Bobbi.

Bobbi is a witch model running out of Pandora's box: her breasts are too full, her legs too long, and then lined with the red lips of the snake and the waist, which are sexy and provocative, and are the embodiment of desire.

1990s American model company recruitment

The figures are: 86 - 61 - 89, while China and Japan, Korea, Korea and other Southeast Asian beauties are 85 - 59 - 89.

Both in the West and in the East, women have smaller breasts than their buttocks.

Bobbi rules are obviously anti common sense. They really play for generations.

The big breast concentrated on Bobbi's body, the high uplift of men's lust and women's material desires.

Bobbi is not suitable for wearing cheongsam. Even today's beautiful women with fat breast and fat buttocks are not suitable for wearing cheongsam. Only those oriental classical beauties with bud like breasts, slender figure and elegant temperament are suitable for wearing cheongsam.

However, this difference is essentially the true source of the so-called "Oriental sentiment" in the colonial context.

The cheongsam is Oriental, and the woman in Qipao is also Oriental. In Jiangsu and Zhejiang, the women in Shanghai and Shanghai are the best match.

But the myth of cheongsam is built in the Western perspective of the imagination of Oriental beauty, is the colonization of semi colonized Oriental sexy props, leisurely through a gap, a beautiful leg to provoke erotic, unable to stop.

Cheongsam is a paradoxical garment.

If the western complex clothing must be pornographic when it is "off", then the cheongsam leaves a narrow gap in silk fabric, which omits the "off" aggressive behavior.

This made cheongsam become the object of "seeing" and "thinking" first, but it was not too direct naked, but rather "leaked" at first.

It can satisfy the desire of viewing and imagining without "stripping".

By looking like a gap, this gap seems so natural that it seems to be formed by the rupture of unintentionally fabric - "leaking" the body's information and guidance that has been wrapped up by the package.

In the west, the extreme high slit and the exposed garment are a distinctive hint, which provides an imaginative hint for the body part to be seen, as if the temptation of an angel to smile in the distance.

Western clothing is mainly exposed in the back, but also in the chest - until the cleavage, the breast peak to the nipple stop, and extremely dangerous, of course, the young girl's nipple or the mature young girl's nipple is rarely revealed, of course, Western painting is not uncommon.

Qipao is a state of flickering between concealment and exposure. It cleverly utilizes the oxymoron of clothing and pushes clothing and pornography to the height of art.

In other words, the rhetorical contradiction is the foundation of Qipao's pornography.

In fact, the modern cheongsam produced in the colonial era is first of all pornographic.

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Without the high penetration of modern western culture, the modern cheongsam should be pferred from the warm prostitute to the woman of the good family.

The revolutionary significance of cheongsam is that it sends the call of body liberation to Oriental women. Through a gap that appears to be concealed and ashamed, women's body is ready to come out. A white light directly inserted on the thigh and thigh outside of the strands is suddenly sparkling with white gold, illuminating the long dark night of the eastern female body space, and seeing the dawn, bathed in the spring breeze.

Today, cheongsam is a decoration, a symbol, representing an aesthetic taste, symbolizing the oriental classical costume, no longer pornographic expression, no longer a daily wear.

It is only in the grand festival that only the beautiful girls are willing to wear them, and the slit is as high as the stock. It is precisely for those who participate in these occasions that although the number of fingers is not much, but it is absolutely impossible for them to wear and wear, it is time to wear floral cheongsam.

Only in luxurious hotels, great ceremonies, beautiful women in entertainment places can be worn, and long feet hang up. It is just for the sake of taking part in these seemingly elegant and absurd but not wearing high-grade or casual activities that show no appearance or activities.

It is true that in the traditional Shanghai and Zhejiang, the fashionable north, the open South and the developed southeast Asia, there are still young girls dressed in cheongsam and swagger across the market.

Cheongsam is still attractive or powerful.

In any case, cheongsam, as the quintessence of the Chinese culture, will not disappear in the mainland, Hong Kong, Macao, Taiwan and overseas Chinese circles.

If so, it is reasonable to issue stamps for beautiful women wearing cheongsam, and it is also welcomed by stamp collectors. It can serve as a thematic stamp set for "costumes" and "women".

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