Hundred Years Of Vicissitudes See "Clothes Change"

Through the more than 100 collections of costumes and costumes in the Republic of China, Shi Jue hopes that more people will understand the process of "change of clothes" in modern China and arouse people's attention to the protection of intangible cultural heritage.

Four the slit of the horseshoe sleeve official robe, the blooming rich, the Yuanbao collar, the white silk and the horse faced skirt, the realistic and steady colors of the designs show the meticulous and conservative clothes of the ancients in the late Qing Dynasty.

On the other hand, the improved cheongsam on the other side, the narrow neckline, the tailoring of the body, the bright colors and the abstract geometric patterns present a vivid new female image in the period of the "learning from the west to the East" in the Republic of China.

In April 9th, "I, the costumes and costumes Exhibition", designed by Shi Jue, the founder of the China Intangible Cultural Heritage Protection Fund, opened at the Shanghai Grand Theatre Gallery.

The more than 100 costumes in the exhibition are the personal collections of Shi Jue, including jacket, shirt, gown, robe, accessories and embroidery, and needlework.

"Collection and collation of these age-old clothes and accessories is, in my view, a process of touching remote memory."

Shi Jue hopes that this month's exhibition will enable more people to understand the process of the "revolution of clothing" in modern China since the revolution of 1911 and the subsequent movement of the new culture, and arouse people's attention to the protection of intangible cultural heritage.

Imported wind

"If you look at the old photographs of the big family of the era, you will find that the costumes of the figures represent their civilization.

Some of the costumes follow the Ching Dynasty tradition, retaining four slits, horseshoe sleeves, delicate Phoenix wearing peony embroidery, complex Ruyi impregnated piping, and some new fashionless cheongsam made of the most fashionable taxi yarn, woolen cloth, printed silk, crepe and satin cloth, and Western suits and tunic suits.

According to Shi Jue's interpretation, the late Qing Dynasty to the Republic of China was one of the most complex times in the history of Chinese costume change.

The revolution of 1911 has disintegrated the feudal system of China for thousands of years. A large number of Western cultures have been introduced rapidly, resulting in an ancient and modern confrontation, a mixture of Chinese and Western cultures, and a complicated situation.

At the end of the Qing Dynasty, people's clothes, whether they were wearing upper skirts or skirts, or wearing cheongsam, were intended to cover up their body curves as far as possible.

For example, a large right-hand set of "Yi Yi Yi" on the exhibition is a typical garment in the late Qing Dynasty, with straight lines in both sleeves and waist.

The body is loose, and the sides are slit. The waist waist circumference is very close to the size of the horse skirt.

At the cuffs and necklines, there are a lot of magpie and Ruby knots.

Before the revolution of 1911, people's costumes still had horseshoe sleeves and four slits with nomadic characteristics.

Women's clothing is often decorated with peony, Phoenix, pomegranate flowers and birds, fruits, meaning the wealth and value of Chinese traditional ideas, many children and grandchildren.

Shi Jue said.

"Dressing in the Republic of China is another thing.

The elements of horseshoe sleeves and disc decorations fade away and replace the influence of Western costume culture.

According to Shi Jue, Western imports opened a wonderful door for the dress culture at that time.

For example, several improved cheongsam in the exhibition absorbed the stereotactic cutting of western style clothes, and the length and sleeve length of cheongsam were greatly shortened. The dart appeared on the clothes piece, the waist was straight and curved, the waist was better fitted with western style sleeves.

At the same time, the decoration on these cheongsam is also from complex to simple, and the inlaid roll of collar, flap and pendulum is also narrowed from width to width.

The cheongsam at this time has become the Han's robe in a larger sense, highlighting the beauty of women's exquisite curves.

The beauty of the improved cheongsam at that time was vividly written by Lin Yutang in "JINGWAH smoke cloud": "her cheongsam is not a straight barrel like the old style, but is cut according to the new style.

Because the outline of her body under the waist is covered by the lower part of the coat, and now she wears the cheongsam, and the beauty of her body is completely revealed.

Restored memory

The exhibition shows only a small part of her personal collection. She has more than 2000 antique dresses.

"I have built a database of antique costumes, and I hope to work with several fashion colleges in universities to provide them with a platform for academic research."

A few years ago, Shi Jue, who was obsessed with antiques collection, had no idea of collecting antique clothing.

"I am very interested in classical architecture, so I have always dreamed of building a classical garden."

At that time, Shi Jue took a piece of land in Jinxiu Road, Shanghai, and invited Liu Dunzhen, a Chinese architect, to be a high school student.

"When the garden was almost repaired, I began to consider the software in it."

In order to maintain the simplicity and charm of gardens from inside to outside, Shi Jue collected a number of antique furniture.

However, in the face of empty antique cupboards, she always felt that something was missing.

Only then did she have the idea of collecting antiques.

Through various contacts, she learned that an old researcher in a museum in Suzhou had a number of antique costumes in the Qing Dynasty and the Republic of China.

"For many years, the old man has been collecting things fragmentary, and he often goes to some old people's collections to collect good clothes and research value.

He could not remember how many pieces he had collected from his purse, embroidered piece, to his robe, skirt and jacket.

When Mr. Jue went to visit, the old gentleman put forward two conditions for her: first, he did not want to loose his hand, but asked the collectors to pack and collect them all together. Two, the clothes were not used for commercial purposes, and hoped that collectors could set up an academic research platform and database for research institutions such as universities and museums.

"Although the old man can't remember how many collections he has, every collection is precious to his daughter."

After understanding the original intention of Shi Jue's construction of gardens and collecting antique clothing and the experience of establishing the intangible cultural heritage protection foundation, the old man decided to deliver his daughter to Shi Jue.

"At the time of the handover, in front of the old gentleman, I and other assistants put on masks and gloves, counted the collections one by one, and counted them for three days and three nights."

These costumes gave great inspiration to Shi Jue.

"When silence is absent, I often fantasies about the original owners of these clothes."

She often fantasies that the man of the yuan colored Thai yarn should be an ungrateful scholar to the gown, weak and thin, gentle and elegant, quite like Hu Lancheng of that time. The red satin satin, the owner of the satin Rugby jacket, is a person who enjoys life very much.

Because the kind of sauce on the clothes is purple and not vulgar, it is completely the top dyeing and weaving process, and the exquisite workmanship of the skirt is even the modern craftsman cannot copy it with computer technology.

"If no one is interested in collecting, the evidence of these memories may eventually be annihilated in the years."

The French writer, the 1921 Nobel prize winner of literature, Anatol France (Anatole France) has a description of the historical functions of clothing: "if I can wander in a pile of books for a hundred years after death, what do I guess I will choose?" I will pick up a time magazine without thinking and look at the dress of a century after my death. It shows me that the future civilization of mankind will be much richer than all philosophers, prophets and scholars can tell me.

Shi Jue agrees with this writer's point of view: "I have always wanted to be a protector of cultural heritage.

Clothing is a good entry point.