Chinese Traditional Dress Culture -- Qipao

Shanghai, twentieth Century 30s and 40s, is a favorite of high class celebrities. They are keen on swimming, golf, flying, riding, luxurious social life and pursuit.

It is destined for the popularity of cheongsam.

Because Shanghai has always advocated the western style of life of Shanghai style, the "cheongsam" has emerged. From the curve of concealed body to the appearance of exquisite female curvilinear beauty, cheongsam has completely broken away from the old mode and has become one of the fashion features of Chinese women with unique national characteristics.

Cultural style

Cheongsam can not be isolated from the human body.

Women's head, neck, shoulders, arms, chest, waist, buttocks, legs and hands and feet form a perfect whole with many curvilinear and ingenious combinations, forming the Qipao culture.

Beijing school and Shanghai style cheongsam represent two styles of art and culture.

Shanghai style is characterized by its absorption of Western art, new and flexible, and strong commercial atmosphere. Beijing style has a style of official style.

Han Pao

Han Pao was improved by the Han nationality in the first half of the twentieth Century.

In the eyes of some Westerners, Han Pao has the symbolic meaning of Chinese women's clothing culture.

In a strong feudal ethical atmosphere, it is impossible for women to expose curves as usual.

In the Qing Dynasty, the cheongsam system was straight line, and the chest, shoulders, waist and buttocks were perfectly straight, so that the curves of the female body were not exposed.

Han Pao is a national costume with Chinese characteristics, which embodies Han nationality's aesthetics and adopts advanced tailoring techniques.

Cheongsam is a national costume of Manchu nationality.

Cheongsam mostly uses straight lines, loose body, split sides, waist waist circumference and skirt size ratio is close to each other; there are a large number of roller decorations on cuff neckline.

Yellow is the color of Royale, and the public is against it.

Cheongsam is brightly coloured and complex, with a variety of colors and colors.

There are several bright lace or coloured teeth roll designs on necklines, cuffs and tucks.

Because cheongsam is a kind of plane dress, the roller becomes the only design space of cheongsam besides fabric, so it is more beautiful with many dishes.

In the late Qing Dynasty, "Eighteen inlays" (i.e. eighteen lace) were used.

In the Qing Dynasty, most of the cheongsam patterns were based on sketching techniques, such as dragon and lion shrew animals, Phoenix cranes, birds, plum blossoms, bamboo flowers and chrysanthemums, as well as eight treasures, eight immortals, and Fukulu Zuki.

Cheongsam in the Republic of China

Since 1840, modern culture has been impregnated with Chinese culture. Many coastal cities, especially the metropolis such as Shanghai, have been attracted by western culture.

The cheongsam, popular in the 20s of this century, was born out of Manchu women's clothing in Qing Dynasty. It was stereotyped by women in the Republic of China.

At that time, there was no professional clothing research center. The changes in clothing styles were constantly changing under the influence of the fashion of the ages.

From 1920s to the end of 40s, Chinese cheongsam has been popular for more than 20 years, and its styles have undergone several changes, such as the height of the collar, the length of the sleeves and the height of the slit, which has made the cheongsam completely rid of the old fashions, changing the old appearance of the Chinese women's long arms and arms, showing the female body and the beauty of curves perfectly, which is suitable for the prevailing fashion and has made a great contribution to women's liberation.

The cheongsam cheongsam was most popular among the female students at that time. It followed suit all over the country, almost becoming the typical dress of the new Chinese women in the late 20s.

It is worth mentioning that at that time, the fashionable girls, celebrities, movie stars and so on, who led the fashion trend, also promoted the development of cheongsam style. Among them, Tang Ying and others were the earliest fashion companies in Shanghai.

Since 30s, cheongsam has become almost the standard garment of Chinese women.

Cheongsam has even become a dress for social occasions and diplomatic activities.

Later, cheongsam went abroad to imitate the dress of other women.

30s and 40s are the golden age of cheongsam and the most glorious period of modern Chinese women's clothing.

The cheongsam style is very long at this time, which is consistent with the fashionable dress of women in Europe at this time.

At this time, Qipao has completely jumped out of the banner of the banner of the female robe, and it is entirely a new style of "Chinese and Western combination".

First of all, there is a saying of "clique".

Local cheongsam is westernized, and Western-style handles are used outside the collar and sleeves, such as lotus leaf collar, western style lapel, lotus leaf sleeve, etc.

Although the application of these reforms is not extensive, it indicates the freedom of thought at that time, and the original program of Qipao is no longer necessary.

The match between cheongsam and Western style coat is also a feature of the "clique", which makes the cheongsam enter the international clothing family and can combine with many modern clothes. In today's words, it has "internationalized and modernized".

The cheongsam in 20s is still wide and straight; the cheongsam's hem is bigger than that of Qin's popular sleeves, and the whole robe is also "upside down".

But shoulders, breasts and even the waist have been fitted.

Eileen Chang said: "the cheongsam of Chu Xing is cold and upright, with the Puritan wind.

"This is the first time," said the female writer who is good at observing and describing fashion. If it means 20s, it must be the impression of her childhood.

{page_break}

In the late 30s, "improved cheongsam" appeared.

The cheongsam's cutting structure and structure are more westernized, and the Qipao is more suitable for the use of chest and waist provinces, while shoulder joints and sleeves are also formed, so that shoulders and armpits are fitted together.

Someone also makes the softer shoulder pad "beauty shoulder".

This shows that women begin to abandon the old ideal shape angle characterized by shoulders.

These cuts and structural changes were completed in Shanghai.

Mr. Jin Taijun, the descendant of Shanghai Hongxiang company, firmly believes this.

Although he himself did not personally experience the whole process, but when he worked in Hongxiang in 40s, he could get much information from his teacher.

The cheongsam is mature and has been set up. The cheongsam will no longer jump out of the basic form determined by the cheongsam in 30s. It can only make some changes in its length, weight and decoration.

The cheongsam, which is loved by women all over the world, is typical of Cheongsam in 30s.

The cheongsam in 30s is modeled after the Shanghai style cheongsam.

In 20s twentieth Century, influenced by western dress, cheongsam gradually became popular among women.

There are many styles of cheongsam, such as Ruyi, pipa, slanting and double breasted, with high collar, low collar, no collar, long sleeves, short sleeves and sleeveless sleeves, slit high slit, low slit, long cheongsam, short Qipao, Qipao, single cheongsam and so on.

The improved cheongsam became almost the standard garment of Chinese women in 1930s.

At this time, the fashion center has been moved from Su Yang to Shanghai.

Shanghai is also a heavy town for women to seek emancipation.

Missionaries, businessmen and revolutionaries competed in the establishment of women's studies, and set off a wave of feminist movement. Seeking liberation society's atmosphere to wash away the conventions and customs of dress adornment, tending to be concise and tonal, striving for elegance, and paying attention to embody the natural beauty of women.

Cheongsam originally appeared in the form of waistcoat, with the length of the vest and the back of the foot on the short coat.

After changing the long waistcoat into a sleeved pattern, it becomes the rudiment of the new cheongsam.

It is said that the most popular female student in Shanghai is the founder of cheongsam.

At that time, female students, as the representatives of intellectual women, became the ideal image of the society. They were symbols of civilization and the forerunner of fashion, and even the fashionable personages of social celebrities were all dressed up as female students.

Qipao originated from the banners of the banners, and Beijing was the largest place where the banners lived. So until the end of the Qing Dynasty and the beginning of the Republic of China, cheongsam belonged to Beijing culture.

The banners of the Qing Dynasty include men's robes and women's robes, but because Qipao are women's garments, they can also be said that Qipao is derived from the robe of a flag girl.

At the beginning of the Qing Dynasty, the robe of the flag girl, which was thin, tight, tight and slim, was enlarged and mattress at the end of Qing Dynasty.

After the revolution of 1911, the banners overthrew their robes and wore gowns and trousers. Therefore, in twentieth Century, there were few cheongsam in the 10 years, and there was a slight recovery in 20s.

Cheongsam has undergone qualitative changes after the change. The main place for this change is Shanghai.

In the late Qing Dynasty, there were three main differences between the robe of the flag girl and the cheongsam of the Republic of China.

1. the banners of the flag girls are wide and straight, and do not show their physique; in the Republic of China, the Qipao is open to the waist, showing their posture or female curves.

2. of the gowns of the flag girl wore trousers, embroidered trouser legs in the slit, underwear and stockings in the qiongpao, and exposed legs at the slit.

3. the dress of the flag girl is mostly heavy brocade or other jacquard fabrics, and the decoration is cumbersome. In the Republic of China, Qipao fabric is lighter, more printed fabrics and simpler decoration.

It is these three differences that make Qipao a qualitative change from traditional gowns to a new variety that can be compared with western dress.

The gown is a coat. It is a kind of clothing that emphasizes function (cold, shelter, identity, etc.). Its aesthetic meaning is traditional implicative.

Skirts, French robe or one-piece dress in English, although they also have the same historical and functional tradition as Chinese robes, show the female body curve is also one of its long tradition. Modern skirt has strengthened this characteristic, from implicit, idealized, partial performance to exposure, sexy and whole body performance.

The performance of modern western skirt shows that the cheongsam of the Republic of China is incomparable.

After the founding of new China, the number of women wearing cheongsam declined sharply.

A famous person once said regrettably: "for a woman with a better figure, it is a great loss not to wear cheongsam."

In 1911, the storm of the revolution of 1911 broke out, overthrew the rulers of Manchu, destroyed the last feudal dynasty in Chinese history, cleared the political obstacles for the popularization of western style clothing in China, and threw aside the traditional harsh ethics and the concept of weathering, and lifted the shackles of hierarchy.

The free pformation of clothing towards civilians and internationalization has come to an end, and the cheongsam has thus lifted the traditional heavy burden.

Because of the demise of Manchu ruling regime, cheongsam wears very little at this time.

Western style Chinese dress is bustling and mixed.

The old flag robe was abandoned and the new cheongsam was started in the troubled times.

At the beginning of the Republic of China -- Qipao that had slipped quietly.

At the beginning of twentieth Century, China's political situation was unsettled.

The revolution of 1911 abolished the monarchy, founded the Republic of China, cut off braids, made it easy to serve colors, destroyed and destroyed, overthrew the feudal rulers of Manchu, and sent the crown and rank system belonging to the feudal dynasty into the Museum of history, all of which created conditions for the extension of the new cheongsam.

After the revolution of 1911, the characteristic costumes of "Dala wing" and "flower pot bottom" disappeared overnight.

In 1924, the last emperor Pu Yi was excommunicated from the Forbidden City.

Before and after 1920, the spring tide of the new culture movement awakened people's desire for beauty.

During this period, Shanghai became a new display platform for women to dress up. The pursuit of fashionable and fashionable clothes became the prevailing social fashion. Fashionable women had double sensitivity to politics and fashion.

Influenced by Japanese style clothing, "new clothes of civilization" became popular in the early 1910s and early 20s, and the black skirts of female students and female teachers became fashionable.

20s - big sleeves and new styles.

{page_break}

In the early 1910s and early 20s, there was a fashionable new dress in urban women.

30s - Golden Age (I)

From 1920s to 40s, it was the most brilliant period of modern Chinese women's dress, and 30s was the peak of this period.

At that time, Qipao laid an irreplaceable position on the stage of women's wear and became a typical representative of Chinese women's wear.

40s - Golden Age (II)

The process of cheongsam to the classics can be basically completed in 30s, and 40s is the continuation of its golden age in time.

From 20s to 40s, it was the most brilliant period of modern Chinese women's dress, and 30s was the peak of this period.

At that time, Qipao laid an irreplaceable position on the stage of women's wear and became a typical representative of Chinese women's wear.

After entering 30s, the cheongsam style is perfect and mature. It can be called classic. It makes it difficult for the cheongsam to jump out of the shape of the cheongsam.

The cheongsam, known as the Chinese dress cheongsam (Hai Pai cheongsam), is known as the cheongsam in 30s.

Cheongsam culture was completed in 30s, and 30s is the golden age of cheongsam.

It can be said that at that time China had real fashion, fashion in the modern sense.

The importation and importation of foreign materials, the clothing columns that have been opened by newspapers and magazines, and the beautiful calendar of fashionable calendar beauties, all undoubtedly promote the emergence and popularity of fashion.

As the cheongsam's slender fitness just caters to the thin and exquisite figure of Southern women, it is very popular in Shanghai.

The Shanghai style cheongsam with the characteristics of western style clothing soon became popular in Shanghai from all over the country.

In this way, as the important representative of Shanghai style culture, the cheongsam of Shanghai style became the mainstream of Cheongsam in 30s. The cheongsam in 30s, also known as the cheongsam of Shanghai style, is the mainstream of cheongsam.

In the late 30s, the improved cheongsam also absorbed western style cutting methods on the structure, which made the robes fit more appropriately.

Although the cheongsam is born out of the Qing banner gown, it is quite different from the old system, and becomes the standard clothing of modern Chinese women with the characteristics of Chinese and Western dress.

At the beginning of the founding of the people's Republic, people's pursuit of dress beauty has completely pformed into a craze for revolutionary work.

The leisurely and comfortable lady's image represented by cheongsam has lost its living space in this atmosphere.

Modern cheongsam

In the early twentieth Century, the short sleeves with wide trumpet sleeves, the sleeves of the front and rear sides and the sleeves without sleeves were prevalent.

Since then, cheongsam has made some changes in the side, sleeve, collar, collar and so on, adding decoration and complicated changes.

But it still keeps the traditional broad cut style of cheongsam vest, and the traditional way of straight-line cutting can not reveal the feminine figure.

In the late 20s and 30s, cheongsam changed repeatedly in terms of length, width, length of slit, height of sleeves and sleeves, and collar and collar.

In 1929, influenced by short skirts in Europe and America, the cheongsam of the medium length began to shorten, the hem fell to the knees, and the cuffs became shorter and smaller.

Later, there were school uniform cheongsam, the lower part was reduced to 1 inches above the knee, and the sleeves were westernized.

The change was criticized. After 1931, Qipao began to grow longer and its hem was sagging.

In the middle of 30s, it developed to the extreme. The bottom of the robe covered the feet, which was called "sweeping the cheongsam".

The sleeves of the cheongsam, which could have covered the wrist, were shortened to the elbow.

After that, the sleeves become shorter and shorter, and they shrink to two inches below the shoulders. After 1936, they are almost sleeveless.

{page_break}

In the Qing Dynasty, the dress was not slashed. After the appearance of the cheongsam, the cheongsam also quietly opened the lower shorts on the left when the sleeves were shortened.

Later, the shorter the slit, the higher the knee, and the knee high to the thigh.

As a result of opposition, the robe was once back below the knee.

However, when the pressure of public opinion decreased, the tunic quickly increased, and the cheongsam was popular after 1933.

The traditional cheongsam is a straight line, plus a high stiff collar.

In the early 30s, the waist of the robe began to contract for a long time. After 1934, the curve of the female figure was finally revealed.

The tall and ears collar gradually became shorter, and later some became the no collar cheongsam.

At the beginning of the founding of the people's Republic, people's pursuit of dress beauty has completely pformed into a craze for revolutionary work.

The leisurely and comfortable lady's image represented by cheongsam has lost its living space in this atmosphere.

50s - there was also a brilliant moment.

In the age of people being masters of the country, if the clothing is also popular, the dominant trend has shifted to the civilian population.

By 1956, when a leader of the former Soviet Union visited China, he suggested that Chinese clothing should reflect the new look of socialism. So the government called on everyone to wear flowers.

The cheongsam appeared healthier and more natural than before.

Not evil, not beautiful, not delicate, not sick, accord with the "beautiful and generous" standard at that time, and more practical.

60, 70s - 20 years of neglect

From 1966 to 1976, the "Cultural Revolution" was a havoc of traditional culture and a disaster of cheongsam.

80, 90s - brilliant again

The cheongsam, which best embodies this perfect figure, has room for survival and development.

It is said that the cheongsam that was very popular will return to people again.

But surprisingly, kapok Qipao is not popular anymore, but only a few people are wearing it.

Qipao's age of prosperity has gone far away, and it has been neglected for 30 years. It seems to be a bit behind the land after its opening up in 80s.

However, in 80 and 90s, there was a "uniform cheongsam" with professional symbolism.

In order to promote and promote sales, ladies of ceremonial dress, hostesses, waitresses and hotel waitresses wear cheongsam.

This cheongsam is stereotyped. It uses many kinds of synthetic fiber silk fabrics, with bright colors, high slit and rough workmanship.

This really damages the beautiful image of Cheongsam in people's mind.

People dare not wear cheongsam in order to distinguish their identity.

Since 1990s, the ideal image of women has changed.

Tall, slender, flat shoulders and narrow buttocks are what people yearn for.

Cheongsam, the representative of Chinese fashion, the most capable of setting the figure and temperament of Chinese women, has attracted people's attention again.

Many foreign designers, inspired by cheongsam, have launched the cheongsam with international flavor and even the combination of Chinese cheongsam and European evening dress.

The definition is broader and the basic form is more definite.

In the 30-40 years, the change of cheongsam was more manifested in the choice of fabric and decoration, as well as the change of length and slit.

Because skirt position is an important feature of women's clothing, cycloid is the most important style line.

In Europe, the 30s women's clothing has been very low, and the waist line is very high.

Long skirts are the characteristics of 30s, and are the marks that distinguish the ladies' garments in 20s.

Cheongsam in 30s is also very long.

In 1931 and 1932, due to the influence of 20s, the position of the hem was not high.

From 1932 to 1938, the kapok road cheongsam has been very long.

Especially around 1934, cheongsam was almost popular in Shanghai.

This indicates that the popularity of Shanghai style cheongsam and international women's clothing is almost synchronous.

Any fabric or detail or decoration with Chinese interest can be called cheongsam.

So we can have cheongsam with no collar, no collar or no slit.

The cheongsam in modern people's daily life pays more attention to the comfort of fabrics. Their styles are diverse, styles are generally relaxed, people are able to move freely, most of them choose cotton and linen cloth materials, show comfortable home feeling, and improve the modern sense for the public.

The cheongsam, which has a sense of ink and painting, combines artistic temperament and life elements together. The white ink and ink are colored, reminiscent of ancient ink painting and blue and white porcelain, perfectly integrating Chinese classical culture with modern civilization; and the low-key and elegant colors are quite suitable for everyday wear, and cotton and linen fabrics wash conveniently and well, which is an excellent choice for modern people to wear cheongsam.

Qipao characteristics

Overview

Most of the classical cheongsam uses straight lines, loose body and split ends, and the waist waist size is close to the size of the dress.

The Beijing school and Shanghai style of cheongsam represent two styles of art and culture.

Shanghai style is characterized by its absorption of Western art, new and flexible, and strong commercial atmosphere. Beijing style has a style of official style.

Art is a social ideology that reflects the social life and expresses the author's thoughts and feelings by shaping the image.

After the first half of the twentieth Century, designers and cheongsam evolved slowly, and the basic characteristics and elements of cheongsam gradually stabilized.

Cheongsam becomes a classic dress.

Classics are relatively stable while fashion is changing.

But fashion designers often look for inspiration from the classic treasure house. Cheongsam is also a source of inspiration for designers.

{page_break}

Cheongsam is the traditional fashion of Chinese women rising in modern times, rather than the traditional traditional costume.

It has a vicissitudes of the past and a new look.

Cheongsam itself has a certain historical significance, plus a relatively high degree of appreciation, so it has a certain collection value.

The cheongsam and the West

The characteristics of aesthetic agreement are not accidental.

At that time, Shanghai, a metropolis with Chinese and Western cultures, was the most conditional birthplace.

Now we may find it difficult to find the authentic evidence of the birth of the cheongsam in Shanghai, but we can still say that the Shanghai style robe is a typical example of the cheongsam in the Republic of China.

If we are bold enough, we can further assume that the modern cheongsam or Yi Yi Qipao is the cheongsam of Shanghai style.

Because in the minds of ordinary people, cheongsam's three words or images are the cheongsam of Shanghai in twentieth Century and 40s.

Modern cheongsam entered the era of stereoscopic modeling. The dart appeared on the clothes piece, and the waist was more suitable, and the western style sleeves, the length of the dress and the length of the cheongsam were greatly shortened, and the waist was also more suitable.

The appearance characteristics of modern cheongsam generally require all or part of the following characteristics: the right or the big cardigan's cardigan or half cardigan form, the collar collar plate, the side slit, the single cloth, the waist, the sleeveless or the short sleeve.

Slit is only one of the many characteristics of cheongsam, it is not the only one, nor is it necessary.

style

There are many styles of cheongsam, such as Ruyi, pipa, slanting and double breasted, with high collar, low collar, no collar, long sleeves, short sleeves and sleeveless sleeves, slit high slit, low slit, long cheongsam, short Qipao, Qipao, single cheongsam and so on.

The change of cheongsam style is mainly the change of sleeves and buttons.

The sleeves are of wide sleeves, narrow sleeves, long sleeves, middle sleeves, short sleeves or sleeveless sleeves.

The main styles are circular, straight, square, Pipa and so on.

The cheongsam dress is round and smooth.

Straight cheongsam gown -- a plump, Round faced woman is suitable for this style, which makes the figure look slender.

The dress of the square cheongsam is a bold reform of the floral part, which is suitable for wearing different faces.

Lute gowns and gowns --

In addition, there are two round cheongsam, double opening cheongsam and other styles.

Collar

General collar, Penguin collar, Impatiens collar, no collar, water drop collar, bamboo collar collar, horseshoe collar.

Texture of material

The main products of cheongsam are cloth, silk, brocade, Qiao Zhi velvet, velvet, and so on. At the moment, silk fabrics include crepe de Chine, silk spinning, electric spinning, hang Luo and other silk fabrics.

color

The common scarlet cheongsam, with its bright color and striking style and unique style, fully demonstrates the long history and culture of the whole nation and highlights the charm of Oriental women's implicit elegance.

pattern

The modern cheongsam pattern is woven brocade, with traditional Chinese ornamentation such as Pisces, rich flowers, plum flowers, and hand-painted cheongsam with flower pattern design depicted in Chinese ink painting.

Button

The buttons on cheongsam are buttons, and the method of making them is mainly woven with cloth strips of folded stitch called "loop bar".

This is different from the buttons made of modern hard materials.

If the cloth is thin, it can be lined with cotton yarn.

The decorative loop is usually lined with wire to facilitate setting.