"Chinese Style" Prevailed In Western Fashion 100 Years Ago.

< p > by the end of 2013, the campus of Cornell University launched a "Chinese tradition" a target= "_blank" href= "http://www.91se91.com/" > dress < /a > hot. From the school, < a target= "_blank" href= "http://www.91se91.com/" > textile > /a > a target= "_blank" href= "http://www.91se91.com/" > "dress less than" > museum director Charlotte Ginosek (died in February 12, 2014) and visiting scholar, Wang Hongye, associate professor of fine arts and Design School of Wenzhou University, jointly prepared the "traditional Chinese dress and its influence (1840 - 1960)" exhibition, so that the audience, especially the teachers and students enjoying the visual beauty, deepened their understanding and longing for Chinese culture. < /p >
< p style= "text-align: center" > img border= "0" alt= "align=" center "src=" /uploadimages/201403/03/20140303015451_sj.JPG "/" < < > >
After the opening of the exhibition P, Cornell University publicized it through the website. Many teachers and students said after visiting that they did not know that the school museum had so many Chinese exquisite objects, and the magnificent Chinese costumes surprised them. It is understood that the exhibition will last until June 2014, with the exhibits in the late Qing Dynasty and the Republic of China in the school Museum. < /p >
< p > < strong > the study of Chinese traditional dress has not yet been further studied < /strong > < /p >.
The economic and cultural exchanges between China and the west, with clothing as the carrier, are important research contents in the field of costume historiography and design history. < p > This kind of communication based on costumes enables Chinese and Western countries to directly introduce or create many unique cultural elements. These elements continue to change and affect modern fashion culture. < /p >
< p > Wang Hongye told reporters that in the cultural exchange between Chinese and Western clothing, the influence of Western costumes on China is reflected in the research area of modern Chinese clothing transformation and the academic field with the theme of "westerly wind and eastward spreading". However, whether in China or abroad, scholars' research on Chinese traditional costumes (including ancient costumes and ethnic costumes) is not as good as the study of Western costumes. < /p >
< p > through the description of several typical exhibits, Wang Hongye introduced in detail the influence of the costumes of the late Qing Dynasty and the Republic of China on Western fashion. She said that the women's Golden Dragon gown with Manchu characteristics was once popular in Europe, and a famous British brand had designed similar styles. In addition, one of the exhibits is a white embroidered dragon and Phoenix gown, which is designed for export because white is the taboo color of the late Qing Dynasty, and the dragon and phoenix patterns on the gown are coarse, not traditional Chinese patterns. < /p >
< p > Western < a target= "_blank" href= "http://www.91se91.com/" > designer < /a > usually use many ways to use Chinese elements. The most typical method is to directly use traditional Chinese patterns. Wang Hongye, for example, has a white western style nightgown with dragon embroidery on both sides. In addition, a set of white suits (tops, jackets, long skirts) in the exhibits also has distinct Chinese characteristics. Through careful observation, it can be speculated that the suit was designed by Westerners and then made by Chinese style tailoring, sewing and embroidery. < /p >
The main feature of the exhibition P is the history of Chinese cheongsam. Among the exhibits were the shirts of the Manchu (robe), the robe, the cheongsam that was popular in 1930s, and the cheongsam, which was influenced by the Western cutting technology in 1940s. According to the introduction, the emergence of the provincial road has played a vital role in the development of Qipao. It has made the dress of the cheongsam expand from the two-dimensional plane to the three-dimensional effect, showing the graceful and graceful posture of the eastern woman and drawing the outline curve of the human body. In addition, the trademark information still preserved in some exhibits has research value, such as a purple traditional Chinese dragon brocade Satin suit with trademark of Shanghai and San Francisco. < /p >
< p > besides clothes, Wang Hongye also found evidence of Westerners using traditional Chinese clothing in some early twentieth Century oil paintings. At that time, Westerners used to wear traditional Chinese costumes, sometimes with local clothes. < /p >
< p > < strong > overseas clothing collection has research value < /strong > < /p >.
< p > according to Wang Hongye, when she first visited Cornell University, gnnsk introduced some school collections to her, hoping that she could interpret and study the collection of Chinese clothing. This proposal not only became the focus of Wang Hongye's research at this stage, but also became an opportunity to hold the exhibition. < /p >
< p > Wang Hongye discovered in the research that the women's clothing of the late Qing Dynasty and Republic of China in the Museum of Cornell University was rich, and the ages were concentrated in 1840 to 1940. Most of the products were intact, but due to cultural differences, American scholars had little research on them. Later, with the deepening of the research, Wang Hongye found that the collection of Qing Dynasty costumes and the design of "Chinese style" were far richer than she imagined. From these collections, we can see that the overseas love and collection of Chinese costumes was a common phenomenon, which had an important influence on the design of the Chinese style in the West in the early twentieth Century. < /p >
< p > although there are relatively many collections of clothing in late Qing Dynasty in China, Wang Hongye said that there are not many specific information in domestic collections. The United States has the cultural tradition of collecting and donating, which makes it rich in clothing information of late Qing Dynasty and Republic of China. Therefore, studying overseas collections is of great significance to the study of clothing in late Qing Dynasty and Republic of China. When Wang Hongye was in the exhibition, he had talked with Cornell University professor Francis Co (Frances Kozen). Cozeng said her family had a collection of clothes similar to the exhibits, but she was not sure about the country's clothing and other information. Later, it was identified that this is a set of late Qing Han women's < a href= "http://www.91se91.com/news/index_f.asp > cloak" /a "and" Ma face skirt ", which is very distinctive and different from the exhibition collection. < /p >
During the exhibition "P", Wang Hongye accepted the media interview and often did voluntary explanation. The exhibition was affirmed by Cornell University. Fan Jintu, director of fiber science and fashion design department of the school of human ecology, said that the high quality research level of Chinese scholars is fully reflected in the meticulous preparation and Exhibition Research of the exhibition. < /p >