The History of Cheongsam in China

Qipao, as a member of the robe family, originated from the deep clothes in the Spring and Autumn Period and the Warring States Period. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, deep clothes were once valued by people, and the robes of later generations may have a certain relationship with deep clothes. In fact, thick clothes and robes are very different. The former is divided up and down, and the effect is equivalent to connecting the top and bottom of the coat. The robes are neck and neck, which basically loses the meaning of dressing up and down. Later, the robe was gradually accepted as a stable dress style, keeping pace with the upper and lower petticoats. Since the Han Dynasty, official uniforms have been used, which are called "Mei" or "Niuhu". In ancient times, people said that "beauty" was a shadow. The style of robes changes from generation to generation. The deep robes in the Han Dynasty, the round neck robes in the Tang Dynasty and the straight robes in the Ming Dynasty are typical wide-body robes, which are mostly worn by intellectuals and the ruling class and have become fashionable over time. Robes therefore represent the leisure life of the upper class and intellectuals who are not engaged in production. A big shirt and gown are draped over the skirt. Clothing belt has gradually become a symbol of clothing civilization in the Central Plains. Robes popular in ethnic minority areas or nomadic people are generally narrow to facilitate riding and shooting or other intense activities. This kind of clothing mostly adopts narrow sleeves with left slits, and the robe body is more suitable. In history, the Han people used this kind of tight robe many times, and the riding and shooting technique was popularized in Wuling, and Zhao was a typical example. Khufu was also very popular in the Tang Dynasty. During the Kaiyuan and Tianbao years of the Tang Dynasty, huzhuang, Hu Qi and Le Hu successively courted Khufu. It can be regarded as a large-scale popular example of foreign culture, belonging to the "imported goods" of Chang' an Avenue in that year. During the Liao, Jin, Yuan and Qing dynasties, fitted robes were once the main characters of clothing, although they all experienced or showed more and more extensive processes or trends. Because the Qing Dynasty lasted the longest and was relatively stable, robes can be regarded as typical costumes. In the first year of Shunzhi, the Qing ancestors led the troops into the customs, made Beijing their capital, and then unified the whole country. With the initial stability of the political power, the reform of the clothing system began to be implemented, which set off a huge wave of dressing. Strict laws and regulations are very important. There is a saying that "there is nothing left, nothing left". At this time, almost all the traditional costumes on the crown are forbidden to wear. It is said that the dress style of Millennium tops and skirts is only preserved in the clothes of Han women at home. Both men and women should wear robes when attending occasions. There are many kinds of gowns, including court gowns, dragon gowns, embroidered gowns and uniform gowns. Semantically speaking, cheongsam generally refers to the robes worn by banners, but only the robes worn by women in the Eight Banners are related to the cheongsam of later generations. Royal clothes, embroidered robes, etc. Used as a dress, it is not customarily classified as "cheongsam". The rulers of Qing Dynasty emphasized Manchu riding and shooting, trying to maintain their inherent life customs and clothing styles. On the one hand, they want to assimilate the Han nationality with Manchu costumes, and at the same time, they forbid Manchu and Mongolian women to imitate the Han nationality costumes. It can be seen from the bans issued many times during the years of Zhi Ding and Jiaqing that Manchu women were forbidden to imitate the costumes of Han women. In the late Qing Dynasty, some Han women imitated Manchu costumes. The silent blending of Manchu women's clothing styles makes the difference between the two kinds of clothing smaller and smaller, thus becoming a prelude to the popularity of cheongsam in the whole country. In the late Qing Dynasty, the robes worn by flag women were broad, straight and tough, and the clothes were ankle-long. "Yuanbao collar" is widely used. The collar is high and covers the cheeks and ears, and the robe body is embroidered with various patterns. Collar, sleeves, lapels and sleeves all have wide piping. To Xianfeng, Tongzhi years, mosaic and rolling reached its peak, and

Among the students and soldiers in China, western-style student uniforms and hats first appeared. The import of western clothing provides another frame of reference for judging beauty, which directly affects the change of social clothing concept. In the future, cheongsam will evolve into a new style of combining Chinese and western styles, and its changes influenced by the West can be said to be the beginning. 19 1 1 year, the storm of the Revolution of 1911 overthrew the last feudal dynasty in the history of China, and cleared the political obstacles for the popularization of western-style clothing in China. At the same time, we put aside the traditional harsh ethics and weathering concepts, and lifted various grades of oranges in the clothing system. The free transformation of clothing to popularization and internationalization has become a matter of course, and cheongsam has thus unloaded the heavy burden of tradition. Due to the demise of the Manchu ruling regime, cheongsam was rarely worn at this time. Chinese dresses are bustling and complicated. The old cheongsam was abandoned and the new cheongsam took shape in troubled times. At this time, the center of fashion has shifted from Su and Yang to Shanghai. Shanghai Huayang Co., Ltd., an open commercial port, is a luxurious and prosperous place of Shili Yangchang. Shanghai is also an important place for women to seek liberation. Missionaries, businessmen and revolutionaries competed to establish girls' schools, which set off a wave of feminist movement. Seeking a liberated social atmosphere, cleaning up the stereotypes in clothing and makeup. The decoration swept away the affectation of the Qing dynasty, tended to be concise, pursued elegance in tone, and paid attention to reflecting the natural beauty of women. Cheongsam originally appeared in the form of vest, which grew to the instep and was added to the jacket. Changing the long vest into sleeveless style has become the prototype of the new cheongsam. It is said that Shanghai female students who are ahead of fashion are the initiators of cheongsam popularity. At that time, female students, as representatives of intellectual women, became the ideal image of society. They are symbols of civilization, pioneers of fashion, and even celebrities, prostitutes and other fashion figures dressed as female students. The 1930s and 1940s were the heyday of cheongsam, and its basic outline had reached maturity. The new cheongsam, which was produced after the Revolution of 1911 and was popular during the Northern Expedition, is different from cheongsam. The improved cheongsam, which appeared in the late 1930s, absorbed western-style cutting methods in structure, making the robe body more fit, which will be introduced in detail in later chapters. Although the cheongsam was born out of Yu Daqing cheongsam, it is different from the old one. Modern China women's standard clothing, which is a combination of China and western clothing characteristics. As a woman's cheongsam, the clothing of Qi and Han women is closely related to Qi women. The so-called flag girl refers to the female members of the flag family; The flag bearer is the name of the person who was incorporated into the Eight Banners in the Qing Dynasty. The composition of the Eight Banners in Qing Dynasty was mainly Manchu, including Han and Mongolian. In addition to the imperial clan and Jueluo of Aisingiorro, the royal family of the Qing Dynasty, the Eight Banners also included the Manchu-Mongolian-Han Army. Eight Banners Han Army and Eight Banners Mongolia are composed of Han nationality and Mongolian nationality respectively. There were 260,000 Han troops in the Eight Banners of the Qing Dynasty, which was three times the sum of Manchu and Mongolian. Therefore, banners are not only in Manchu, but also in Mongolian or Chinese. In this way, it is not accurate to define cheongsam as the clothing worn by Manchu people. Manchu is a minority living in the north, good at fishing and hunting, and nomadic everywhere. The robes they wear are open on all sides, with buckles and belts, which are convenient to take off and keep warm, which is very suitable for their lifestyle. Later, the Han nationality and the Mongolians who joined it also adopted this style of clothing. In the late Ming and early Qing dynasties, the Eight Banners system was gradually established, and cheongsam also changed and developed, which was different from the style of early Manchuria. Can the robe worn by the flag girl at this time be said to be a real cheongsam? Formerly known as the modern cheongsam of the Republic of China, it is called the new cheongsam or the new cheongsam. In the early Qing dynasty, the robes of the flag bearer were obviously different from their two kinds of costumes.

Only in this way can Han women continue to wear costumes showing national integrity, and costumes, wedding dresses and mourning clothes for the dead are also allowed to rely on Ming style. From the early Qing Dynasty to the middle Qing Dynasty, the costumes of women of Qi and Han nationality showed distinct characteristics. At that time, there were three main points to distinguish between flag girls and Han girls: look at the bun. The flag girl combs the flag bun, that is, two heads, a fork head or a prefix, which is also called "shelf head" because it is inserted on the shelf to make the two corners flat. After Xianfeng, this bun became more exaggerated and towering, and evolved into a "Dara wing", which the Han people called the "flag head". Han women wear a flat bun and like to wear a black velvet hat and an eyebrow towel. The hairstyle is low and close to the body, showing its implicit temperament. Second, look at skirts or robes. Banner girls wear robes, which is their most important and common clothing. Wear pants under the robe, and add horseshoe sleeves and complicated decorations and accessories on the robe. Women of the Eight Banners never wear skirts. The skirt in a lady's robe is a skirt, but it is still rarely worn. Women in the Eight Banners usually wear formal robes on important occasions, including royal robes, auspicious robes and travel clothes, while in daily life, they wear casual robes, including shirts and funerals, the prototype of cheongsam. T-shirt with round neck, right hem, twisted lapel, straight sleeves, no lapel, five buttons and long coat to cover feet. Sleeves are divided into sleeve heads and sleeveless heads. The fabrics are mainly cashmere embroidery, woven flowers and Ping Jin, and they are mostly worn inside with side decorations. You can wear a shirt alone in summer and velvet in autumn and winter. The shroud is worn outside the shirt, which is similar to the shirt, except that it is opened from left to right under the armpit of Ding Xiangcheng People's Club, and the top of the opening is decorated with clouds, which is gorgeous and elegant. The edges and ornamentation are complex and exquisite, and there are also decorations such as lace, flower tapestry and dog teeth. Mourning clothes are mostly worn on formal occasions. In Wenkang in Qing Dynasty and Biography of Heroes of Children, there are many descriptions about the dress of the flag girl, such as: "I saw the lady wearing a white butterfly shirt, a tapestry, two pieces of five funerary objects, narrow collar and thin figure. What is a pig tooth tapestry? " There are two short heads on the head. "Contrary to the flag girl, Han women wear skirts and never wear robes. They still follow the old system and wear them under their coats. Put on a shirt, only a skirt or trousers, and the upper and lower clothes are not connected. Wearing skirts is a major feature of Han women. There are many kinds of Han women's skirts in Qing Dynasty, including pleated skirts, phoenix-tailed skirts, moon skirts, horse-faced skirts and dry dresses. There are skirt doors at the front and back of the skirt, and pants are worn under the skirt. There are also times when prostitutes wear pants without skirts or are alone at home. It read: "Suddenly a young daughter-in-law came up, wearing a half-yard coat and carrying a big wishful son, pink lining and Pu Xian silk in West Lake color. She didn't wear a skirt, revealing green crepe pants with half and three loose legs; A pair of high-top red satin shoes, crossing the bridge at the foot; "Han women wear red wedding dresses, embroidered with azurite or scarlet jackets, rockhoppers and robes, and follow the old system. Look at these shoes. Because the flag girl has no habit of foot binding, she wears flag shoes with wide high heels. The wooden sole is located in the middle of the sole. It is also called "flowerpot bottom" and "horseshoe bottom" because it looks like a flowerpot and horseshoe. Han women are all "three-inch golden lotus" and wear small embroidered shoes with high soles. The overall style of cheongsam is obviously different from the upper and lower skirts. First of all, the cheongsam of the flag girl is integrated up and down, and the lines are smooth. There are many dividing lines in the upper and lower skirts of Han girls, which is very rhythmic; The tight and narrow cheongsam shows the waist, but the upper and lower skirts are unusually wide and fat, trying to hide the female curve under the big sleeves that take off the coat, which embodies the Neo-Confucianism of Song and Ming Dynasties, that is, "keep the natural order and destroy human desires." "

Based on the differences of national cultures, semaphores are top-heavy. Although the bun is exaggerated and towering, the robe covers the sky. On the contrary, China culture is committed to "small steps and quick steps", but the "three-inch golden lotus" will show the bottom of the skirt anyway. Simple bun and fat and straight dress are more likely to attract the attention of viewers to the first step, which is also the reason why Han people are top-heavy. There are also many differences between cheongsam and big dress in specific shape. For example, cheongsam has various inclined lapels, single lapels and lack lapels. There are horseshoe sleeves on the dress, but most big dresses are double lapels. The collar is worn on the coat, and the collar of the natives is used. At first, the cheongsam didn't have a collar, but it was surrounded by a scarf. It was not until the late Qing Dynasty that cheongsam had a collar, and it was not a collar. As far as the compatibility of decoration is concerned, the cheongsam was originally quite simple, but after entering the customs, it gradually developed in a complicated direction, even greatly surpassing China women's clothing, with many characteristics such as embedding, rolling, embedding, embroidery, swinging, sticking and nailing. Moreover, many formal dresses have sleeves and arrow sleeves, which makes the whole sleeve divided into several sections, and each section has patterns, styles, colors and fabrics. In the final analysis, the dress differences between the women of the Banner and the women of the Han nationality reflect the differences between different cultures. Introverted Han culture created an upper coat and a lower skirt, while extroverted Eight Banners culture produced cheongsam. In the period when the two kinds of costumes are diametrically opposed, it is also the annual ratio of the collision between the two cultures. However, just as the conflicts between cultures will be gradually broken and solved, the differences between Qi and Han costumes are not irreconcilable. After the stability of the Qing Dynasty, the society tended to be stable and prosperous, and ethnic integration was carried out unconsciously. Even with the ban, cheongsam has become wider and sleeveless, and the coat has become longer and longer, similar to a robe. By the middle of the Qing Dynasty, the dress boundaries between flag women and Han women were not so clear, and by the late Qing Dynasty, they learned from each other. Based on the auspicious patterns and embroidery techniques of Han nationality cheongsam, the sleeves are decorated with dark colors similar to half arms. There are Han women wearing long vests and barefoot women wearing extremely short robes. At the same time, Qi and Han costumes also show the same fashion practices and decorative means. In a word, the costumes of the flag girl and the Han girl have changed from the initial opposition to the integration. Cheongsam and cheongsam cheongsam are not a fixed form, but a process of change and development. Although it seems understandable to regard cheongsam as the robe of a flag bearer or a flag girl, it will inevitably have expectations and significance. The connotation of cheongsam is much richer than that of flag men's robe or flag women's robe. In the Qing Dynasty, the robes of the banners included men's robes and women's robes, and cheongsam only referred to women's robes. The robes worn by men in the Republic of China were not cheongsam, although they still carried the legacy of the Qing Dynasty. Among the banners' robes, there are crown robes and Japanese robes. Crown robes include dragon robes, embroidered robes, uniforms and walking robes, which are worn according to different grades. Generally, men's robes are very long at first, not short to the knees when Shunzhi is in use, and soon extend to the ankles. Loose styles are popular in the middle and late period, and the sleeves are more than a foot long. After the Sino-Japanese War of 1894-1895 and the Boxer War, influenced by the western style of fit clothing, the style of men's robes became more and more tight and thin, with long sleeves covering only the arms and not the hips. Put on this robe, even if you squat, your clothes will burst. There is a description that "new clothes boast roots and are extremely long and narrow, and foreigners can't squat when dressing", which reflects the popular trend of men's robes in the late Qing Dynasty. There is little difference between the robes of flag women and flag men in Qing dynasty, mainly because of the different clothing patterns. The development of women's robes can be divided into two stages. In the first stage, the robes of the flag soldiers

Cheongsam in the Republic of China also experienced classic cheongsam and improved cheongsam. In the first stage, the traditional straight plane cutting is the main method, and some western technologies such as darts are introduced to make the cheongsam fit better. In the second stage, more western-style tailoring methods were introduced, such as sleeves, shoulder pads and zippers. There are four main differences between cheongsam in Qing Dynasty and new cheongsam in Republic of China. First, the cheongsam is not obvious, especially in the later period, it is wide and straight; The cheongsam of the Republic of China shows a gesture by opening the province and closing the waist. It is related to the concepts of these two periods. Ancient Chinese costumes, including the robes of flag-bearers in the Qing Dynasty, emphasized literature over people and clothing lines over body curves. China has always disapproved of women who are too shocking and has a very reserved attitude towards the human body. In ancient times, beauty face was the main place, and beautiful women with shoulders cut, flat chest, thin waist, narrow hips and thin body were pressed under layers of clothes. Compared with the central plains costumes of past dynasties, the standard-bearer robes fit well, but they lengthen the flag girl's figure, but they still hide her figure. Cheongsam in the Republic of China was greatly influenced by western humanism. Western-style clothing fully displays and even exaggerates the human body lines, and often takes extreme measures. What matters here is people. The function of cheongsam is nothing more than setting off clouds, holding up the moon and faithfully sketching the outline curve of human body. Second, there are trousers in the robe of the flag girl, and sometimes embroidered trouser legs are exposed under the robe; Cheongsam in the Republic of China wore shorts or briefs, stockings and split legs. Exposing pants and legs means the alternation of old and new humanistic concepts. The cheongsam of the Republic of China is sometimes very tall. 1934, close to hips, narrow waist. When walking, the legs are faintly visible, giving people a lively and light feeling. It can be seen that the behavioral constraints on women at that time have been greatly relaxed, and the cultural environment for physical and mental development has been improved. Third, the cheongsam fabric is heavy, multi-jacquard, and the decoration is cumbersome; Cheongsam in the Republic of China has light fabric, many prints and simple decoration. The excessive pursuit of decorative details reflects the morbid appreciation level of feudal rulers in the late Qing Dynasty. In the Qing Dynasty, the fabric patterns were mainly sketching techniques, such as dragon and lion, crane bird, plum blossom, orchid, bamboo, chrysanthemum, flower, eight treasures, eight immortals and Fu Lu Xi Shou. These are commonly used themes with bright and complex colors, high contrast and exquisite patterns. In addition, a lot of lace is used on the standard-bearer's robes, which is beyond measure. The initial function of lace is to increase the fastness of clothes and make them durable. Therefore, lace often adheres to fragile parts, such as neckline, cuffs, skirts and hem. Later, it gradually became an ornament, and over time it became a routine. In Qing Dynasty, the decorative function of lace replaced its practical function. There are many vulgar ornaments in women's robes, which reached its peak during Xianfeng and Tongzhi years. Sometimes the whole dress is decorated with lace, and the original material can hardly be seen. At the end of the Qing Dynasty, foreign fabrics began to flow into the China market, which gained considerable momentum during the Republic of China. Compared with thirty or forty years, foreign textile printing and dyeing machinery has attracted a large number of people. Jacquard fabrics such as brocade are gradually losing market, while printed fabrics such as cotton, silk and hemp are widely used. In the pattern expression of fabrics, more European sketch techniques and light and shadow processing methods are absorbed, and the colors are unified? Harmony. Plaid fabrics and geometric fabrics are also very popular with Chinese people. The cheongsam of the Republic of China was simplified, with short collar, short robe, broken sleeves and no decoration. Jane's fashion was brought back by female students studying abroad, and the improvement of silhouette also contributed to the omission of decorations such as inlay and piping. The fourth difference is that the standard-bearer's robes have obvious grades and numerous systems, while the sky

The living environment of cheongsam in the Republic of China was relatively relaxed. At this time, the feudal rule was completely overthrown, and Hanfu as a whole got rid of the shackles of the classical clothing system. Modern capitalist commercial civilization is surging, and the old-fashioned bad habits of respecting and belittling are beginning to be washed away. Women's cosmetics present an attractive color of the times. This once marked and insurmountable field has gradually faded into a general scale representing consumers' taste and measuring their spending power. Wearing cheongsam has become a means to show personality. The style, color setting and pattern of cheongsam in the Republic of China have become wonderful. Seek the ocean and change. Cheongsam is the product of the combination of Chinese and western cultures. Although it was born out of Manchu robes in Qing Dynasty, it has a completely different independent style and charm from Manchu robes. This is a reflection of the times. Cheongsam and cheongsam represent two completely different times, one is the era of slow closure, and the other is the era of restlessness. Maybe that's how the difference is formed? In the early years of the Republic of China, cheongsam quietly transformed. At the beginning of the 20th century, the political situation in China was ups and downs. The Revolution of 1911 abolished the imperial system, established the Republic of China, cut braids, changed clothes, destroyed everything, and sent the crown and dress hierarchy belonging to the feudal dynasty to the history museum, all of which created conditions for the birth of the new cheongsam. The Revolution of 1911 overthrew the Manchu regime with the slogan of "driving out the Tatars", and at the same time let the flag bearer? The robe was temporarily silent. After 300 years of dissatisfaction with the Manchu ruling regime, the distinctive costumes of flag women such as "Dara Wing" and "Flower Pot Bottom" disappeared overnight. For political reasons, most flag-bearers change their surnames to the Han nationality to take shelter from the wind, while flag-bearers dress up under coats or trousers of the Han nationality, which is particularly obvious in important military and political places such as Beijing, Shanghai, Nanjing and Guangzhou, and metropolises with developed industry and commerce. The pursuit of novelty and fashion in clothing became the social fashion at that time, and fashionable women were both sensitive and confused about politics and fashion. With the revolution came the wave of ideological emancipation and feminist movement. The old concept system was broken, and new ideas began to form through trial and collision. Missionaries, businessmen and revolutionaries in the west compete to establish girls' schools and instill fashion ideas into women seeking liberation from all directions. When women are completely liberated from the bad habit of foot binding, it is called "Tianzu Movement". In this regard, some enlightened people have advocated the "Tian Ru Movement" to abolish the traditional custom of girding the abdomen, but it has not received wide response. Modern women are keen on participating in politics. They set up women's political participation groups and advocated that "every man is responsible for the rise and fall of the world." Women enter the society from boudoir and are active in social activities, entertainment, sports, new schools and other places. Undertake a lot of social work. All kinds of traditional feudal etiquette restrictions on women in society have been relaxed, and the red tape about dress has become simple. The costumes of this period showed unprecedented prosperity, and the decoration was unconventional, each with its own way. "Suits, Hanfu and full-service go hand in hand". Tops, skirts and trousers have become fashionable clothes for women. At this time, pants are widely favored, which can be regarded as a great achievement of women's dress reform. In the traditional clothing concept, pants have always been difficult to attract the public, and a good woman must wear a skirt when she goes out or on formal occasions. The old cheongsam is tall and wide, with trousers on it. At the beginning of human civilization, pants have been worn out regardless of grades, and all good families are willing to wear pants to make themselves light and in line with the trend. 19 12 or so, the popular women's assembled trousers are called "modern clothes". At this time, skirts and trousers are popular with large pattern fabrics, such as peony, begonia, chrysanthemum, lotus, plum blossom, orchid and so on. Monochrome skirts are also common, red i.

The worship and yearning for western civilization urges people to imitate their costumes. Western-style clothing and western lifestyle entered the urban fashion wave almost at the same time. Women who lead the fashion in freshmen are often addicted to western makeup. Western-style coats, suits, dresses and hats are widely worn by people, and stockings have become popular. Fashion is directed and interpreted by women who pursue new trends and new fashions. At that time, newspapers and magazines at home and abroad introduced the new ideas of the times and the lives of celebrities. From 19 14 to 19 15, most popular periodicals in Shanghai are related to entertainment and clothing, which intentionally or unintentionally promote idol images on clothing, thus contributing to fashion. With the opening of the sea, commercial trade is becoming more and more prosperous, foreign goods are flooding the market, and imported fabrics such as serge, feather yarn, woolen cloth, foreign silk and printed cloth are flooding the market. Western methods, such as sewing and cutting, were also introduced to China, while traditional hand-made decoration methods, such as inlaying and rolling embroidery, were rarely used. This kind of dress has a tendency to learn from the west and make foreign things serve China, which directly affects the emergence and changes of new cheongsam in the future and also contributes to the formation of Shanghai-style dress style. Before the New China 10 years, people did not experience revolutionary baptism for a long time, and their clothing concepts and lifestyles were at a great turning point. Cheongsam has also quietly changed in troubled times. Old-fashioned women's robes and vests are quite out of date, but they are inconvenient in remote villages because they are far from the political center. Information infarction leads to the conformism of dress, and people still dress as usual, and a large part of them inherit the dress style of Qing Dynasty. Generally speaking, the cheongsam at this time has retreated to an inconspicuous position, which is no longer the conspicuous position in the past. At this time, the side of cheongsam has not changed much, but it is still a generous feature in the late Qing Dynasty. The collar has changed from an early collarless or low collar to an "ingot high collar", and the highest point can be flush with the tip of the nose. The sleeves are slightly tightened and shortened, reaching between the elbow and the wrist; The length of the robe was shortened to between the knee and ankle. The line shape of cheongsam is still relatively straight, the color is simple and elegant, and there are inlaid flowers in the collar, sleeves, lapels and other parts, but it is much simpler than before, usually only a few lines, and the embroidery pattern tends to be simple. At this time, cheongsam has begun to pay attention? Reflect the curvy beauty of women and pursue the natural decorative effect. Status and identity are embodied through no decoration, which is closely related to the social atmosphere of advocating natural new life at that time. The trend of the times is brewing the overall style of social clothing. At that time, although the fashion styles of clothing were ever-changing, there were no fashion designers in the modern sense. The renovation of clothing styles often requires a lot of work to become the fashion of the times. It is worth mentioning that Shanghai has become a national fashion center at this time, followed by a dress, a button, a shoe and a sock. For a long time, Shanghai's clothing industry has created a group of shrewd operators and craftsmen. They are keen to capture the subtle changes of fashion trends, and are good at combining western styles with traditional styles in China, making Shanghai a veritable fashion center in China and even Southeast Asia. As an open commercial port, Shanghai is a gathering place for wealthy businessmen, military and political celebrities, celebrities and entertainment stars. Therefore, Shanghai is most likely to become the birthplace of new cheongsam in a few years, creating and leading a "golden age" of cheongsam. In the 1920s, after the Revolution of 1911, the number of people wearing cheongsam decreased greatly. 1924, the last emperor Fu Yi was expelled from the Forbidden City, and the crown of the Qing Dynasty became a swan song. Around 1920, the wave of the new culture movement awakened people's desire for beauty, and the younger generation showed unprecedented innocence, relaxation and pleasure. During this period, a new round of women's cosmetics exhibition platform centered on Shanghai has been quietly opened. In 1965, 438+00 and the early 1920s, there appeared a wave of "civilized new clothes".

? "When? When the "new clothes of the Ming Dynasty" sprang up suddenly, old-fashioned coats, skirts and trousers also showed endless patterns. Lower the height of the collar to show the neck. Cut the neckline into the shape of a circle, a square, a heart and a A Jin diamond. The hem of a short coat is round and pointed, or hexagonal. Women with ulterior motives often hang provocative long and wide light-colored silk belts at the bottom of their coats, with tassels floating at the end. In the Qing dynasty, horse-faced skirts were gradually simplified, durian became less and less, or even disappeared. Finally, even the horse face skirt itself disappeared. Old clothes disappear and new forms come into being. From the mid-1920s, a new kind of cheongsam was born. Shanghai was recognized as a fashion center at that time, and its momentum far exceeded all parts of the country, which influenced the changes of China's fashion. At the beginning of its popularity in Shanghai, cheongsam appeared in the form of sleeveless long vest, and the long vest outside the short coat replaced the long skirt. 1926, the long vest and short coat merged to form the original style of the new cheongsam in the Republic of China. Zhang Ailing commented, "The first cheongsam is strict, cold, square and puritan. "The robe is loose and straight, longer than the ankle or calf. Its sleeves are very big, and the collars, lapels, hems and other places still like to be trimmed, but the wind of countless mattresses is decreasing. " Dripping water "and wide scroll bars are regarded as outdated symbols. It's a clip cheongsam worn in autumn and winter, with big sleeves and only lace decoration. Changed the cheongsam, it has shrunk to the calf, down? Big sleeves. 1in the autumn of 924, Liu, the daughter of the last champion, married Xu Zhenya, the author of The Legend of Heroes of Children. The bride is wearing this anti-sleeve cheongsam. In the late 1920s, the waist of cheongsam began to shrink. Influenced by the fashion trend of short skirts in Europe and America, the cycloid is raised to the knee and the sleeves are still upside down. But the cuffs became smaller, the decorative roll became clean, or even completely cancelled. The color tone also strives for elegance and harmony, and the rear body is very simple and convenient. 1929, the cheongsam worn by Shanghai female students, with cycloid knees, became fit, and some cuffs were matched with western Foucault, which became a fashion. The most striking feature of women's dresses in China in the 1920s was the inverted sleeves, including cheongsam. There are inverted sleeves in the robes of flag women, and the single clothes of Han women have also been popular for some time. The "new clothes of civilization" in the early years of the Republic of China also had inverted sleeves. Cheongsam in the 1920s used this sleeve shape until the 1930s. 191920s, the aesthetic standards of European and American clothing had a great influence on women in China. There are three main characteristics of European and American women's wear in this period: emphasizing linear modeling; Always wear a knee-length skirt; The dividing line between the dress and the skirt is lowered below the hip circumference. These characteristics of western popular women's dresses are also reflected in the cheongsam of the same period. At this time, the cheongsam is straight, with almost no curves of chest, waist and buttocks exposed, and the waist line is low. After 1926, the hem of the cheongsam rose again and again, and 1929 rose to the knee. Women generously show beautiful and fit calves, full of the flavor of the times. During this period, opportunities for trade exchanges at home and abroad increased. What about fabrics imported from Europe? Feather yarn, woolen cloth, velvet, lace and other textiles have expanded China people's dress choices and changed people's dress concept. People are no longer so obstinately pursuing "one thing, three generations", thus stimulating the desire to buy and promoting the popularity and change of cheongsam. Imported fabrics are also one of the main channels for China to accept western artistic styles. /kloc-The cheongsam in the 1920s was obviously influenced by Dicko's art, mainly manifested in the upright and symmetrical decorations and patterns. The popularity of imported stockings is a great reform of traditional cloth socks. /kloc-At the end of 0/9 and the beginning of the 20th century, most employees of foreign companies wore stockings, and the sales outlets were limited to a few foreign companies at the treaty ports. It is said that at the beginning of the Boxer Rebellion, people wearing stockings were called "Ermao". In a rage, they wanted to cut off the instep with a knife. A

Silk stockings have eliminated the old-fashioned trousers and given the cheongsam a new meaning of splitting, which is to make women's legs become the visual center of fashion. It can be seen that stockings are the foundation of the birth of new cheongsam. The popularity of high-heeled shoes is later than stockings, because it can achieve the purpose of lengthening the height and better reflect the slim figure of women, so it has become a new wardrobe for modern girls almost at the same time as cheongsam. /