Cheongsam

Cheongsam The fashion of Chinese Women

Pengxin Guo

Eileen Chang in Hong Kong in 1954

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Cheongsam 3

Cheongsam The fashion of Chinese Women A brief history of on the cheongsam from the 1920s until the 1950s 4

BY

PENGXIN GUO AUTHOR OF “THE HISTORY OF CHINESE FASHION” “CHINESE WOMEN FASHION” AND “THIS IS CHEONGSAM”, ETC.

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Woman in Cheongsam in Hong Kong

First published in the United States of America in 2018 by Chronicle Books LLC.

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To my mother She is my greatest inspiration. She taught me to use my hands to feel and to create.

Her presence has been gentle and loving.

She is the person who has the greatest impact on me.

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Details of cheongsam

CONTENTS Preface 10 Introduction 12 Article 14 Chapter 1 16 Chapter 2 30 Acknowledgments 40 Credits 42 Index 44

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PREFACE

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C

heongsam is an icon, a turn-on, a Chinese symbol of the feminine beauty. The stylish and often tight-fitting cheongsam and qipao that is best known today was created in the 1920s in Shanghai and made fashionable by socialites and upper classes women. The book documents the history and development of the cheongsam, the close-fitting dress which was the most popular single garment worn by Chinese women during the twenties century. It originated in the early years of the century from traditional Chinese robes, but soon developed its own characteristics. The style is largely influenced by the western fashion. It was worn at different times by women in mainland and Hong Kong, as well as in Singapore, Malaysia, and elsewhere in migrant communities. Non-Chinese women have also worn it time to time. The changing lifestyle of women and the dictates of fashion influence how and where it has been worn. Cheongsam is a marker of Chinese cultural identity, which is important for not only Chinese but also people interested in Chinese culture to learn about.

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Details of cheongsam

INTRODUCTION

I

was born in China in the time that people start to appreciate vintage fashion. Cheongsam is the dress that usually described as elegant and classic, which also related to the characteristic of Chinese women. Although cheongsam is popular, I rarely wear it or see someone wear it. When I came to the America, my mom bought a cheongsam for me because she thought cheongsam is special andit also promotes the Chinese culture. From then on, I started to learn more about cheongsam – its history and the style. I think it’s good for Chinese people or people who are interested in Chinese culture to know about this fashion and the cultural identity behind it.

The Cantonese term “cheongsam”is used, as opposed to the Mandarin Chinese “qipao”, for two reason. One is because the term cheongsam is more familiar than qipao outside of mainland China. The other is because the development of cheongsam is mainly in Hong Kong, where the garment had its greatest following and was worn for the longest time. The book focuses on the history of cheongsam from the 1920s until the 1950s and how it has been developed today. The book shows the different looks in different time periods with pictures and concludes the cultural history that reflects the rise of the modern Chinese woman in the twentieth century.

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PART 1 14

The cheongsam displays strong national flavor and embodies the beauty of Chinese traditional costumes. It not only represents the Chinese female costume but also has become a symbol of a traditional oriental costume.

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Chinese woman in cheongsam in the 1920s

Chapter 1 The Evolving Meaning of the Cheongsam

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he cheongsam (from Cantonese Chinese: 長衫) is a body-hugging one-piece Chinese dress for women, also known as qipao (from Mandarin Chinese: 旗袍; pinyin: qípáo) that is best known today was created in the 1920s in Shanghai and made fashionable by socialites and upper-class women. The dress was originated in 1920s Shanghai. It quickly became a fashion phenomenon that was adopted by movie stars and schoolgirls alike. The history of this iconic garment reflects the rise of the modern Chinese woman in the twentieth century.

The cheongsam, or Qipao in Chinese, evolved from a style of ancient clothing worn by the Manchu ethnic minority.

During the early years of the Qing Dynasty (1644-1911) they unified China, and standardized the nationwide costume as well.

At that time, men wore a long gown and a mandarin jacket over the gown, while women wore the cheongsam. Although the 1911 Revolution toppled the rule of the Qing Dynasty, this female dress survived the political change and, with succeeding improvements, has become the traditional dress for Chinese women.

The story of the cheongsam starts with the overthrow of the Qing dynasty and founding of the Republic of China in 1912. In the mid-1910s and early 1920s, Chinese intellectuals began to revolt against traditional values, calling instead for a democratic and egalitarian society based on Western standards, including the emancipation and education of women.

Foot-binding, the painful practice of binding young girl’s feet to prevent their growth, was outlawed.

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Chapter 1

The Origins

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The cheongsam takes the gown of the Manchurian women of Qing Dynasty as the original version. Nurhachu had spent 30 years of efforts in completing the reunification of the Nuzhen tribes. In the process of the reunification, he had established the Eight Banners system, the fundamental system of Manchu society. Since then, the Manchu nationality has been called as “Eight Banners” or “Banner People (or Qiren in Chinese).

Therefore, their clothes are referred to be “Qi garments”, or “Yijie” in Manchu language. The daily garments of Qiren are usually gowns and the style has been inherited generations by generations. Affected by the long dresses of the Mongolian women in Yuan Dynasty, it has taken a simple straight style as a basic modeling, all of which are named to be the cheongsam.

Gown-type garments have a long history. The Chinese nation had used a gown as a garment since Shang Dynasty to the late Ming Dynasty. After a long development, although the gowntype garments had their unique features in different historical times, there still existed some relationships among generations with a few changes in the basic form. The cheongsam of Manchu Nationality has some distinct differences with the gowntype garments of the pre-Ming Dynasty, which is relaxed and loose with bands in front part to close the garment. As for cheongsam of Manchu Nationality, there is a closed state with small space between the garment itself and the human body.

It completed the traditional way of replacing the bands with buttons. In short, compared with the gown-type garments of different dynasties in history, the cheongsam is very simplified, cloth-saving and convenient. However, the high and face-covering stand-collar, the solemn close-fitting dress have reflected the conservative aesthetic sense of several- thousand-year feudal ethics.

During the Qing dynasty, the rulers forced Han Chinese people to change their traditional clothing into Manchu style. These rulers were the Banners (qí), who as a group were called Banner People (旗人）. The Manchu clothing of women was typically one-piece dress that retrospectively came to be known as the qípáo (旗袍). The generic term for both the male and the female forms of Manchu dress, essentially similar garments, was chángpáo (長袍). The qipao fitted loosely and hung straight down the body, or flared slightly in an A-line. Under the dynastic laws after 1636, all Han Chinese in the banner system was forced to adopt the Manchu male hairstyle of wearing a queue as did all Manchu men and dress in Manchu qipao.

However, the order for ordinary non-Banner Han civilians to wear Manchu clothing was lifted and only Han who served as officials were required to wear Manchu clothing, with the rest

The Evolving Meaning of the Cheongsam

of the civilian Han population dressing however they wanted.

Most Han civilian men eventually voluntarily adopted Manchu clothing while Han women continued wearing Han clothing.

Until 1911, the changpao was required clothing for Chinese men of a certain class, but Han Chinese women continued to wear loose jacket and trousers, with an overskirt for formal occasions. The qipao was a new fashion item for Han Chinese women when they started wearing it around 1925.

“As the corrupted Qing government implemented policies of non-resistance against the invasion of the world powerful countries; its closed-door policy was broken by the open door agreement. International exchanges began and the Western culture went eastward. After the Opium War, the European-style suits entered China first, which has a certain impact on Chinese cheongsam. The wide and loose body had gradually become short and narrow. Chinese people have gradually accepted the infiltration of Western culture, but the due status of cheongsam had not been affected. In 1929, the Ordinance about garments was announced by the National Government and cheongsam was established officially to be the national garments. A kind of collar with a high front and low back like Chinese Yuanbao in shape became fashionable with comparatively looser sleeve and trouser cuffs”.

– Hongxia Liu

As women were allowed into the education system starting in the 1920s, becoming teachers and university students, they shed the traditional, ornate robes of the olden days and adopted an early form of the cheongsam, which emerged from the androgynous men’s garment called the “changpao”.

Shanghai, an active and vibrant port city with a large population of foreigners, was at the cutting edge of this fashion shift.

The cheongsam of the early 1920s had a looser cut than the cheongsam of today, with long, wide sleeves. It quickly became the regular outfit of urban women in metropolitan cities like Beijing, Shanghai, Hong Kong, and Taiwan. As the garment evolved, traditional silks were replaced with cheaper, contemporary textiles. In terms of design, the traditionally embroidered florals remained widespread but geometric and art deco patterns also gained popularity. It covered most of the woman’s body, revealing only the head, hands, and the tips of the toes. The baggy nature of the clothing also served to conceal the figure of the wearer regardless of age. With time, though, the qipao was tailored to become more form fitting and revealing.

The modern version, which is now recognized popularly in China as the “standard” qipao, was first developed in Shanghai in the 1920s, partly under the influence of Beijing styles. The streamlined and body-hugging cut of the modern cheongsam was popularized by the socialite and one-time First Lady of China Madame Wellington Koo. Voted several times by Vogue into its lists of the world’s best-dressed women, Ma-

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Chapter 1

dame Wellington Koo was much admired for her adaptations of the traditional Manchu fashion, which she wore with lace trousers and jade necklaces. Cheongsam dresses at the time had been decorously slitten a few inches up the sides, but Madame Koo slashed hers to the knee, ‘with lace pantalettes just visible to the ankle’. Unlike other Asian socialites, Madame Koo also insisted on local Chinese silks, which she thought were of superior quality.

Controversies on origin

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Usually, people take the cheongsam as adapted from a onepiece dress of Manchu women in the Qing Dynasty. But debates on the origin of the cheongsam have never stopped in academic circles. There are mainly three arguments on the origins of the cheongsam: The first argument says that the cheongsam came directly from the clothing of Banner People when the Manchu ruled China during the Qing dynasty. This argument was prominently represented by Zhou Xibao1 in his work–The History of Ancient Chinese Clothing and Ornaments.

The second opinion holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty, but the true origin of the cheongsam dates back to a period between the Western Zhou dynasty (1046 BC-771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty. According to Yuan Jieying2 ’s book Chinese Cheongsam, the modern cheongsam shares many similarities with the narrow-cut straight skirt that women wore in the Western Zhou dynasty. And Chinese Professor Bao Minxin3 also pointed out in his book A Real Record of Modern Chinese Costume that the cheongsam originated from the ancient robe in the Han dynasty (206 BC-220 AD). The robe is a one-piece upper and lower connected long dress which was quite popular among ladies in Han.

1 Zhou Xibao (周锡保), the writer of The History of Ancient Chinese Clothing and Ornaments.

2 Yuan Jieying (袁杰英), the writer of Chinese Cheongsam 3 Bao Minxin (包铭新), the writer of A Real Record of Modern Chinese Costume

The Evolving Meaning of the Cheongsam

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A noble Manchu woman in the Qing dynasty

Chapter 1

The third argument was raised by Bian Xiangyang in his book An Analysis on the Origin of Qipao. Bian thinks that the cheongsam originates from neither the robe nor the chángpáo. It is an adaption of western-style dress during the Republic of China era when people were open to the western cultures. In his opinion, the cheongsam was a hybrid of traditional Chinese costumes and western costumes such as the waistcoat and one-piece dress.

“In the early Republic of China, it was more popular for a woman to wear a blouse and a skirt while the cheongsam wearers were not so many. But by the middle of the 1920s, the cheongsam began to be popular again”.

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Pu Yi (the Qing dynasty emperor) and his wife

The Evolving Meaning of the Cheongsam

In the 1920s During this period the popular costumes had blurred over the boundary of Manchu and Han nationalities. In the early Republic of China, it was more popular for a woman to wear a blouse and a skirt while the cheongsam wearers were not so many. But by the middle of the 1920s, the cheongsam began to be popular again. The body became gradually shortened.

There were some with six to eight centimeters below knees.

The waist was narrowed, the downswing was contracted with low vents and long trousers were discarded. The collar was lowered to 1.5 centimeters low in front and 2.6 centimeters high in the back. Later there was a new change that style of collar was highlighted to be fashionable to show feminine appearance.

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Shanghai Qipao in the 1930s

Chapter 1

Shanghai Women in1930s

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Women in Xiamen, China in 1925

In the 1930s to 1940s The 1930s and 1940s saw the cheongsam in its peak fashion.

The reformed cheongsam in structure adopted the Western-style cutting method to make it fitter. Although the cheongsam evolved from the woman dresses of Qi garments of Qing Dynasty, it was quite different from that in the past and had become the standard apparel of the modern Chinese women with both Chinese and Western characteristics.

Affected by the styles of the Europe and America, a step forward was made in exposing the female figure. The close-fitting cheongsam obviously exposed the curves of the human body and made the room between the garment and the body small to the minimum extent to display the external streamline. The cheongsam in the 1930s was shortened with the length to the

The Evolving Meaning of the Cheongsam

knees, and the cuffs were also narrowed. But in the middle of 1930s, the body was increased longer even to the ground with the high open vents in the downswing of both sides. In the 1940s, the collar was omitted in a cheongsam.

In the 1950s and 1960s.

In East Asia, the founding of the People’s Republic of China marks the end of the old life and the beginning of a new one.

Due to the early period of the country and the stage of economic recovery and rectification, the cheongsam, which has been cherished by people for quite a long time was not practical and was set aside. But in the 1950s and 1960s, the cheongsam began to show up again in the people’s lives.

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U.S. Participating in Raising Cheongsam for Anti-Japanese Overseas Chinese in the 1930s

Chapter 1

Modern Women

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The main reason that Chinese women like to wear the cheongsam is that it fits the female Chinese figure well. The style has simple lines and looks quite elegant. What’s more, it is suitable attire during any season by both the old and the young.

According to the four seasons and the wearers’ needs, the cheongsam can either be long or short, unlined or interlined, woolen or made of silk floss. Moreover, when constructed with different materials, the cheongsam presents different styles.

Cheongsams are made of silk stamped with patterns of fine and dense flowers, plain lattices or thin lines, all demonstrating feminine charm and modesty; those made of brocade are eye-catching and magnificent and suitable for formal occasions that require greeting guests and attending banquets.

The cheongsam displays strong national flavor and embodies the beauty of Chinese traditional costumes. It not only represents the Chinese female costume but also has become a symbol of a traditional oriental costume.

The main reason that Chinese women like to wear the cheongsam is that it fits the female Chinese figure well. The style has simple lines and looks quite elegant. What’s more, it is suitable attire during any season by both the old and the young.

According to the four seasons and the wearers’ needs, the cheongsam can either be long or short, unlined or interlined, woolen or made of silk floss. Moreover, when constructed with different materials, the cheongsam presents different styles.

Cheongsams are made of silk stamped with patterns of fine and dense flowers, plain lattices or thin lines, all demonstrating feminine charm and modesty; those made of brocade are eye-catching and magnificent and suitable for formal occasions that require greeting guests and attending banquets.

The cheongsam displays strong national flavor and embodies the beauty of Chinese traditional costumes. It not only represents the Chinese female costume but also has become a symbol of a traditional oriental costume.

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PART 2 With the growth of the Chinese economy, Cheongsam has experienced a renewed popularity. Many Western designers have integrated elements of Cheongsam in their fashion collections. French designer Pierre Cardin once said that Cheongsam was his inspiration for many of his evening dress designs.

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Modern Cheongsam

Chapter 2 The Performance of Modernity

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he cheongsam’s popularity continued in the British colony of Hong Kong, where it became everyday wear in the 1950s. Under the influence of European fashion, it was typically worn with high heels, a leather clutch, and white gloves. Movies such as The World of Suzie Wong (1961), as well as the rise of Hong Kong beauty pageants, cemented the garment’s association with Hong Kong in the international consciousness.

By the end of the ’60s, the popularity of the cheongsam declined, giving way to Western-style dresses, blouses, and suits. These mass-produced Western clothes were cheaper than handmade cheongsams, and by the early 1970s, it no longer constituted everyday wear for most Hong Kong women.

However, it remains a significant garment in the history of Chinese women’s fashion.

The Republican period is the golden age of Cheongsam. In exploring reasons behind its prevalence in the Republic of China, many scholars relate it to the women’s liberation movements. After the feudal Qing Dynasty was overturned, Chinese feminists called for women’s liberation from traditional roles and they led several movements against the Neo-Confucian gender segregation, including a termination of bound feet for women, cutting off long hair which was conventionally symbolized as women’s oriental beauty, and encouraging women to wear men’s one-piece clothing, Changshan.

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Chapter 2

Women’s Liberation

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Vintage Air Hostess Movie Hong Kong,1950s

“Changpao” was traditionally taken as men’s patent throughout the long history since Han Dynasty (202 BC to 220) to Qing Dynasty (1616-1911). During that time, Chinese Han female’s clothing gradually developed into two pieces. Women were forbidden to wear robes as men did and instead had to wear tops and bottoms known as "Liang jie yi". After the Xinhai Revolution of 1911 (which overthrew the Qing dynasty), young Chinese people began to learn western science and cultures in order to seek a way of saving the nation. Also, the opening of several ports and ceding territories of China to western powers imported western civilization abundantly to mainland China.

Among all these western thoughts, the idea of gender equality quickly gained its followers, among whom young female students became its prime advocates.

In the early years of the Republican period, wearing Cheongsam carried the symbol of promoting gender equality and saving the country. The color of Cheongsam was usually cold and rigid. It symbolized a silent protest, as part of the May Fourth Movement and the New Cultural Movement.

Since the 1930s, Cheongsam was popularized from young female students to all women in China regardless of their ages and social status. More and more female workers and celebrities put on Cheongsam. The style of Cheongsam also varied due to western costume’s influence. It changed from a wide and loose style to a more form-fitting and revealing cut, which put more emphasis on women’s body line. The length of Cheongsam was also reduced from ankle reaching to above the knee.

The design of Cheongsam got various inventions like the ruffled collar, bell-like sleeves, and black lace frothing.

Starting from that, the priority of Cheongsam moved from a political expression to aesthetic and ornamental emphasis.

The Performance of Modernity

Hong Kong,1960s

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Cheongsam Hong Kong,1962

Chapter 2

“The

ch

cheongsam, as a

dazzling exotic flower in

China’s national apparel, will not only exist in the future

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but also continue to be in full bloom together with the wonderful garments in the world because the unique beauty, demeanor,

disposition and nice feelings for life, it has

heon sa The Performance of Modernity

35

brought to wearers can not be replaced by any other

garments. I believe that the Cheongsams, the Chinese national garments, will develop well and stand in the peak of the world clothing in the future�.

Chapter 2

Movie Lust, Caution, 2007.

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Modern Use

1962 Cathay Pacific Air stewardess.

Kai Tak, Hong Kong

In the 1950s, women in the workforce in Hong Kong started to wear more functional cheongsam made of wool, twill, and other materials. Most were tailor fitted and often came with a matching jacket. The dresses were a fusion of Chinese tradition with modern styles. Cheongsam was commonly replaced by more comfortable clothing such as sweaters, jeans, business suits and skirts. Due to its restrictive nature, it is now mainly worn as formal wear for important occasions as uniforms. They are sometimes worn by politicians and film artists in Taiwan and Hong Kong. They are shown in some Chinese movies such as in the 1960s film The World of Suzie Wong, where actress Nancy Kwan made the cheongsam briefly fashionable in western culture. However, they are sometimes used as Halloween costumes in some western countries. They are also commonly

The Performance of Modernity

seen in beauty contests, along with swimsuits. Today, cheongsam are commonly worn for movies and fashion style look.

Designers also apply the style of cheongsam to wedding dress and other fashion looks.

Work wear Some airlines in Mainland China and Taiwan have cheongsam uniforms for their women flight attendants and ground workers such as China Airlines, China Eastern Airlines, Hainan Airlines, and Xiamen Airlines. They are in a plain color, hemmed just above the knee, with a close fitting wool suit jacket of the same color as the cheongsam. The workers wear stockings and low heeled shoes. Their working places are often air-conditioned so they remain cool.

Many waitresses in Chinese restaurants over the world wear suits and skirts but some wear cheongsam. These cheongsam are long, often foot length or floor length. They have slits high to the waist or hip, and are usually sleeveless or have only cap sleeves. They are often made of brightly colored silk or satin with rich Chinese embroidery. Some nightclub waitresses, ritual girls in ceremonies, and competitors in Chinese beauty competitions wear similar cheongsam uniforms. They may wear pantyhose but not an underskirt so walking shows their legs.

These uniforms are considered too revealing for casual wear so they are worn and kept at work. The waitresses change into casual clothes before going home.

Fashion Look With the growth of the Chinese economy, Cheongsam has experienced a renewed popularity. Many Western designers have integrated elements of Cheongsam in their fashion collections.

French designer Pierre Cardin once said that Cheongsam was his inspiration for many of his evening dress designs.

In many films and movies, Cheongsam is used to make a fashion statement and an exotic impression. In the 2011 movie One Day, Anne Hathaway wore a set of dark blue Cheongsam as evening dress, which was appreciated by many viewers.

Many western stars such as Elizabeth Taylor, Nicole Kidman, Paris Hilton, Emma Watson, and Celine Dion have also made public appearances wearing Cheongsam.

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Modern cheongsam fashion look in 2012

BIBLIOGRAPHY

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1. Tam, Vivienne (2000), ‘China Chic”, Regan Books, An Imprint of HaperCollins Publisher, 1-24.

2. Lee, Chor Lin and Chung, May Khuen (2012), ‘In The Mood For Cheongsam’, Editions Didier Millet Pte Ltd, 35-113.

3. Liu, Hongxia (2009), ‘The Cheongsam—the Treasure of Chinese National Apparel’, Fashion & Art College Tianjin Polytechnical University.

4. Bolton, Andrew (1996), ‘Fashion in China 1910-1970, A Display at the Victoria and Albert Museum’, China Review, Spring: 30-33 5. Eberhard, W. (1971), ‘What is beautiful in a Chinese Woman?’, Moral and Social Values of the Chinese: Selected Essays, Taipei: Chengwen 6. Otero, Daniel (2017), ‘Qipao dresses will always symbolize Shanghai’s sexiness’, Global Times Published.

7. Gao, Sally (2016), ‘A Brief History Of The Cheongsam’, Culture Trip.

8. Chang, Eileen (1987), ‘Chinese life and fashion’, Lianhewenxue (Unitas), Taipei, 3 (5): 65-72.

9. Garret, Valery M. (1994), Chinese Clothing: An Illustrated Guide, Hong Kong: Oxford University.

10. Li Xiaoping (1998), ‘Fashioning the Body in Post-Mao China’, in Consuming Fashion: Adoring the Transnational Body, (eds.) A. Brydon and S. Niessen, Oxford and New York: Berg.

11. Clark, Hazel (2000), ‘Image Of Asia: The Cheongsam’, Oxford University Press, 1-54.

Bibliography

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“Cheongsam” in Chinese calligraphy by Xu Boqing 徐伯清

ACKNOWLEDGMENTS

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T

his book has developed out of a series of book about Chinese traditional fashion by Hazel Clark. I would like to include a special note of thanks to Elsie Guo who inspire me to research on Chinese women fashion. She loves Chinese traditional costume and she points out that not many people rarely know well about the history of those ironic styles, even in her own community. I feel like it’s important to acknowledge people those back story and it inspires me to write a book of Cheongsam.

I revere the patronage and moral support extended with love, by my parents whose financial support and passionate encouragement made it possible for me to complete the book. They have always been the supporters for all work I did for my career.

I am deeply indebted to my class instructor, Michael Carabetta and Chronicle Books, along with all my friends for their invaluable help in preparing the book and giving suggestions. I also want to thank mohawk paper for providing paper.

My joy knows no bounds in expressing my cordial gratitude to my best friend Max Qu. Her encouragement and suggestions were a great help throughout the course of this history book.

I humbly extend my thanks to all concerned people who co-operate with me in this regard.

Acknowledgment

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“Qipao” in Chinese calligraphy by Xu Boqing 徐伯清

CREDITS

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1. Eileen Chang (September 30, 1920 – September 8, 1995) was a Chinese (Republic of China) writer. Photo was taken in 1954 in Hong Kong.

2. Women in tightly fitted qipaos walking down the street in Hong Kong in the 1950s; source unknown See article ‘History of The Qipao (Part IV ): From Shanghai to Hong Kong, 1940s and Beyond’.

3. Details of cheongsam 1, source unknown. See article ‘The Four Techniques of Qipao (Cheongsam) Edging’.

4. Details of cheongsam 2, source unknown. See article ‘The Four Techniques of Qipao (Cheongsam) Edging’.

5. Maggie Chang from movie In the Mood for Love.

6. Chinese woman in cheongsam in the 1920s, Photo Credit: Pinterest.

7. A noble Manchu woman in the Qing dynasty. Credit National Museum of China.

8. Puyi, last emperor of China, with his consort Wan Rong, last empress of China, source: http://blog.sina.com.cn/k9476 9. Shanghai women in qipao in the 1930s, Photo Credit: http://m.hercity.com/s/201205/23113.html.

10. Women in Xiamen, China in 1925, Photo Credit: http://m.hercity.com/s/201205/23113.html.

11. Shanghai women in the 1930s, by Sam Sanzetti.

12. U.S. Participating in Raising Cheongsam for Anti-Japanese Overseas Chinese, See article ‘影像服饰史：从《合奏》聊民国 的高衩旗袍’ .

13. Maggie Chang from In the Mood for Love.

14. Betty Loh Ti in movie The Deformed, 1959.

15. Modern Cheongsam from（一代宗師）金樓風華.

Credits

16. Vintage Air Hostess Movie Hong Kong, 1950s.

17. Women in cheongsam in Hong Kong, 1960s, HISTORY. HUANQIU.COM. 18. Women in cheongsam in Hong Kong, 1962s, Photo Credit: Pinterest.

19. Tang Wei in Movie Lust, Caution, 2007.

20. 1962 Cathay Pacific Air stewardess. Kai Tak, Hong Kong, Photo Credit: https://www.flickr.com/photos/hoting2000/15133587723/in/photostream/.

21. Modern cheongsam fashion look in 2012.

22. “Cheongsam” in Chinese calligraphy by Xu Boqing 徐伯清.

23. “Qipao” in Chinese calligraphy by Xu Boqing 徐伯清.

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INDEX

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An Analysis on the Origin of

In the Mood for Love 19-20, 32

Qipao 24

Jieying Yuan 20

Banner people 20

Kai Tak 38

Betty Loh Ti 33-34

Liang Jie Yi 32

BianXiangyang 27

Lust, Caution 40

Cathay Pacific Air 40

Madame Wellington Koo 22

Celine Dion 37

Mainland China 21-26

Changpao 22, 35

Malaysia 15

Cheongsam 16-37

Manchu 20-26

Changshan 35

Manchurian 20

China 18, 22-30, 32-37

Maggie Chang 19-20, 32

China Airlines 37

Mingxin Bao 20

China Eastern Airlines 37

Modern cheongsam 35

Closed-door Policy 19

Nancy Kwan 40

Eileen Chang 2

Neo-Confucian 36

Elizabeth Taylor 37

Nicole Kidman 37

Emma Watson 37

Non-Banner 20

Garments 34

Nurhachu 23

Hainan Airlines 37

Nuzhen tribes 20

Han Dynasty 32

Overskirt 24

Hong Kong 3, 14, 20, 25

Paris Hilton 37

Pre Han era 21

Xiamen Airlines 37

Pre Zhou era 23

Xinhai Revolution 34

Pre Qin era 24

Yijie 22

Pre Qing era 17

Yuanbao 19

Pu Yi 27

Zhou Dynasty 25

Qi garments 22

Zhou Xibao 20

Qipao 14, 16, 20-22, 25 Qing Dynasty 20-27, 34-35 Opium War 19 Republic of China 20-25, 34 Reunification 18 Singapore 15 Shanghai 28, 33 Shang Dynasty 23 Suzie Wong 40 Taiwan 37 The world of Suzie Wong 36 Tang Wei 40 Vintage Air Hostess 35 West Zhou Dynasty 23 Xiamen 19

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AUTHOR

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P

engxin Guo was born in China in 1997, the time that people start to appreciate vintage fashion. She is very drawn to those traditional women fashion in China and she also puts her focus on women’s position in different time period. She also writes “The History of Chinese Fashion” and “Chinese Women Fashion”.

Cheongsam is the dress that usually described as elegant and classic, which also related to the characteristic of Chinese women. Although cheongsam is popular, I rarely wear it or see someone wear it. When I came to the America, my mom bought a cheongsam for me because she thought cheongsam is special andit also promotes the Chinese culture. From then on, I started to learn more about cheongsam – its history and the style. I think it’s good for Chinese people or people who are interested in Chinese culture to know about this fashion and the cultural identity behind it.

The Cantonese term “cheongsam” is used, as opposed to the Mandarin Chinese “qipao”, for two reason. One is because the term cheongsam is more familiar than qipao outside of mainland China. The other is because the development of cheongsam is mainly in Hong Kong, where the garment had its greatest following and was worn for the longest time. The book focuses on the history of cheongsam from the 1920s until the 1950s and how it has been developed today. The book shows the different looks in different time periods with pictures and concludes the cultural history that reflects the rise of the modern Chinese woman in the twentieth century.

COLOPHON

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ypeset in Didot & Futura, by Firmin Didot and Paul Renner. Didot is a group of typefaces named after the famous French printing and type producing Didot family.

The classification is known as modern, or Didone. Futura is a geometric sans-serif typeface released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period.

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heongsam is an icon, a turn-on, a Chinese symbol of the feminine beauty. The stylish and often tight-fitting cheongsam and qipao that is best known today was created in the 1920s in Shanghai and made fashionable by socialites and upper classes women. The book documents the history and development of the cheongsam, the close-fitting dress which was the most popular single garment worn by Chinese women during the twenties century. It originated in the early years of the century from traditional Chinese robes, but soon developed its own characteristics. The style is largely influenced by the western fashion. It was worn at different times by women in mainland and Hong Kong, as well as in Singapore, Malaysia, and elsewhere in migrant communities. Non-Chinese women have also worn it time to time. The changing lifestyle of women and the dictates of fashion influence how and where it has been worn. Cheongsam is a marker of Chinese cultural identity, which is important for not only Chinese but also people interested in Chinese culture to learn about.

"Worn by movie stars and schoolgirls, adopted as a symbol of Chinese identity and of international savvy, favored by conservative dowagers and fashion mavens, no other dress has been as versatile nor had such a complex, fascinating history as the cheongsam."

–Hazel Clark

ISBN 692-1-118-20291-2