旗袍在现代服饰中的应用_旗袍服饰

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旗袍在现代服饰中的应用

旗袍在现代服饰中的应用 摘 要

旗袍作为中国古代服装史上的一颗耀眼的明星,在中国历史上留下了不可磨灭的痕迹。通过对旗袍的研究可以看出:旗袍的独特魅力在于它所包含的文化底蕴。旗袍源于古代的袍服,是满族妇女的传统服饰,但满族一直受汉文化的影响,其袍服当中体现出了相当多的汉族传统文化的意蕴。旗袍中体现出来的文化意蕴,一方面是传统旗袍中体现出来的传统文化意蕴,另一方面是在旗袍发展过程中体现出来的文化意蕴。

民族化只有融入时代精神和契合时代生活方式,不断的改良和革新.才能纳入到现代设计的进程中.而反过来,中华民族服饰中有益的东西也会对全球性的流行时尚产生深刻的影响近年来国际服装的总趋势,以强烈、多变换的时代流行引导和影响着中国的消费者。关键词：旗袍，流行元素，影响，发展

The Application of Cheongsam in Modern Clothing Abstract: Cheongsam,as a shinging star in the history of ancient chinese costumes, has left behind the indelible trace in the Chinese history.According to the study on cheongsam , we can see that the unique charm of cheongsam lies in its cultural implications---trditional cultural implications showed in conventional cheongsam and the ones that showed in the development of cheongsam.Derived from ancient robes , cheongsam was the traditional costume of Manchu women.Under the influences of the Han culture ,the robes of Manchu were endowed with a great deal of cultural implication from Han Dynasty.Only integrate the current national spirit and way of life and constant innovation can nationalization be involved in the proce of modern designs.On the other hand , some merits in chinese national costumes can also greatly influence the global vogue and fashion.In recent years, the major tendency of international costume is full of changes and current characteristics which lead and influence chinese consumers.Key words : Cheongsam, Fashion elements, Influences ,Development

旗袍：中国传统服饰文化的典范

摘要： 旗袍是中国女性着装文化的典型标志，旗袍在近现代的发展来看，作为中华民族的特有服装，凝结了整个民族几千年来的服装文化之精华。它之所以流传至今，与其“取舍”“变化”有很大关系，它在保持中国传统文化内涵的同时，大量的吸收了西方的思想观念和制衣技巧，融合并演变出东西合壁的现在旗袍

关键词：旗袍，演变，传统，创新，时尚

旗袍是中国女性着装文化的典型标志，它不仅在整体造型的风格中符合中国艺术和谐的特点，同时又将具有东方特质的装饰手法融入其中，其独特魅力在于它所包含的文化内涵，因此能在中华民族服装中独领

风骚，久盛而不衰。

今日我们穿的所谓“旗袍”，不能确定仅仅是满族服装的传统款式，它是中华多个民族服饰文化的融合。它源自古代蒙古系游牧民族女子的袍服，至清代满族承袭了这种服装。满族入主中原后，实行的是八旗制度，凡编人旗籍者，都被称为“旗人”。旗人所穿之袍被统称为“旗袍”，其中包括朝袍、蟒袍和常服袍等。后来则将妇女的家居之袍称之为“旗袍”，“旗袍”成了专用名称。

清初统治阶级为了缓和阶级矛盾，制定了一系列有利于汉人的温和措施，而且鼓励满族人和蒙古族人、汉人结婚。两族人民接触广泛而频繁，其演变过程中互为渗透融合，民族间服饰交相辉映，互计短长，已为大势所趋。满族旗人无论在文化还是生活习俗上大多被汉文化所同化，唯独在穿戴装束上依然保留了本民族的服装习俗，并且强迫汉人改冠易服，一律改用旗装。于是长袍马褂、穿靴戴帽便成了清代男子的典型服式；而满族女子服装中有相当部分与男服相同，在乾嘉以后，开始仿效汉服，虽然屡遭禁止，但其趋势仍存不断扩大。从这一点上，正是说明了汉文化有着强大的渗透力。

清初，由于“男从女不从”的缘故，清代汉族妇女的服饰终算幸免于难，依然保持汉服原貌，后来在与满族女子的长期接触之中，不断演变，终于形成清代服装特色，揭开了旗袍演变史的一幕。

旗女平时著袍、衫，初期宽大，后窄如直筒。不用领时加围巾，后来领口式样渐多。自唐宋以来，汉族女子一直穿对襟上衣，右衽大襟（也有斜襟的）。从清代开始，渐改用圆领口、大襟、五付纽扣、宽镶片，这都是模仿旗装服式的结果。只是依然保持上衫（袄）下裙的传统装束。旗袍的最初造型是宽腰直筒式，袍长及于足面，加许多镶滚。面料多为绸缎，袍面锈满花纹，袍领、袖、襟、裾等处均有几道花绦或彩芽儿，其后，又发展出了“十八镶”的装饰手法，即镶上18道边才算是最美。穿在身上花团锦簇，修长亮丽，再配上俏丽风雅的绸冠和别致的花盆鞋，造就一种端庄沉稳的古典风格。

在汉族妇女中，旗袍的大规模盛行，并非发生在高压政令下的满清王朝，而是辛亥革命以后的民国。把裙子取消，改穿上下连属的旗袍，这在中国近代服装史上无疑是一次了不起的革命。旗袍的盛行，给中华传统服饰增添了新的风采。

由于受传统道德观念影响，几千年来人们一直把人体的裸露当成邪恶的象征，不喜欢过多暴露。旗袍的领部紧扣包住，从设计学的角度说，它增强了旗袍庄重、典丽的效果，同时高领限制了颈部的随意，始终保持垂直状态。旗袍的衣身追求宽大、掩盖、含蓄，它的宽腰直筒，上下一体，蕴涵着一种和平、安详的大一统气氛，充分体现了旗袍的含蓄、端庄的美。

近代中国文化思想领域上呈现着剧烈的变化，传播“西学”的热潮对民族的传统服饰的改进也产生了深刻的影响，从而，萌发了新的服饰文化。20年代，国民政府颁布了《制服条例》，其中规定了主要礼服和公服。上海等中国商业大城市的青年男子开始穿着西服、中山装；女子服装也开始有西式变化，渐受西式服装的影响根据流行时尚对服装进行改良。其中最突出的便是旗袍的发展，首先突破了中国妇女着装严整的传统观念，抛弃繁琐的装饰和形制，注意到曲线对衬托女性温情的意蕴，由昔日的宽大渐趋于瘦长合身，曲线鲜明，加以斜襟的韵律，从而衬托出端庄、典雅、沉静、含蓄的秀美身姿，至此形成了富有中国特色的改良旗袍。

从某种意义上说，正因为晚清上海人普遍追求“时髦”的心理，使西式服饰得以首先在上海登堂入室，继后在全国与宽衣博袖的中国传统服饰发生撞击、交流直至混融而形成西装革履旗袍绣鞋并存的奇妙旖旎的服饰现象。

旗袍的变革为现代服装奠定了基础，是中国服饰的一次大变革。长衫、旗袍、马甲、马褂一直沿袭下来，成为中国传统服饰的典范。这与中国的传统观念息息相关。细想，辛亥革命以后，中西方文化相互渗透，西方服饰文化得以传播过来，对当时人们的穿着产生了很大的影响，但中同的旗袍并没有被取代，反而借鉴西方服饰中的长处，加以改良后旗袍得以发展并被保存下来。正如西方评论家所言：旗袍上下连属一体，由独块衣料制成，结构严谨线条流畅，没有任何不必要的带、袢、袋等附件装饰，微紧的腰部，贴体合身；两旁开襟便于行走。中国女子下半身常觉稍短，穿旗袍可以增加形体修长感，配上中高跟鞋，抬升人体重心，挺胸收腹，立显袅娜之态。再加上当时的中国妇女一般都不太出门，一件旗袍可以适用于各种场合，甚而可以穿很久。所以在当时的社会里旗袍以它端庄、典雅、含蓄的美一直广泛流行并延续到今天。

30年代以后，旗袍成为中国妇女最时髦的服装，改造和创新更加频繁。先是崇尚高领，后来又流行低领至无领，低到无可再低时，索性将领子取消，袖子时而长过手腕，时而又短及露肘，两边开衩开得很高，腰身变的极窄，进一步合体以显示出女性的体型曲线。其中垫肩双襟绢花装袖旗袍，衣长较短，较为通俗，多为一般大众妇女穿着；无袖紧身前开衩旗袍衣身较长，比较适体，多为思想比较解放的妇女穿着；织锦缎无袖

双襟旗袍，衣长可长可短，上乘高贵，多为经济富裕妇人穿着。当时一般旗袍开襟都用暗扣，外表用花扣装饰，所采用的图案多为龙、凤、孔雀、福、寿、喜、吉祥等图案，以表中华民族五千年来的传统文化，同时体现东方女性服饰的艺术美。

40年代旗袍逐渐去掉袖子，长可及地，短时至膝，这段时期的旗袍省去繁琐装饰，更加轻便适体，不仅腰身的线条曲柔奇美，而且衣领和袖子等均有变化。如夏季无袖，简洁流畅；秋季紧袖，适当缩短袍长，显得轻便得体。“中国妇女终于获得了一种代表这个时代重要价值的基本服式，一种杰出的富有特色的民族服装，既符合时尚又尊重民族特性，它象征着中国妇女的积极而进步的生活方式。”

进入50年代，中国人民积极地投入战后重建国家的运动中。广大妇女与男子们一样走上社会的各行各业，献身于新中国的建设。这时的旗袍多数做得很贴身，小袖口，不能适应快步及大幅步的运动，使妇女们在社会活动中感到极不方便，再加上新时代的到来，使人们更乐于接受一些新颖的东西。因此，从50年代后期开始，广大的劳动妇女渐渐地以上衣下裤的装束替换了旗袍，但在一些重大喜庆日子和外事活动时还常能看到具有民族文化特色的旗袍的出现。到了60年代中期，旗袍被斥为“四旧”而被彻底否定，举国上下出现了由于政治运动的影响男男女女皆穿绿装的大流行。

进入80年代，我们才又看到旗袍在街头闪过，这说明，十多年都没有人穿，也没有人提及的旗袍，事实上一直活在广大妇女的心里。

今天。旗袍已从生活常服上升为礼服。作为礼服，其款式和花样也随之变得越来越繁复绚丽。在款式方面，除了保持旗袍流畅的线条外，服装大师们在设计剪裁时，保留旗袍结构严谨、线条流畅，没有任何不必要的带、袢、袋等附件的特点；在工艺上采用收肩、饰花、穿珠片、刺绣等手法，加强肌理效果，在构造上，采用琵琶襟、如意襟、低襟、高领、低领、无领等，同时又把绘画等姊妹艺术也作为旗袍装饰的手段，那些画有花、鸟、京剧脸谱等图案的旗袍，不仅设计新巧，而且风格典雅，富有韵味，把服装和绘画融为一体，打破了原来穿着不够舒服的构造，使之一展新容，成为国际服装舞台上的奇葩。另外，生产技术的创新、工艺流程的改进、新材料的使用，都为旗袍形式的发展注入了新的血液，使其获得更广大的运用而成为时尚，重返流行舞台。旗袍的历史已达五百多年，当年旗女脚登花盆底鞋身穿长袍时，未曾想到旗袍会一统华人女性天下。日本已故画家原龙三郎总结：“高领托住了

下颚，头部姿势必然端正，即使是坐着时，旗袍的开衩处腿的并拢的姿势也能收到美的效果。”

当前受“越民族，越世界”思潮影响，国际上大部分华人服装设计师都不同程度地利用了中国传统文化作为创作素材，传统的视觉形象不时出现在服装设计、织物图案上，它们似乎成了中国传统文化的代言人，这无疑也带来了一个新的问题，即如何更合理地从博大精深的传统义化内涵中吸取精神力量去进行再创造。如果我们只是一味地抄袭传统，照搬形式，我们的设计只会离时代越来越远。众所周知，日本设计师森英惠、三宅一生等人之所以能在国际服装界成功，并不是因为他们把和服这种极为民族性的东西和盘托出，而是在研究透了和服的精神之后，将西方服饰文化与之相融汇，设计出了具有时代性的作品之缘故。沿着这条路，后来又有一批日本设计师在国际服装界打响。这充分地证明了这样一个道理，即：“地球上的各个村落，尽管在艺术上的表现形式、表现方法、表现意境等等存在差异，但是在审美的需求、审美的意味上都是相通的乃至相一致的。”这种相通、相一致，才是世界性的真正涵义。

旗袍在近现代的发展来看，作为中华民族的代表服装，凝结了整个民族几千年来的服装文化之精华。它之所以流传至今与其“取舍”、“变化”有很大的关系，它在保持中国传统文化内涵的同时，大量吸收了西方的思想观念和制衣技巧，融合并演变出东西合壁的现代旗。无论从其外形塑造还是内部结构来看，无不蕴涵着东西方服饰风格的双重特点，旗袍的基础形制源自中国传统服饰，而紧身的外形强调着形体的存在，突出表现了女性的曲线与柔美。这种适体的造型是以相应的结构处理为基础的，特别是胸、腰、臀围上相同数量的放松取值，更是鉴于东方女性的体形特点而设置的。这种纯西方式的裁剪技巧，使得旗袍的整体表现力更为完美，更具有时代性。现代服装设计作品既要有民族情感、传统的精神，又应具有时代的气息，从而满足现代审美需求，这是时代发展的需要，正如小提琴协奏曲《梁祝》那样，主旋律是越剧调儿，但整个感觉又是现代的。

Cheongsam:a Culture Paragon of Chinese Tradition Clothing Abstract : Cheongsam is the typical marking of Chinese female drees and it is a representative culture sign.In the nowtoday's cheongsam development , as the feature of Chinese clothing, it has condensed the whole race of several clothing cultures of paed thousand years.It can spreads until now

due

to

its

“rejecting”

and “variety”.It means when cheongsam keep Chinese traditional culture connotation, it also bring in lots of the western thoughts

as well as technology of making clothes.As a result, east and West unified modern Cheongsam evolved.Key word: Cheongsam;Evolution;Tradition;Innovation;Fashion

As a symbolic model in Chinese feminine clothing culture, Cheongsam not only conforms to the Chinese art harmonious characteristic in the overall modelling style, but alos integrates the Eastern special characteristic decoration technique.The cultural connotation which it contains is the the unique charm of cheongsam, therefore, it will be able to head list of succeful candidates in the China national dre for a long time.“The Chinese dre”we worn nowdays is not merely the Manchu nationality clothing traditional design,but is the fusion of a few nationality clothing culture.It comes from Mongolia which was the nomads female's long gown in ancient so that the Qing Dynasty Manchu nationality had carried on this kind of clothing..After the Manchu nationality ruled the south of Yellow River, they implement the eight banners system.Every human who have arranged the bannermen census or residents called “the bannerman”.The clothes bannerman worn called “qipao”, including faces the gown, the boa robe and the casual clothes and so on.Afterwards，the clothes of woman who lived at home worn called “the Chinese dre”, “the Chinese dre” has become the special-purpose name.In the early time, ruling cla formulated a series policy which is advantageous to Han people's, and moreover encouraged the Manchu nationality people and the Mongolian clansmen, the Han people to get marriage,in order to alleviate the cla contradictions, Two race people contact widespreadly and frequently,.It is already been a tendency that the mult-nationality clothing seeps mutually and result in enhancing the beauty of each other.Despite both custom and culture of the Manchu nationality bannermen mostly aimilated into the Chinese culture, it is only retained its nationality's clothing custom and moreover forced the Han people to change into their dreing style.Therefore,waring long gown Ma Gua, quare cap and boots then becomes man's typical style of clothing in that period;however,the Manchu nationality female clothing had partial same as the male clothing,and it starts to imitate the Chinese since JiaQing.Although being prevented many times,this tendency still expands unceasingly.It is prove that Chinese Han culture has the formidable penetrability.In the initial period of Qing Dynasty, the view of “the male ought to obey and the female need not” made the Qing Dynasty Han Nationality woman's clothing escaping from changing so the clothes maintained the original pattern,During contacted with the Manchu nationality female's long-term,.it finally formed the characteristic of Qing Dynasty clothing which made the Chinese dre evolved into the history.Upside of the clothes Qing Dynasty female worn is usually loose, and the downside became tight and straight.They worn scarfs when th

ey didn't want to show the collars,and the style of the collar came to various gradually afterwards.Since the Tang Song, Han Nationality female always worn Chinese-style jacket with buttons down the front the coat,and the Chinese-style garment with rightside loosing(or slanting lapel).Since the Qing Dynasty,it changed into the round neckband with round and loose collar as well as five pairs of knots, broadening the embroidery, All of this are imitate the the style of Qing clothes,However,they kept the their traditional attire-weaing the shirt upside and the skirt downside.The primal pattern of Chinese dre is loose on waist and straight down to feet-length,just like the a section of bamboot with many hems.It always took silk fabrics as the material which ornament

with

various decoration

pattern

and

colour “18 needlework.Subsequently,the technique, inlaid”,was inviented an been consider as the most excellent skills.Once dreed in that kind of colthes,people would turn to slender and bright, then put on the pretty elegant silk crown and the unique pot shoes, there would like to presented the stately claical style.The prevailing of cheong-sam among women of the Han Nationality did not happen under the high-handed Qing government,but in Republic of China after the Revolution of 1911.To wear one-piece cheong-sam instead of skirts,it is undoubtedly a marvelous revolution in the wearing history of neoteric China.It brings new culture into traditional wearing of China.Due to the influence of China traditional moral concept,people used to regard barene of human body as a symbol of improbity for thousands of years,they don't like barene.The cheong-sam,fastened tightly in the neck,from the point of designing's view,brings impreion of sobriety and elegance,on the other hand,higher collar restrict the neck to be upright all the time.The body of cheong-sam goes for leniency,concealing,connotation,this kind of broad waist and one-piece design,implicate a mood of peaceful,serene unification,adequately show the beauty of connotation and civility.Because of the great change in the modern China culture,the diemination “the western learning” the upsurge has also had the profound influence on nationality's traditional clothing improvement, thus, new clothing culture developed.The 20's, the national government promulgated “Uniform Rule”, in which stipulated the main formal clothes and the official's costume.In Chinese commercial big city just like Shanghai, youth men start to put on the western-style clothes, the Chinese tunic suit;The female clothing also starts to have some characteristic of western-style.Gradually being influenced by the western-style clothing,people carried the improvement on the principia of popular and fashion.The most prominent is the development of Chinese dre, it broke through the traditional ideas about original Chinese woman clothing, abandoning the tedious decoration and the construction, noticing the import

ance of body curve which serve as a foil to the feminine tender.As a reslut, the dre gradually change from loose to lanky so that the bright body curve and the lingering charm of the slanting lapel served as a foil to the implicit elegant figure,.At that time, the improvement Chinese dre filled with chinese characteristics came into being，In a sense,just because Shanghai people's pshchology of pursuing fashion,western style clothes first appeared in Shanghai,then collided,communicated with the loose and long sleeve Chinese traditional costume and untill they mixed together and formed a fantastic costume phenomenon of western costume,leather shoes embroidered shoes coexisting.Revolution of cheongsam established the basis of modern costume.It was a great revolution.Long gown,cheongsam,west man's short coat have carried on as before,becaming the model of Chinese traditional costume which closely linked with Chinese traditional concepts.Furthermore,after Xinhai Revolution,Chinese and western culture permeated each other so that Western costume culture can spread here,making a great impact on people's dreing at that time.However,cheongsam was not substituded and developed and preseved after improving by learning the advantages pf western costume.Just as the western critic stated:cheongsam was made of a complete cloth and the upper and lower parts of the clotheswere connected as a whole part.There was no ornament,such as belt ,pocket.The weist part was a little tight but comfotable,seams wereing cutting in two sides for walking conveniently.The lower part of Chinese women are usually shorter,but cheongsam can make their legs longer and slender.Women will look more graceful with high-heel shoes and hold the stomach.And at that time,Chinese women preferred staying at home,so a piece of cheongsam can be weared in various kinds of situations with a long time.So the cheongsam is popular until today for its cicility,elegance and connotation beauty.After the 1930s , cheongsam became the most fashionable costume for Chinese women which was created and improved more fluentely.First was high-necked,then lower-neckd and collarle.Some sleeves of the cheongsam were longer to wrist,some are lower than elbow；The tapestry satin without the sleeve have double lapels, the clothes may long or to be short, and it only for the economical wealthy woman.At that time, in generally speaking,the common Chinese dre,using the dark buckle on the lapel, decorated with the flower,taking dragon, phoenix, peacock, luck, long-lived, happy, propitious and so on as the pattern picture

in

order

to

present

the

traditional culture.Simultaneously, it manifested the Eastern feminine clothing artistic beauty.The skirt of the cheongsam was slided up on each side,and the weist part became very narrow to show the stature of wome.Thecheongsam with shoulder pats was very common and most women chhosed to wear it.The tightened collarle cheongsam which was slided up

in the front,dreing by the fashionable women;

In the 1940s, cheongsam bacame sleevele, long to ground and short to knee.Isolated from some complicated decorations , cheongsam at this time became more simple and practical.The designs of the waist was very soft and slender and the designs of collar and sleeve took some changes as well.For instance, the ycheongsam for summer was sleevele which made it seemed simpler;the cheongsam for autumn tightened the sleeves and shortened the length which made it more light and proper.“Chinese women were endowed with a common costume which represented the eential value of this period----a specially-featured national costume.It was not only in compliance with fashion and national character ,it was also a symbol of chinese women's active and progreive way of life.”

In the 1950s, chinese people actively participated in the reconstruction of China.Many women ,like men, got themselves involved in all walks of life to serve a new China.The cheongsam at the time varied with women's figure with a small cuff which made it very hard for women to walk fast and to take big steps and thus brought grest inconvenience to women in their social activity.What's more ,with the coming of a new age , people tended to accept something more novel and original.Thus , from the later 1950s, chinese working women began to replace cheongsam with some isolated upper and lower costume.However, cheongsam of national feature could still be found in some grand festivals or foreign affairs.In the middle 1960s, cheongsam was fully rejected as “four olds”, which was fllowed by a nationwide parade with men and women, affected by political movement , all in green costumes.In the 1980s, we finally saw Cheongsam on the street again,It prove that the woman never forgot cheongsam, indeed,althought there is no one wear and mention it in that more than ten years period.At persent,cheongsam is already a kind of formal clothes.As the formal clothes, its design and the pattern also become more and more complicated and glorious.In the design aspect, besides maintained the smooth line of cheongsam,clothing design masters retained its rigorous structure, do not have any noneential acceories such as belt, button-fastening loop, appendix bag and so on;in craft aspect,abbreviating the shoulder part, useing the decoration flower and embroidery, all these things enhances the skin texture effect;structurally, not only adopting the pipa front, the pleasant lapel, the low lapel, the hich collar, the low collar,even on collar, but also involving its sisters art ,such as drawing, to make decorations for cheongsam.Those cheongsam on which drown flowers, birds, and makeups in Peking opera,are exotic and elegant.Graft the drawing onto the clothing design and improve the originally structure which is insufficiently comfortable,the new style cheongsam become a marvellous achivement on the international

clothing stage Moreover, the production technology innovation, the technical proce improvement, the new material use, all of these has poured the new blood into the Chinese dre development.All these obtain more general utilization for cheongsam and make it become fashionable.The chinese dre has more than 500 years history.The women who worn pot bottom shoes have never imagined that cheongsam could be the king of the Chinese feminine clothing world.The Japanese deceased painter yualong summarizes: “The high-neckel hold the lower jaw,so that the forehead posture have to inevitably straight, even when you are sitting,”The legs look concinnity with them together.Influenced by

the

conception

of

“cro

nation,cro world”,Most Chinese nationality costume designers use Chinese traditional culture as the creation material.The traditional visualize always appear in the costume design and fabric pictures.They seemed to be the procolocular of the Chinese traditional culture.Definitly,it brought a new problem that how to absord espiration to recreat from the wide and marverlous Chinese traditional culture connotation.If we only copy the tradition,we will be far away from the modern times.As we all kown,the reason why Japanese designer Shenyinghui and Shanzhai can be succeful is not they only make a clean breast of kimono which is a very traditional costume,but mixed with western culture after researching the spirits of kimono so that they can design the works with temporal spirit.Then, there were other Japanese designers succeed in the national costume.These all proved a priciple:“The tastes of every place of the world are connected,though the expreion of forms,ways are different.”this kind of connection is turely international connotation.Viewing from modern history, as a symbol of Chinese accouterments, cheong-sam coagulates the soul of the thousand-year wearing culture of the whole nation.It's concerned that its popularity has much to with its accepting, rejecting and changing.It absorbed much of western ideas and techniques as well as keeping its own Chinese soul to evolve into modern cheong-sam with both eastern and western culture.No matter seen from the outside look or the inner construction, it all have a diplex characteristic, based on Chinese traditional clothes, with a close-fitting form to emphasize the body shape, showing the curve and morbidezza of the female.This fitting form is based on corresponding structure design, especially the same release value at the chest, weist and stern, yet according to the shape trait of eastern female.This kind of western cutting out skill gives perfect expreion to the cheong-sam, with futher modernity.To meet with modern taste, clothing design should not only make great effort on national emotion, but also have the smell of the current era, this is the demand of the social evolution, just like the violin concerto , which has a whole modern feel with a tune of Shaoxing

Opera.摘 要：

首先,对旗袍的起源、背景发展脉胳要有所了解。其次还要感知时代,理解现代社会生活,捕捉流行规律、信息。形成在民族化基础上,突出时代特性的创造革新观念, 同时保留传统,研究时尚在深入理解传统的基础上进行改良。

关键词:旗袍,创造革新,保留传统

Abstract:

Besides the sight into the origination, background and development of the cheong-sam, we are also supposed to feel the time spirit, deeply understand the modern life and catch on the information of the fashion to give prominence to the concept that is the creation and evolution featuring as times basing on the nationality.Meanwhiles with inheriting and profoundly understanding the tradition, the researches on the melioration of fasions are carried.Keywords: Cheong-sam, Creation, Revolution, Tradition.