Category Archives: The Modern – Qipao

The “New” Qipao

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Photo citation: http://www.chinatoday.com/culture/qipao/qipao.htm

The qipao began as long lose fitting clothes, that had draping sleeves and skirts. The beginning of the qipao was at the time in Chinese history when the Manchu people took over. This loose clothing fit what the Manchu people valued, work. Before the Manchu took power, Chinese women could not really work because of their bound feet. However the original qipao would allow woman to still work.

The qipao changed over time. It became shorter and tighter with small sleeves and slits. This is drastically different from the original qipao, but soon the new qipao became hugely popular world wide. At one point the qipao was not thought of as appropriate dress by the Chinese government but since there was so much popularity of the dress world wide, the qipao was brought back to its home of China.

not much room for general description and need a central argument

In the photo above the woman is wearing a qipao at the time of its “home-coming”. This is a new qipao with a shorter hem. There are two long slits going up the womans’ dress. This qipao has the classic high collar neck and button up neck opening. There is also small cap sleeves. The material and pattern of the qipao seems to be traditional (silk and floral pattern). However the rest of the photo has western elements. The woman’s shoes appear western. Her hair looks a lot like how woman had their hair in the 20s in America. The room itself looks western with the leather couch and little decoration elsewhere in the room.

The whole picture suggests the mixing of Chinese and Western style, while the qipao has some of the similar elements of the original dress, it is different. This new qipao has western influence  but it is still sexualizing the female body. The woman is seated facing the camera in an “inviting stance”.

This sexualizing of the female body works in both Chinese and the Western ways of life. This in turn implies that the meaning of the qipao was changing to sexualizing. This is a stark contrast to the original qipao that was shapeless. The new qipao now stands for femininity and the coming together of the Chinese and Western world.

if Chinese style and Western influence for the purpose of sexualization of woman is the argument, then introduce it at the beginning and explain with persuasion

Qipao’s role in Advertisement

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Left image taken from: http://www.myelegantdress.com/chinese-qipao-dress-in-advertisements/, artist unknown, date unknown.

Right image taken from : http://mauracunningham.org/2014/09/15/look-like-a-shanghai-girl-in-six-easy-surgeries/, artist unknown, date unknown.

Since the early 1900s qipao has appeared in Chinese advertisements. In some cases, the advertisements and the qipao itself exhibits distinctly western influences and in other cases, in a nod to Chinese nationalism, the qipao appears to be more traditional. Certainly, as Ellen Liang describes in her article, the qipao evolved throughout the 1900s with the changes in China’s relationship with the outside world. Specifically, when China exhibited openness to the west in the early 1910s the qipao exhibited more western qualities, while later when the antiforeign National Goods Movement began the qipao exhibited a more traditional style. (1)  Despite changes in qipao style fluctuating with the changes in China’s political and cultural reality, the role of the qipao in advertising has remained constant. Beginning in the 1900s and continuing to present day, the qipao is used in advertisements to sexualize women and by extension the products they display, a consistently effective tactic in selling products.

brief the intro as not much room for it

In both the vintage and modern advertisements the woman’s body is highlighted with the color of the qipao.  In the older advertisement for the cigarettes, the bright orange color and pattern of the qipao stands out distinctly from the background of the advertisement, immediately drawing the viewer’s attention to the model’s body. In the modern advertisement, the shiny gold also draws the reader’s eye immediately to the woman’s body and the sash whose color also stands out from the dark background further highlights the the small waist of the woman, a tool typically used to sexualize woman. In these ways, the colors of both dresses highlight the women and specifically make their bodies the focus of the advertisement thus sexualizing them and the product they are displaying.

In both advertisements the form fitting nature of the dress further highlights the woman’s body and further contributes to sexualizing the woman and by extension the product. However, one distinct component of the modern advertisement is that the woman’s body has become so objectified and thus sexualized that her face is no longer visible. It seems that the woman’s body in the vintage advertisement had not yet been sexualized to the same degree because while her body is central to the advertisement it is not highlighted at the expense of the face as it is in the modern advertisement. In fact, the vintage advertisement highlights the woman’s face with bright cheeks and pulled back hair.

Analysis of these two advertisements reveals the qipao’s key role in sexualizing women particularly in the context of marketing products. This tactic has clearly been used since the advent of modern advertising in the early 1900s to increase the desirability of a product by associating it with a sexually enticing woman. However, it seems, according to the extensive analysis of the qipao done by both Ellen Liang and Matthew Chen that this could be a perversion of the qipao as a symbol of traditional Chinese culture perpetuated by the advertising industry. Moreover, considering the qipao’s rich historic background particularly, in some historical contexts, as an empowering article of clothing for women, its use in marketing as a way of sexualizing women seems to be especially problematic. see that happens if use this paragraph as introduction

Works Cited:

(1) Ellen Liang, “Visual evidence for the evolution of politically correct dress for women in early twentieth century Shanghai”, Nan Nu, 5.1 (2003): 69-114.

Modernized and Westernized Qipao

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http://mandarincollardress.com/wp-content/uploads/2015/11/22/Red-trim-American-flag-English-calligraphy-collage-print-modern-qipao-short-mandarin-collar-cotton-sheath-dress-YiTangFang-68128G-011.jpg

http://www.cozyladywear.com/short-modern-qipao-cheongsam-chinese-party-dress-p-587.html

The qipao was originally worn by the Manchu ruling elite in the 1600s and looked like a hybrid of a loose-fitted long sleeve dress and an elegant robe. Over time, as the Han and Manchu began to assimilate, the qipao also underwent various transformations, such as a tighter fit and shorter hem length. Today, the qipao is worn by all demographic groups (western and eastern women, old and young, and wealthy and middle-class) for all different occasions (work uniform, tourist souvenir/costume, formal event gown, casual party/clubbing dress, or even a casual outfit).

may start from the following paragraph

Thus, as the subject of the qipao changes, the message of the qipao has also changed, with both negative and positive implications. In recent years, alongside the global integration of China, the qipao has adopted many western alterations to appeal to a more international audience. However, as can be observed in the two presented images, the westernization of a dress that is not inherently western provides a unique juxtaposition/superimposition of cultural discourse, but also can devalue or skew the original message that the traditionally and culturally valued qipao was designed to project.

The images show the western penetration and global influence that has affected China. First, we can see that the qipao is made of cloth and print, not delicately embroidered like classic qipao. Furthermore, the print on both of the qipaos are totally hyper-westernized/de-orientalized. The two Asian models, presumably Chinese, are wearing traditional Chinese qipaos. However, the print of the two modern qipaos is a completely inaccurate depiction of what the original qipao embodied. On the modeled qipaos, one has American flags, American alphabet letters, American newspaper print, and the other has European women wearing high heels, trench coats, sunglasses, handbags, and sun hats, all of which are not even remotely identifiable to the classic qipao or Chinese culture. Going back to the origins of the qipao, some common designs were dragons, mountains, water-weeds, and fire, which were representative of adaptability, stability, purity, and brilliance, respectively. In contrast, the designs printed on these modern day qipaos are purely surface level, visually and materialistically rich but symbolically insignificant and culturally lacking. This demonstrates that the qipao is still admired, but it is appreciated and purchased for commercial reasons with little connection to traditional and cultural Chinese values.

what is signified by American flags and European prints and for what purpose? 

Interestingly, the two images, although taken from two very different shopping websites, have very similar physical style regardless of the different print, which indicates the pervasive preservation of traditional Chinese qipao style. Both dresses have the traditional Han style length, fit, side-thigh slit, knot buttons, and high collar. Although the qipaos displayed in the two images are meant to appeal to an international audience and has clearly diverged from the original qipao, it still maintains the physical design and cultural touches of the qipao. This shows that the present purchasers of the dress choose to wear the qipao purely as an aesthetic or exotic outfit, and not for cultural celebration. Through this semiotic analysis, we can conclude that the qipao has a decreased cultural and traditional message, but instead hasan  increased commercial and artistic value. The Chinese culture that was originally conveyed by the authentic qipao has become diluted by the consumer culture it caters to. conclusion is strong

strengthen the connotation 

Paris Hilton Modern Take on the Qipao

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Image Citation: http://www.dailymail.co.uk/tvshowbiz/article-495477/Shanghai-Hilton-Paris-creates-stir-China.html Source: DailyMail. November 2007.

Above are two images of celebrity, Paris Hilton, taken of her on a visit to China. These images struck me as they are representative of the “modern” qipao and display a western influence. The qipao was traditionally viewed as the official national dress of China in the 19th century, but has since returned and evolved into a fashion that has even translated to the Western culture. I would like to discuss the deeper meaning behind these two pictures through the details of the dress and the symbolism behind who is wearing them. I’ll start with my immediate observations looking at the pictures as a whole. The first image shows Paris in an extremely sheer and see though black qipao. There are some aspects consistent with the traditional qipao, like the high collar, sleeveless top and neck cut outs. The dress is very tight, and fitting to her body showing off her feminine shape. In the second image, the color red jumps out at me. This qipao is far more similar to the authentic traditional qipao with its silk material, high collar and leg slit. Both of these images seem to be taken by a professional photographer and aim to display Paris as highly fashionable with an oriental twist to a western audience.

The two images illustrate the Western culture adopting traditional and meaningful Chinese wear and altering it for their own purpose. To support my claim, I would like to further analyze my first reactions of these images. As I mentioned earlier, the first image is quite revealing and it provokes a far more sexual perspective. The see through material shows off Paris’ breast and feminine shape promoting the idea that the qipao is something that invites the male gaze. In the mirror reflection we can even see a man looking at Paris. The second image appears warm and inviting through the dominant red, a color that is closely associated with romance, love, and sexual implications. The qipao that Paris wears is very short and has a high slight, once again over sexualizing this dress.

Through the semiotic analysis, I explored the controversial topic of appreciating vs appropriating another culture’s dress. Is it okay for a big western celebrity to be wearing something to special and specific to the Chinese culture? It is debatable, but to me, I worried whether the highly sexual aspect to both qipao’s was insulting to the traditional history behind the qipao. Knowing who Paris Hilton is, these images made me feel as though the qiapo was just a costume for her to wear for fun.

critical question raised: appreciating or appropriating, which can be used as thesis seeking question. strengthen the connotation part

 

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1940s Modernized Qipao                  Found in Tang Wei’s “Lust, Caution” movie, photograph.

Over the last few centuries, the qipao, a one-piece Chinese dress, has experienced a substantial shift in place in the Chinese fashion world. From the loose-fitting, long, concealing qipao style worn by Manchu people during the Guangxu period, to the tight-fitted, sexualizing modern day portrayal, the qipao and its socio-political implications have changed immensely. The Guangxu qipao of the late nineteenth and early twentieth century and the qipao of the 1960s highlighted very different portrayals of the female body. The modern 1940s qipao, displayed in the image to the right, emphasizes the attractiveness of the sexualized form of the female body and the older qipao of the late nineteenth and early twentieth century accentuates the importance of embroidery and the beauty in concealment.

毓朗贝勒福晋

Qipao in the Guangxu Period (1875-1908) Titled: Lady Heseri, photograph, 1900.

When comparing the two images, the viewer notices the difference in color and pattern immediately. Although these two images were captured using the same medium, photography, they provide much different viewing experiences. The woman wearing qipao of the Guangxu period is pictured in black and white, so we are unable to see the true color of her dress. In addition, the photographer chose to take her picture in an area with limited to no natural light. We can see very intricate and delicate embroidery on her qipao. The green color of the woman’s qipao, represented in the above right photo, is emphasized due to the monotonous and basic tones that lie behind her. The photographer strategically placed this woman in a room with natural light. Her dress has minimal print in comparison to the woman on the left.

connotation?

The photographers may have made specific decisions when shooting each woman for a few reasons. Firstly, the woman pictured in color exists in a very different time period to the woman of the Guangxu era. The photographer taking the modernized picture has chosen to place this woman in a room that utilizes the sun’s natural light to accentuate her form and body outline. We can see the light shining on the front of her body detailing the folds in the dress and female figure. The woman in the Guangxu period is not emphasized through color. Color became more of an important factor in socio-political status as time progressed. We can the importance of embroidery in the earlier years of the qipao through the photo of the Guangxu period. The elegance in the more traditional dress lied in its concealment and detailed stitch work, rather than the modern tightfitted, simple form with minimal pattern/flowers and stitching.

Secondly, it is important to notice that both women are not looking at the camera, but are delivering very different messages. The female in the older photo holds a very straight and serious face. Perhaps if she were looking at the photographer and acknowledging him/her, it would undermine the importance and beauty in her concealing qipao. Because she does not look at the camera, she is more mysterious to the viewer and embodies the true essence of concealment, a highly attractive attribute of the time period. The woman in the 1940s picture plays a game with the viewer. She knows she is being seen, however, she is portrayed in a much more sexualized light. Her head is slightly turned towards the camera, however, she does not give us her full attention. She is teasing the viewer in a sexy and lustful way. She tilts her head in a way that almost looks down at the viewer. This decision adds another factor to the game she is playing; she is sexy in her tight-fitting, flattering qipao and therefore powerful and perhaps acting lustfully.

Lastly, it is essential that we acknowledge the difference in the way each woman is standing. The contrast in body language delivers meaningful messages to the viewer. The loose-fitting Manchu style qipao that covers the woman pictured in the older photo does not outline her body in any way. She stands up straight and allows her body to be concealed. She does not use her body in a sexual way, as the woman on the right does. This woman leans her body on an object that sits behind her and gently rests her hands behind her. She arranges her body this way to reveal her long, thin, and smooth arms and thin figure.

Both woman wear the qipao. However, they both wear very dissimilar styles that portray different ideas about what it means to be a woman and how females were portrayed in their given time periods.

two photographic female images, shot in different time and place, speak for how qipao reflects historical transformations. the historical transformation could be explored in terms of form, color, material, design denotations. the denotations then speak for different time, place, ethnic identity, and more connotations.

 

Katy Perry and Modern Orientalism

The style of qipao began during the Manchu rule and was originally a Manchu style. All qipaos have high collars that are tight fitting, there are slits that go up the leg which make it more convenient for women to move easily, qipaos are typically made with silk and satin, and have knot buttons that are used as clasps. In the 1930’s qipao signified a modern woman, and since then there has been a global re-emergence of the qipao. Many fashion designers began using the qipao as inspiration. Before long the qipao style became a major trend, and celebrities like Nicole Kidman, Jennifer Lopez, and Katy Perry were seen in qipao style dresses. The image of Katy Perry in qipao is an example of modern Orientalism.

if this the thesis, then clarify the meaning of “modern orientalism”

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“VMA 2011: Red Carpet Fashion.” Katy Perry Photographed on the Red Carpet at the 2011 MTV Video Music Awards in Los Angeles. Accessed February 28, 2016. http://www.mtv.com/photos/vma-2011-red-carpet-fashion/1668988/6501727/photo/.

At first glance Katy Perry is dressed in a bright outfit, she is wearing a tight dress with somewhat revealing cutouts, and an umbrella to match the dress. There is nothing subtle about her choices in style. The dress has some qipao like qualities with the high, tight fitting neck, and the fabric that the dress appears to be made from, however she has clearly strayed from what a traditional qipao looks like. Orientalism can be explained as how the west perceives the East, and as Katy Perry demonstrates, it is typically an exaggerated perception. The flowers in her hair have an oriental look to them that match some of the embroidery on her dress, and the color of her hair. Perry takes it one step further by adding the umbrella as an accessory. The fact that she uses the umbrella as her chosen “accessory” instead of a purse or handbag to pose with on the red carpet is a clear sign of exaggeration. Flowers are used frequently in oriental designs, and Katy Perry makes that aspect quite apparent by matching the color of her hair to the flowers that decorate it. Qipaos traditionally have slits along the side to maximize movement, but Perry exaggerates this quality with the cutouts on the front and sides of her dress.

Many American celebrities have been seen in qipao, but never as exaggerated as the look Katy Perry chose to wear. One stereotype of the West is that they view the East as exotic, and Katy Perry defends this stereotype with her chosen style of qipao. Katy Perry has Orientalized the entire look by exaggerating common oriental traits.

strengthen the connotation part with denotation as supporting materials, asking the question of how Katy and her qipao construct “modern orientalism?”

Liu Juanhua, Game Series

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Liu Jianhua, Game Series, ceramic series, 61 x 61 cm. (24 x 24 in.), 2000.

During our study of the qipao in class, I saw the dress as a symbol of strong, independent women. Chinese women were able to wear a dress much more revealing, beautiful, and modern compared to their fashion styles before. However, as we closed our study on the topic, it seemed that these dresses were also desired by males for women to wear. Lui Jianhua, in 2000, came out with a series of ceramic plates pictured above. These plates are intricate pieces of art, but relay a sexualized message of Chinese women.

clarify “sexualized message”

On the plate lays a women, without arms or legs. In both she is surrounded by numbers of color and intricate beauty. On both plates the women is wearing a qipao. One matches the flowers laying below her, while the other stands out due to its metallic gold. Both have the same border which, in different colors, making it obvious that they are apart of the same collection. These pieces have very similar attributes, but its their message that is much more important. Lui Jianhua is sexualizing all Chinese women in the qipao by the underlying message he presents in his collection.

The women laying on the plate serves as a metaphor of women being served to anyone. It suggests that the these women are worthless and are meant to be served to males. The fact that they are without arms and a head supports the claim that they are sexualized figures. Jianhua is suggesting that it doesn’t matter what these women’s faces looks like, just that they are a body to be used. He also makes them seem helpless by leaving them armless. The color surrounding them guides the eyes of an observer to the bodies. The two women are laying in very different positions. The one on the left is without a shoe and is very suggestive in what would come next. However the women to the right is much more sexualized. She is wearing a metallic, glowing, gold dress with her legs spread open. There is nothing surrounding her, like in the other photo, it is just this woman laying on the plate ready to be served to a man.

The artistry in this collection is done very well, even though the message Jianhua is portraying is not a desired one. The qipao is very realistic. He obviously shows it is a qipao styled dress and does beautiful and realistic work with the folds of their dresses. Although both dresses are qipao the differences are definitely noticeable. The floral qipao is much shorter and with the flowers surrounding her makes her appear much more innocent. The metallic gold qipao is longer and deems the woman to be sophisticated.

From these images, I learned that although the qipao is a beautiful dress and much different from the fashions before, it has been sexualized through art such as these. It makes me question what women are wearing this dress and if they felt differently after this series came out. Overall, Jianhua raised many issues in his art and had me question the really beauty behind the qipao.

suggestions: first clarify the sexualized message, then explain how the artwork sexualize the female body in terms of qipao form, body position, color, and plate with focus on one component at a time

The Qipao’s Comeback Story

The Chinese Qipao as the standard wear for chinese women in the early 17th century was a more conservative dress than the Qipao after it’s resurfacing in the early 1990’s. The original Qipao sported a wide, baggy, and loose fit which ended up covering most of the female body. It’s baggy feature cocealed the figure of the wearer regardless of size and age. The Qipao was worn by women for everyday occasions, however after 1644, the Qipao was no longer required to be worn by all. But, in the 300 years following, the Qipao was ultimately adopted and tailored to suit the entire population.

The modern Qipao was established in Shanghai in the early 1900’s. It’s fit was slim and tight with a higher leg cut then the original Qipao. Because of it’s slimmer fit, the modernized Qipao highlighted the figure of women. The modern Qipao was brought back to light mainly by politicians, entertainment figures, and fashion idols. the modern Qipao was a sign of high society. furthermore, because the modern Qipao accentuated the figure of the female body, it became a sign for sexuality and femininity, similar the the concealed Golden Lotus.

Qipao, 1930s, The Metropolitan Museum of Art

The photo on the left displays a Qipao from the 1930s. This Qipao is fashioned like the original Qipao was. As you can see the sleeves are long and baggy. The dress itself is also long and baggy going down to just above the ankle. The high neck piece conceals the women’s neck. The old-fashioned Qipao was a lot less constricting then previous garbs, which is the reasoning behind the baggy look. The embroidery on the Qipao is also well illustrated. It’s detailed in flowers and other greenery all over the Qipao. This well detailed embroidery is what catches the eye first.

2015 Qipao Dress

The photo below displays a modern Qipao dress. This Qipao is form fitting, highlighting the woman’s physique. The neck piece is not as high as the original and reveals the woman’s upper neck. The Qipao’s length has been cut to show the lower half of the woman’s thigh. A slit was also added on the sides of the dress showing only a slight part of her upper thigh. The sleeves are cut short, showing most of the woman’s arm. Although the design on the modern Qipao is beautiful, it is not the main focus of the dress like the embroidery of the traditional Qipao was. Overall, the modern Qipao is centered around the woman’s slender physique, bringing forward her sexuality.

nice, but explain what are the social, cultural, historical, or gender connotations that the transition of qipao style suggests?