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Fitted apparel in Chinese civilization

For the male person version of the cheongsam, come across Changshan.

"Qi pao" redirects here. For the Thai telly series, see Qi Pao (TV series).

Cheongsam

A woman in a cheongsam
Type	Apparel
Material	Silk, cotton
Place of origin	China

Cheongsam
"Cheongsam" in Traditional (peak) and Simplified (lesser) Chinese characters
Traditional Chinese	長衫
Simplified Chinese	长衫
Literal meaning	long garment
Transcriptions Standard Mandarin Hanyu Pinyin chángshān Bopomofo ㄔㄤˊ ㄕㄢ IPA [ʈʂʰǎŋʂán] Wu Shanghainese Romanization zan3seane Yue: Cantonese Yale Romanization chèuhng-sāam Jyutping coeng4-saam1 IPA [tsʰœ̏ːŋsáːm] Southern Min Hokkien POJ chhiông-sam
Qipao
Chinese	旗袍
Literal pregnant	banner gown
Transcriptions Standard Mandarin Hanyu Pinyin qípáo Wade–Giles ch'i2-p'ao2 IPA [tɕʰǐpʰǎu]

The cheongsam (, ), also known every bit the qipao (), is a Chinese wearing apparel worn by women which takes inspiration from the ethnic clothing of the Manchu people. It is most often seen every bit a longer, figure-plumbing fixtures, one piece garment with a standing collar, an disproportionate left-over-correct opening and two side slits. Information technology was popular in China from the 1920s to 1940s, overlapping the Republican era, and was popularized past Chinese socialites and loftier guild women in Shanghai.^[1] Information technology is sometimes known as the mandarin gown.

Terminology [edit]

Every bit English loanwords, both "cheongsam" and "qipao" describe the same type of body-hugging wearing apparel worn by Chinese women, and the words could be used interchangeably.^[2] The term qipao (derived from Hanyu Pinyu) is used in mainland China, whereas cheongsam (derived from Jyutping) is more than commonly used in Hong Kong.

The term cheongsam is a romanization of Cantonese word chèuhngsāam (長衫; 'long shirt/dress'), which comes from the Shanghainese term zansae . In Cantonese and Shanghainese, the term is used to describe a Chinese apparel popularized in Shanghai. Notwithstanding, in Mandarin Chinese and other varieties of Chinese, chángshān (長衫) refers to an exclusively male person garment, and the female version is known as the qípáo . In Hong Kong, where many Shanghainese tailors fled after the communist revolution of 1949, the word chèuhngsāam became gender-neutral, referring to both male and female garments.

The word qipao ( keipo ), which literally means "Bannerman robe" and originally referred to a loose-plumbing equipment traditional garment worn by Manchu people, became a more formal term for the female chèuhngsāam . Usage of the term "cheongsam" in Western countries mostly followed the original Cantonese pregnant and applies to the dress worn by women but.

History [edit]

Background [edit]

A model of the Qing-manner Han Chinese dress that Han women wore around the 19th to 20th centuries. Noticeably, the Han women wore skirts below their Qing-fashion tops, which was inherited from the Ming dynasty style dress

Lady Aisin-Gioro Hengxiang, the birth mother of Wanrong, wearing the traditional Manchu jumpsuit robe that later inspired the qipao

The Manchus are an ethnic minority that founded the last of China's imperial dynasties, the Qing Dynasty, which lasted from 1644 to 1911. When the dynasty was start established, apparel regulations were implemented as a fashion of expressing their identity equally a people and create social order. They used an administrative division called the Eight Imprint system. Originally simply the Manchu households were organised within this system, simply over time naturized Mongols and Han Chinese were incorporated. The Manchus, and anyone living nether the 8 Banners system, wore dissimilar clothing from ordinary civilians. Thus they became known as Banner People (旗人 pinyin: qí rén ). The Manchu wear that they wore consisted of similar long robes for both men and women. These were called changpao (長袍). The Manchu people were originally nomadic and their clothing was designed for ease of mobility when riding horses, which is where the two side slits of the qipao came from.

For a period of fourth dimension under the dynastic laws during transition from Ming to Qing, all Han Chinese were forced to adopt the Manchu male person queue hairstyle (see Queue Social club) and the Manchu changpao instead of traditional Han Chinese clothing under a policy threatening the penalisation of death called tifa yifu (Chinese: 剃发易服; pinyin: tìfāyìfú ). Yet, the order for ordinary non-Banner Han civilians to wear Manchu clothing was lifted, and merely those Han who served every bit officials or scholars were required to vesture them. Over time though, some Han civilian men voluntarily adopted changshans. By the late Qing, not only officials and scholars, but a peachy many Han commoners wore Manchu male person attire.^{[3] [4]} Until 1911, the Manchu changpao was required clothing for Chinese men of a certain class.

For women, Manchu and Han systems of clothing coexisted.^[five] Throughout the Qing dynasty, Han noncombatant women connected to wear traditional Han habiliment from the Ming dynasty.^[six] Every bit a event, Ming dynasty style article of clothing was retained in some places in China until the Xinhai Revolution of 1911.^[7]

Throughout Red china's multicultural history, wearable has been shaped through an intermingling of Han clothing styles, Han being the ascendant ethnicity, and the styles of diverse ethnic groups. Some examples of this include the standing collar of the qipao, which has been institute in relics from the Ming Dynasty (1368–1644 AD), ruled by Han Chinese, and was afterward adopted in Qing Dynasty Manchu wearable items.

Birth of the cheongsam [edit]

Chinese singer and actress Zhou Xuan wearing a cheongsam in the 1930s in Shanghai

The predecessor of the more well known qipao resembled the men's changpao. The changpao was a long gown normally associated with the male literati form. The first 1920s iteration was androgenous and had a "wide, athwart and puritanical cut"^[viii] This version was adopted primarily past activists and students who had studied abroad. This cross-dressing reflected, amidst other things, a desire for women to be seen as equals in the public sphere.

The version seen as the typical cheongsam in China today was popularized past the celebrities, socialites and politicians of the time in Shanghai from the 1920s to the 1940s. Former Beginning Lady of China Madame Wellington Koo (Oei Hui-lan) was a prominent figure among them.^{[9] [10]} Voted several times by Faddy into its lists of the globe'south best-dressed women, Madame Wellington Koo was much admired for her adaptations of the traditional Manchu fashion, which she wore with lace trousers and jade necklaces.^{[9] [10]} Cheongsam dresses at the fourth dimension had been decorously slit a few inches up the sides, but Madame Koo slashed hers to the genu, 'with lace pantelettes just visible to the ankle'.^[ten] Unlike other Asian socialites, Madame Koo likewise insisted on local Chinese silks, which she thought were of superior quality.^{[9] [10]}

Farther transformation [edit]

Two women wearing cheongsam and loftier-heel shoes in a 1930s Shanghai advertizing

Starting from the early 1930s, there was a farther feminization of the qipao equally it became increasingly shorter and tighter and thus arose an emergence of the female body. Consumer culture was too on the rise as Western and Chinese merchants co-operated to move towards capitalism.^[11]

People eagerly sought a more modernized fashion of dress and transformed the old cheongsam to suit new tastes. Slender and tight-fitting with a high cutting, it had great differences from the traditional cheongsam. High-class courtesans and celebrities in the city made these redesigned tight fitting cheongsam pop at that time.^[12] In Shanghainese, it was first known as zansae for 'long dress', rendered in Mandarin as chángshān and in Cantonese as chèuhngsāam ; it is the last of these spoken renditions of 長衫 that was borrowed into English every bit "cheongsam".

According to the Clothing Regulations, the cheongsam needed to be worn with trousers and be calf-length, but with the introduction of Western mode many people replaced trousers with stockings and added matching accessories. The side slits were re-purposed into an aesthetic design reaching the superlative of the thighs to reflect the new manner trend. By the 1940s, trousers had completely fallen out of use, replaced by unlike blazon of hosiery. Loftier-heeled shoes were another manner tendency introduced to Shanghai at the aforementioned time, and information technology became an essential part of cheongsam fashion set, which continued into modern days.^[13] As tendency of hosiery in plough declined in later decades, women started to wear cheongsam more commonly with bare legs. While this development settled the cheongsam as a one-piece dress, past dissimilarity, the related Vietnamese áo dài retained trousers.

The modernized version of cheongsam is noted for accentuating the figures of women, and as such was popular as a dress for high order. As Western fashions evolved, so does the cheongsam design, with introduction of high-necked sleeveless dresses, bong-like sleeves, and the blackness lace frothing at the hem of a ball gown. By the 1940s, cheongsam came in a wide diversity of fabrics with an equal multifariousness of accessories.

The 1949 Communist Revolution curtailed the popularity of the cheongsam and other fashions in Shanghai, but the Shanghainese emigrants and refugees brought the fashion to Hong Kong and Taiwan where it has remained popular. Recently^{[ when? ]} there has been a revival of the Shanghainese cheongsam in Shanghai and elsewhere in Cathay; the Shanghainese manner functions now by and large as a fashionable party apparel.

Popularity and women's liberation [edit]

The Republican period is the aureate historic period of cheongsam. In exploring reasons behind its prevalence in Republic of China, many scholars relate information technology 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 spring anxiety for women, cut off long hair which was conventionally symbolized as women's "oriental" beauty, and encouraging women to wear men's one-piece wearable, Changshan or "changpao".

"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 fourth dimension, Chinese Han female'due south clothing gradually developed into ii pieces. Women were forbidden to habiliment robes as men did and instead had to wear tops and bottoms known as "Liang jie yi". Later the Xinhai Revolution of 1911 (which overthrew the Qing dynasty), young Chinese people began to larn Western science and cultures in guild to seek a fashion of saving the nation. Also, the opening of several ports and ceding territories of China to Western powers imported some Western ideas to mainland China. Amidst all these Western thoughts, the thought of gender equality chop-chop gained its followers, amongst whom young female students became its prime advocates.^[14]

It was the May Thirteenth Movement of 1925, where anti-Westernization demonstrations persisted throughout the country, that served as an important push in the qipao's institutionalization. The Republicans alleged the qipao a formal dress in the Article of clothing Regulations of 1929. The dress was meant to affirm the importance of nationalism through rejecting Western forms of dress. That being said, there were still strict rules regulating how the dress needed to be worn including specifications well-nigh length, fabric, accessories, neckband, buttons and sleeves, but curiously enough, none of these were followed.^[fifteen]

From the get-go, at that place was no unifying mode for the clothes like the Republicans intended; Chinese women had no respect for the Wearable Regulations of 1929 which tried to control individuality. There were endless variations in style, with adaptations to length, textile, hemlines, collars, fabrics, patterns, colours and with the accessories it was paired with. It was worn past anybody from Shanghai sociolites to students, housewives, and prostitutes. ^[16]The way of the qipao was oft in tune with fashion cycles and was influenced past Western trends seen through women styling it with matching scarves, fur coats and leather heels. Magazines such every bit LingLong likewise gave women access to dressmaking noesis and normalized it for women to make their own dresses in their own style. The base of operations form of the qipao is rather simple to sew, which makes it easily accessible and economical.

The style of cheongsam besides varied due to Western influence. It inverse from a broad and loose fashion to a more grade plumbing fixtures and revealing cut, which put more emphasis on women'southward body line. The length of cheongsam was as well reduced from ankle reaching to higher up the knee.

The design of cheongsam got various inventions like ruffled collar, bell-similar sleeves and black lace frothing. Starting from that, the priority of cheongsam moved from a political expression to artful and ornamental emphasis.

Timeline of Chinese dress [edit]

Starting from the Qing dynasty, changpao, which was the early on form of cheongsam, was the daily clothes of Manchus Bannerman. Autonomously from cheongsam, changpao was a long robe without sleeves and collars.^{[ citation needed ]}

Until the 1920s, right after the overthrow of the Qing dynasty and founding of the Republic of Cathay, cheongsam was originated in Shanghai. Cheongsam of the early 1920s had loose cut, with long, wide sleeves. Affected past Western culture, cheongsam kept on changing, such equally becoming more fitted and trunk-hugging, with side slits that reached up to the thigh.^{[17] [18]} Moreover, numerous singled-out designs were unveiled and cheongsam became a manner trend.^[19]

In 1929, cheongsam was chosen by the Republic of China to be i of the national dresses. In the 1930s, the manner prevailed in Shanghai. At that time, cheongsam was made of silk and embroidered with pearls and other decorations. Likewise, they were close fitting, and drew the outline of the wearer'south body.

In the 1940s, cheongsam was worn with stockings, and trousers had completely fallen out of use. High-heeled shoes became an essential office of the cheongsam way set.^[13]

From the 1950s to the 1970s, due to the anti-tradition movements in China, especially the Chinese Cultural Revolution (1966–1976), the cheongsam was seen as a feudal dress of the ancient times. Information technology was abandoned as daily habiliment, and people who wore cheongsams were judged as existence bourgeois, which was considered a political misbehaviour at that time. For example, in 1963, when Chinese President Liu Shaoqi visited four neighbouring countries in South Asia, outset lady Wang Guangmei wore a cheongsam. She was afterwards declared guilty in the Cultural Revolution for wearing a cheongsam.

Since the 1980s, with the trend of reevaluation of Chinese traditional culture, people in mainland Communist china started to pay attention to the cheongsam once more. The cheongsam is gaining popularity in films, dazzler pageants, and mode shows in both Prc and other countries all over the world. In 1984, the cheongsam was specified equally the formal attire of female diplomatic agents by the People's Republic of China.

• 

  Guangxu Menses
  (1875–1908)
  Lady Heseri

• 

  Guangxu Period
  (1875–1908)
  Lady Aixingioro Hengxiang

Modernistic use [edit]

Workplace [edit]

The uniform of Hainan Airlines cabin attendants based on cheongsam debuted in 2017, with a coat worn outside.

Some airlines in Mainland China and Taiwan, such as Mainland china Airlines^[20] and Hainan Airlines,^[21] accept cheongsam uniforms for their women flight attendants and ground workers. These uniform cheongsams are in a plain colour, hemmed just above the articulatio genus, with a close-fitting wool suit jacket of the same colour as the cheongsam. It is too mutual for these uniforms to simply borrow certain elements, such as the standing collar and frog clasps without adopting the whole design.

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 mod styles. Cheongsam were commonly replaced by more comfortable wear such as sweaters, jeans, business suits and skirts. Due to its restrictive nature, information technology is at present mainly worn as formal wearable for important occasions. They are sometimes worn by politicians and movie artists in Taiwan and Hong Kong. They are shown in some Chinese movies such as in the 1960s moving-picture show The World of Suzie Wong, where actress Nancy Kwan made the cheongsam briefly fashionable in Western culture. They are also ordinarily seen in beauty contests, forth with swim suits. Today, cheongsam are only commonly worn day to day as a uniform by people like eating place hostesses and serving staff at luxury hotels.

School uniform [edit]

A few chief schools and some secondary schools in Hong Kong, especially older schools established by Christian missionaries, use a manifestly rimmed heaven-bluish cotton fiber and/or dark blue velvet (for winter) cheongsam with the metal schoolhouse badge correct under the stand up-up neckband to be closed with a metal hook and eye as the official uniform for their female students. The schools which use this standard include Truthful Light Girls' College, St. Paul'southward Co-educational College, Heep Yunn School, St. Stephen's Girls' College, Ying Wa Girls' School, etc. These cheongsam are unremarkably direct, with no waist shaping, and the cheongsam hem must reach mid-thigh. The cheongsam fit closely to the neck, and the strong collar is hooked closed, despite the tropical humid and hot weather. Although the skirts have curt slits, they are too narrow to allow students to walk in long strides. The seams in a higher place the slits oftentimes dissever when walking and are repeatedly sewn. Many schools also require underskirts to exist worn with the cheongsam. The underskirt is a white cotton full slip, hemmed slightly shorter than the cheongsam, and take slits at the sides like the cheongsam, although the slits are deeper. A white cotton undershirt is often worn underneath the cheongsam. The cheongsam's length, styling, color and sleeve length varies betwixt schools. Many students feel it an ordeal, withal it is a visible manifestation of the strict bailiwick that is the authentication of prestigious secondary schools in Hong Kong and many students and their parents like that. Some rebellious students express their dissatisfaction with this tradition by wearing their compatible with the stand-upwards collar intentionally left unhooked or hemmed higher up their knees. The Ying Wa and True Light Schools have sent questionnaires to their students about compatible reforms just have not contradistinct their policies.^[22] Even so, Madam Lau Kam Lung Secondary School of Miu Fat Buddhist Monastery ended their cheongsam compatible in 1990 subsequently receiving suggestions from its student union.^[23]

Festivities [edit]

Cheongsams are a popular selection of outfit for festive seasons like Chinese New Year. In countries with meaning Chinese populations such as Malaysia, Singapore, Hong Kong and Taiwan, information technology is mutual for women to have new cheongsams tailored in training for the New Year. Cheongsams are likewise a pop choice of outfit for older women on formal occasions or family unit reunions. Upmarket fashion labels such as Shanghai Tang specialize in modern versions of the cheongsam as occasion wear.

Weddings [edit]

In Western weddings, Chinese brides or brides marrying into a Chinese family, volition often wear cheongsam for a portion of the nuptials mean solar day. Information technology is common for many brides to have both a traditional white wedding ceremony dress and a cheongsam or kwa to be worn during the tea ceremony. Cheongsam styles have besides evolved to be more modernistic from mermaid silhouettes to semi-traditional styles that feature a cheongsam meridian with softer details similar lace and a looser brim.^[24]

Lolita fashion [edit]

Some Lolita dresses are styled like a cheongsam. The dresses or jumper skirts are designed after traditional Chinese dresses. This style of Lolita fashion is chosen Qi Lolita.^[25]

• 

  Typical modern cheongsam with loftier-slit cuts reaching top of the thigh

• 

  Typical modern cheongsam in short style above the knee

On the international stage [edit]

[edit]

In the 2008 Summer Olympics, the medal bearers wore cheongsam. Similar attire was worn by female members of the Swedish team and of the Spanish team in the opening ceremony, with the national colors.

For the 2012 Hong Kong Sevens tournament, sportswear brand Kukri Sports teamed upwards with Hong Kong lifestyle retail store One thousand.O.D. to produce merchandising, which included traditional Chinese jackets and cheongsam-inspired ladies' polo shirts.^{[26] [27] [28]}

Political stage [edit]

Cheongsam belonging to the wives of past Singaporean political leaders on display in an exhibition entitled In the Mood for Cheongsam: Modernity and Singapore Women at the National Museum of Singapore in 2012

In contemporary Communist china, the meaning of cheongsam has been revisited again. It at present embodies an identity of being indigenous Chinese, and thus is used for important diplomatic occasions.

Since 2013, Peng Liyuan, the outset lady of China, has worn cheongsam several times while on strange visits with Chinese leader Xi Jinping.

In November 2014, cheongsam was the official attire for the political leaders' wives in the 22nd APEC meeting in Beijing.

International manner [edit]

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.^[29] In many films and movies, cheongsam is used to brand a fashion statement. The varied interpretations of this ethnic apparel brings in debates of cultural appropriation and the designs being linked to Orientalism. In the 2011 movie Ane Mean solar day, Anne Hathaway wore a set of dark bluish cheongsam every bit evening dress.^{[ commendation needed ]} Many western stars such as Elizabeth Taylor, Grace Kelly, Nicole Kidman, Paris Hilton, Emma Watson, Deepika Padukone, and Celine Dion have also made public appearances wearing cheongsam.

Controversies on origin [edit]

The cheongsam is more often than not considered to be adapted from the jumpsuit dress of Manchu women during the Qing dynasty. However, at that place has been considerable debate on the origin of the cheongsam in academic circles. The following are 3 common arguments on the origin of the cheongsam:

The first argument says that the cheongsam came directly from the clothing of the banner people when the Manchu ruled Communist china during the Qing dynasty. This argument was prominently represented by Zhou Xibao (Chinese: 周锡保) in his work The History of Ancient Chinese Wearable and Ornaments.^[30]

The 2d stance holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty, but the truthful origin of the cheongsam dates dorsum to a period between the Western Zhou dynasty (1046–771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty. According to Yuan Jieying's (Chinese: 袁杰英) book Chinese Cheongsam, the modernistic cheongsam^[31] shares many similarities with the narrow-cut directly skirt that women wore in the Western Zhou dynasty.^[32] And Chinese Professor Bao Minxin (Chinese: 包铭新) likewise pointed out in his volume A Existent Tape of Modern Chinese Costume that the cheongsam originated from the aboriginal robe in the Han dynasty (206 BC-220 Advertising). The robe is a one-piece upper and lower connected long dress which was quite popular amid ladies in Han.^[33]

The 3rd statement was raised past Bian Xiangyang (Chinese: 卞向阳) in his book An Assay on the Origin of Qipao. Bian thinks that the cheongsam originates from neither the robe nor the chángpáo. It is an adaption of Western-fashion 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 i-piece apparel.^[34]

Similar garments [edit]

The Vietnamese áo dài looks similar to the cheongsam equally they both consist of a long robe with side splits on both sides of the robe with i of the principal difference typically being the summit of the side split.^[35]

The áo dài was developed from the clothing worn in Chinese courtroom but it could only be worn by the royalty originally.^[36] The áo dài was derived from áo ngũ thân (lit. 'v-console gown') which was a Nguyễn courtroom fashion which drew strong influences from the civil and military official clothing practices used in China;^[37] the áo dài also evolved from the early prototypes decreed past Nguyễn Phúc Khoát.^[38]

In the 18th century, in an attempt to separate his domain from Tonkin ruled by his rival Trịnh clan and build an contained state, Lord Nguyễn Phúc Khoát (reigned 1738–1765) forced his subjects to clothing Ming dynasty mode Chinese clothing.^[39] The ethnic Kinh robe (i.e. the traditional áo giao lĩnh, a type of crossed-collar robe, which was identical to the ones worn by the Han Chinese)^[forty] was therefore replaced past a robe with Chinese-way fasteners,^[39] which was buttoned in the front,^[41] and had an upright collar.^[38] The skirt which was worn by the Vietnamese was also replaced by trousers nether his rule.^{[38] [39]} This course of new manner became the prototype of the áo dài; it was a form of áo ngũ thân which was invented by Lord Nguyễn Phúc Khoá; the áo ngũ thân too had 5 flaps instead of 4 (the 5th flap was small and was found under the front garment) and 5 buttons.^{[38] [42]} Another new form of fashion included a type of 4-panel robe which was described by Lê Quý Đôn every bit an áo dài which was loose fitting similarly to the áo giao lãnh.^[39] Under the rule of Emperor Minh Mang, two new forms of áo dài were created from the áo ngũ thân regulated past Nguyễn Phúc Khoát: the áo tứ thân, and the Huế-style áo dài which was created with v flaps.^[38] The Huế-way áo dài represented royal court culture of the Huế and afterward developed influenced the modernistic áo dài. ^[38]

See besides [edit]

• Hanfu
• Mao accommodate
• Chinese wearable

References [edit]

Citations [edit]

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2. ^ Natalie Proulx (eight May 2018). "Is a Chinese-Manner Prom Dress Cultural Appropriation?". New York Times.
3. ^ Edward J. M. Rhoads (2000). Manchus and Han: Indigenous Relations and Political Power in Belatedly Qing and Early Republican Communist china, 1861–1928. Academy of Washington Press. pp. 61–. ISBN978-0-295-98040-9.
4. ^ Twitchett, Denis; Fairbank, John K. (2008) Cambridge History of China Volume ix Part 1 The Ch'ing Empire to 1800, p87-88
5. ^ Shaorong Yang (2004). Traditional Chinese Vesture Costumes, Adornments & Culture. Long River Printing. p. seven. ISBN978-ane-59265-019-iv. Men's clothing in the Qing Dyansty consisted for the almost office of long silk gowns and the so-called "Standard mandarin" jacket, which perhaps achieved their greatest popularity during the latter Kangxi Period to the Yongzheng Period. For women's vesture, Manchu and Han systems of clothing coexisted.
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21. ^ "Airline Debuts New Haute Couture Uniforms for Flight Attendants at Paris Fashion Week". Cosmopolitan. 10 July 2017.
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Sources [edit]

• Bai Yun (2006). Zhongguo lao qipao: lao zhaopian lao guanggo jianzheng qipao de yanbian [The traditional qiapo of Communist china: evidence of its [stylistic] changes in old photographs and old advertisements]. Beijing: Guangming ribao chubanshe. ISBN9787802061866. OCLC 123015683.
• Bao Mingxin; Ma Li, eds. (1998). Zhongguo Qipao [China's Qipao]. Shanghai: Shanghai wenhua chubanshe. ISBN9787805119960. OCLC 51630832.
• Chang, Eileen (Zhang Bilious) (Fall 2003). Andrew F. Jones, trans. "A Chronicle of Changing Clothes". Positions: Eastward Asia Cultures Critique. 11 (2): 427–441. doi:10.1215/10679847-eleven-2-427. S2CID 145592956. Archived from the original on 15 November 2013. Retrieved vi July 2012.
• Clark, Hazel (2000). The Cheongsam. Images of Asia. Hong Kong: Oxford University Press (Cathay). ISBN9780195909395. OCLC 44876865.
• Finnane, Antonia (2007). "Affiliate half-dozen: Qipao China". Irresolute Dress in Red china: Fashion, History, Nation. New York: Columbia University Press. pp. 139–176. ISBN9780231143509. OCLC 84903948.
• Roberts, Claire, ed. (1997). Evolution and Revolution: Chinese Dress 1700s–1900s. Sydney: Powerhouse Pub., Museum of Applied Arts and Sciences. ISBN9781863170673. OCLC 37745658.
• Lee, Chor Lin; Chung May Khuen (2012). In the Mood for Cheongsam: A Social History, 1920s–Present. Singapore: Editions Didier Millet and National Museum of Singapore. ISBN9789814260923. OCLC 767566394.
• Schmitz, Rob (ii June 2012). "The Street of Eternal Happiness: The Tailor". Marketplace . Retrieved 22 June 2012. ^{[ permanent dead link ]} Nearly a tailor of cheongsam who has been in the business for nearly fourscore years.
• Van Roojen, Pepin (2009). Cheongsam 旗袍 (Volume + CD-ROM). Pepin Fashion, Textiles & Patterns, no. ane. Amsterdam: Pepin Printing. ISBN9789460090011. OCLC 632704710.

External links [edit]

Wikimedia Commons has media related to Qipao.

• Well-nigh.com entry on the qipao

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