旗袍在现代服饰中的应用

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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,中国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　　　TheApplicationofCheongsaminModernClothingAbstract:Cheongsam,asashingingstarinthehistoryofancientchinesecostumes,hasleftbehindtheindelibletraceintheChinesehistory.Accordingtothestudyoncheongsam,wecanseethattheuniquecharmofcheongsamliesinitsculturalimplications---trditionalculturalimplicationsshowedinconventionalcheongsamandtheonesthatshowedinthedevelopmentofcheongsam.Derivedfromancientrobes,cheongsamwasthetraditionalcostumeofManchuwomen.UndertheinfluencesoftheHanculture,therobesofManchuwereendowedwithagreatdealofculturalimplicationfromHanDynasty.Onlyintegratethecurrentnationalspiritandwayoflifeand constantinnovationcannationalizationbeinvolvedintheprocessofmoderndesigns.Ontheotherhand,somemeritsinchinesenationalcostumescanalsogreatlyinfluencetheglobalvogueandfashion.Inrecentyears,themajortendencyofinternationalcostumeisfullofchangesandcurrentcharacteristicswhichleadandinfluencechineseconsumers.Keywords:Cheongsam,Fashionelements,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，因此能在中国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:aCultureParagonofChineseTraditionClothingAbstract:CheongsamisthetypicalmarkingofChinesefemaledressesanditisarepresentativeculturesign.Inthenowtoday'scheongsamdevelopment,asthefeatureofChineseclothing,ithascondensedthewholeraceofseveralclothingculturesofpassedthousandyears.Itcanspreadsuntilnowduetoits"rejecting"and"variety".ItmeanswhencheongsamkeepChinesetraditionalcultureconnotation,italsobringinlotsofthewesternthoughtsaswellastechnologyofmakingclothes.Asaresult,eastandWestunifiedmodernCheongsamevolved.Keyword:Cheongsam;Evolution;Tradition;Innovation;FashionAsasymbolicmodelinChinesefeminineclothingculture,CheongsamnotonlyconformstotheChineseartharmoniouscharacteristicintheoverallmodellingstyle,butalosintegratestheEasternspecialcharacteristicdecorationtechnique.Theculturalconnotationwhichitcontainsisthetheuniquecharmofcheongsam,therefore,itwillbeabletoheadlistofsuccessfulcandidatesintheChinanationaldressforalongtime."TheChinesedress"wewornnowdaysisnotmerelytheManchu nationalityclothingtraditionaldesign,butisthefusionofafewnationalityclothingculture.ItcomesfromMongoliawhichwasthenomadsfemale'slonggowninancientsothattheQingDynastyManchunationalityhadcarriedonthiskindofclothing..AftertheManchunationalityruledthesouthofYellowRiver,theyimplementtheeightbannerssystem.Everyhumanwhohavearrangedthebannermencensusorresidentscalled"thebannerman".Theclothesbannermanworncalled"qipao",includingfacesthegown,theboarobeandthecasualclothesandsoon.Afterwards，theclothesofwomanwholivedathomeworncalled"theChinesedress","theChinesedress"hasbecomethespecial-purposename.Intheearlytime,rulingclassformulatedaseriespolicywhichisadvantageoustoHanpeople's,andmoreoverencouragedtheManchunationalitypeopleandtheMongolianclansmen,theHanpeopletogetmarriage,inordertoalleviatetheclasscontradictions,Tworacepeoplecontactwidespreadlyandfrequently,.Itisalreadybeenatendencythatthemult-nationalityclothingseepsmutuallyandresultinenhancingthebeautyofeachother.DespitebothcustomandcultureoftheManchunationalitybannermenmostlyassimilatedintotheChineseculture,itisonlyretaineditsnationality'sclothingcustomandmoreoverforcedtheHanpeopletochangeintotheirdressingstyle.Therefore,waringlonggownMaGua,quarecapandbootsthenbecomesman'stypicalstyleofclothinginthatperiod;however,theManchunationalityfemaleclothinghadpartialsameasthemaleclothing,anditstartstoimitatetheChinesesinceJiaQing.Althoughbeingpreventedmanytimes,thistendencystillexpandsunceasingly.ItisprovethatChineseHanculturehastheformidablepenetrability. IntheinitialperiodofQingDynasty,theviewof"themaleoughttoobeyandthefemaleneednot"madetheQingDynastyHanNationalitywoman'sclothingescapingfromchangingsotheclothesmaintainedtheoriginalpattern,DuringcontactedwiththeManchunationalityfemale'slong-term,.itfinallyformedthecharacteristicofQingDynastyclothingwhichmadetheChinesedressevolvedintothehistory.UpsideoftheclothesQingDynastyfemalewornisusuallyloose,andthedownsidebecametightandstraight.Theywornscarfswhentheydidn'twanttoshowthecollars,andthestyleofthecollarcametovariousgraduallyafterwards.SincetheTangSong,HanNationalityfemalealwayswornChinese-stylejacketwithbuttonsdownthefrontthecoat,andtheChinese-stylegarmentwithrightsideloosing(orslantinglapel).SincetheQingDynasty,itchangedintotheroundneckbandwithroundandloosecollaraswellasfivepairsofknots,broadeningtheembroidery,AllofthisareimitatethethestyleofQingclothes,However,theykeptthetheirtraditionalattire-weaingtheshirtupsideandtheskirtdownside.TheprimalpatternofChinesedressislooseonwaistandstraightdowntofeet-length,justliketheasectionofbambootwithmanyhems.Italwaystooksilkfabricsasthematerialwhichornamentwithvariouspatternandcolourneedlework.Subsequently,thedecorationtechnique,"18inlaid",wasinvientedanbeenconsiderasthemostexcellentskills.Oncedressedinthatkindofcolthes,peoplewouldturntoslenderandbright,thenputontheprettyelegantsilkcrownandtheuniquepotshoes,therewouldliketopresentedthestatelyclassicalstyle. Theprevailingofcheong-samamongwomenoftheHanNationalitydidnothappenunderthehigh-handedQinggovernment,butinRepublicofChinaaftertheRevolutionof1911.Towearone-piececheong-saminsteadofskirts,itisundoubtedlyamarvelousrevolutioninthewearinghistoryofneotericChina.ItbringsnewcultureintotraditionalwearingofChina.DuetotheinfluenceofChinatraditionalmoralconcept,peopleusedtoregardbarenessofhumanbodyasasymbolofimprobityforthousandsofyears,theydon'tlikebareness.Thecheong-sam,fastenedtightlyintheneck,fromthepointofdesigning'sview,bringsimpressionofsobrietyandelegance,ontheotherhand,highercollarrestrictthenecktobeuprightallthetime.Thebodyofcheong-samgoesforleniency,concealing,connotation,thiskindofbroadwaistandone-piecedesign,implicateamoodofpeaceful,sereneunification,adequatelyshowthebeautyofconnotationandcivility.BecauseofthegreatchangeinthemodernChinaculture,thedissemination"thewesternlearning"theupsurgehasalsohadtheprofoundinfluenceonnationality'straditionalclothingimprovement,thus,newclothingculturedeveloped.The20's,thenationalgovernmentpromulgated"UniformRule",inwhichstipulatedthemainformalclothesandtheofficial'scostume.InChinesecommercialbigcityjustlikeShanghai,youthmenstarttoputonthewestern-styleclothes,theChinesetunicsuit;Thefemaleclothingalsostartstohavesomecharacteristicofwestern-style.Graduallybeinginfluencedbythewestern-styleclothing,peoplecarriedtheimprovementontheprincipiaofpopularandfashion.Themostprominentisthe developmentofChinesedress,itbrokethroughthetraditionalideasaboutoriginalChinesewomanclothing,abandoningthetediousdecorationandtheconstruction,noticingtheimportanceofbodycurvewhichserveasafoiltothefemininetender.Asareslut,thedressgraduallychangefromloosetolankysothatthebrightbodycurveandthelingeringcharmoftheslantinglapelservedasafoiltotheimplicitelegantfigure,.Atthattime,theimprovementChinesedressfilledwithchinesecharacteristicscameintobeing,　Inasense,justbecauseShanghaipeople'spshchologyofpursuingfashion,westernstyleclothesfirstappearedinShanghai,thencollided,communicatedwiththelooseandlongsleeveChinesetraditionalcostumeanduntilltheymixedtogetherandformedafantasticcostumephenomenonofwesterncostume,leathershoesembroideredshoescoexisting.Revolutionofcheongsamestablishedthebasisofmoderncostume.Itwasagreatrevolution.Longgown,cheongsam,westman'sshortcoathavecarriedonasbefore,becamingthemodelofChinesetraditionalcostumewhichcloselylinkedwithChinesetraditionalconcepts.Furthermore,afterXinhaiRevolution,ChineseandwesternculturepermeatedeachothersothatWesterncostumeculturecanspreadhere,makingagreatimpactonpeople'sdressingatthattime.However,cheongsamwasnotsubstitudedanddevelopedandpresevedafterimprovingbylearningtheadvantagespfwesterncostume.Justasthewesterncriticstated:cheongsamwasmadeofacompleteclothandtheupperandlowerpartsoftheclotheswereconnectedasawholepart.Therewasnoornament,suchasbelt,pocket.Theweistpartwasalittletightbutcomfotable,seamswereingcuttingintwo sidesforwalkingconveniently.ThelowerpartofChinesewomenareusuallyshorter,butcheongsamcanmaketheirlegslongerandslender.Womenwilllookmoregracefulwithhigh-heelshoesandholdthestomach.Andatthattime,Chinesewomenpreferredstayingathome,soapieceofcheongsamcanbewearedinvariouskindsofsituationswithalongtime.Sothecheongsamispopularuntiltodayforitscicility,eleganceandconnotationbeauty.Afterthe1930s,cheongsambecamethemostfashionablecostumeforChinesewomenwhichwascreatedandimprovedmorefluentely.Firstwashigh-necked,thenlower-neckdandcollarless.Somesleevesofthecheongsamwerelongertowrist,somearelowerthanelbow；Thetapestrysatinwithoutthesleevehavedoublelapels,theclothesmaylongortobeshort,anditonlyfortheeconomicalwealthywoman.Atthattime,ingenerallyspeaking,thecommonChinesedress,usingthedarkbuckleonthelapel,decoratedwiththeflower,takingdragon,phoenix,peacock,luck,long-lived,happy,propitiousandsoonasthepatternpictureinordertopresentthetraditionalculture.Simultaneously,itmanifestedtheEasternfeminineclothingartisticbeauty.Theskirtofthecheongsamwasslideduponeachside,andtheweistpartbecameverynarrowtoshowthestatureofwome.Thecheongsamwithshoulderpatswasverycommonandmostwomenchhosedtowearit.Thetightenedcollarlesscheongsamwhichwasslidedupinthefront,dressingbythefashionablewomen;Inthe1940s,cheongsambacamesleeveless,longtogroundandshorttoknee.Isolatedfromsomecomplicateddecorations,cheongsamatthistimebecamemoresimpleandpractical.The designsofthewaistwasverysoftandslenderandthedesignsofcollarandsleevetooksomechangesaswell.Forinstance,theycheongsamforsummerwassleevelesswhichmadeitseemedsimpler;thecheongsamforautumntightenedthesleevesandshortenedthelengthwhichmadeitmorelightandproper."Chinesewomenwereendowedwithacommoncostumewhichrepresentedtheessentialvalueofthisperiod----aspecially-featurednationalcostume.Itwasnotonlyincompliancewithfashionandnationalcharacter,itwasalsoasymbolofchinesewomen'sactiveandprogressivewayoflife."Inthe1950s,chinesepeopleactivelyparticipatedinthereconstructionofChina.Manywomen,likemen,gotthemselvesinvolvedinallwalksoflifetoserveanewChina.Thecheongsamatthetimevariedwithwomen'sfigurewithasmallcuffwhichmadeitveryhardforwomentowalkfastandtotakebigstepsandthusbroughtgrestinconveniencetowomenintheirsocialactivity.What'smore,withthecomingofanewage,peopletendedtoacceptsomethingmorenovelandoriginal.Thus,fromthelater1950s,chineseworkingwomenbegantoreplacecheongsamwithsomeisolatedupperandlowercostume.However,cheongsamofnationalfeaturecouldstillbefoundinsomegrandfestivalsorforeignaffairs.Inthemiddle1960s,cheongsamwasfullyrejectedas"fourolds",whichwasfllowedbyanationwideparadewithmenandwomen,affectedbypoliticalmovement,allingreencostumes.Inthe1980s,wefinallysawCheongsamonthestreetagain,Itprovethatthewomanneverforgotcheongsam,indeed,althoughtthereisnoonewearandmentionitinthatmorethantenyearsperiod. Atpersent,cheongsamisalreadyakindofformalclothes.Astheformalclothes,itsdesignandthepatternalsobecomemoreandmorecomplicatedandglorious.Inthedesignaspect,besidesmaintainedthesmoothlineofcheongsam,clothingdesignmastersretaineditsrigorousstructure,donothaveanynonessentialaccessoriessuchasbelt,button-fasteningloop,appendixbagandsoon;incraftaspect,abbreviatingtheshoulderpart,useingthedecorationflowerandembroidery,allthesethingsenhancestheskintextureeffect;structurally,notonlyadoptingthepipafront,thepleasantlapel,thelowlapel,thehichcollar,thelowcollar,evenoncollar,butalsoinvolvingitssistersart,suchasdrawing,tomakedecorationsforcheongsam.Thosecheongsamonwhichdrownflowers,birds,andmakeupsinPekingopera,areexoticandelegant.Graftthedrawingontotheclothingdesignandimprovetheoriginallystructurewhichisinsufficientlycomfortable,thenewstylecheongsambecomeamarvellousachivementontheinternationalclothingstageMoreover,theproductiontechnologyinnovation,thetechnicalprocessimprovement,thenewmaterialuse,allofthesehaspouredthenewbloodintotheChinesedressdevelopment.Alltheseobtainmoregeneralutilizationforcheongsamandmakeitbecomefashionable.Thechinesedresshasmorethan500yearshistory.ThewomenwhowornpotbottomshoeshaveneverimaginedthatcheongsamcouldbethekingoftheChinesefeminineclothingworld.TheJapanesedeceasedpainteryualongsummarizes:"Thehigh-neckelholdthelowerjaw,sothattheforeheadposturehavetoinevitablystraight,evenwhenyouaresitting,"Thelegslookconcinnitywiththemtogether.Influencedbytheconceptionof"crossnation,cross world",MostChinesenationalitycostumedesignersuseChinesetraditionalcultureasthecreationmaterial.Thetraditionalvisualizealwaysappearinthecostumedesignandfabricpictures.TheyseemedtobetheprocolocularoftheChinesetraditionalculture.Definitly,itbroughtanewproblemthathowtoabsordespirationtorecreatfromthewideandmarverlousChinesetraditionalcultureconnotation.Ifweonlycopythetradition,wewillbefarawayfromthemoderntimes.Asweallkown,thereasonwhyJapanesedesignerShenyinghuiandShanzhaicanbesuccessfulisnottheyonlymakeacleanbreastofkimonowhichisaverytraditionalcostume,butmixedwithwesterncultureafterresearchingthespiritsofkimonosothattheycandesigntheworkswithtemporalspirit.Then,therewereotherJapanesedesignerssucceedinthenationalcostume.Theseallprovedapriciple:"Thetastesofeveryplaceoftheworldareconnected,thoughtheexpressionofforms,waysaredifferent."thiskindofconnectionisturelyinternationalconnotation.Viewingfrommodernhistory,asasymbolofChineseaccouterments,cheong-samcoagulatesthesoulofthethousand-yearwearingcultureofthewholenation.It'sconcernedthatitspopularityhasmuchtowithitsaccepting,rejectingandchanging.ItabsorbedmuchofwesternideasandtechniquesaswellaskeepingitsownChinesesoultoevolveintomoderncheong-samwithbotheasternandwesternculture.Nomatterseenfromtheoutsidelookortheinnerconstruction,itallhaveadiplexcharacteristic,basedonChinesetraditionalclothes,withaclose-fittingformtoemphasizethebodyshape,showingthecurveandmorbidezzaofthefemale.Thisfittingformisbasedoncorrespondingstructuredesign, especiallythesamereleasevalueatthechest,weistandstern,yetaccordingtotheshapetraitofeasternfemale.Thiskindofwesterncuttingoutskillgivesperfectexpressiontothecheong-sam,withfuthermodernity.Tomeetwithmoderntaste,clothingdesignshouldnotonlymakegreateffortonnationalemotion,butalsohavethesmellofthecurrentera,thisisthedemandofthesocialevolution,justliketheviolinconcerto,whichhasawholemodernfeelwithatuneofShaoxingOpera.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:Besidesthesightintotheorigination,backgroundanddevelopmentofthecheong-sam,wearealsosupposedtofeelthetimespirit,deeplyunderstandthemodernlifeandcatchontheinformationofthefashiontogiveprominencetotheconceptthatisthecreationandevolutionfeaturingastimesbasingonthenationality.Meanwhileswithinheritingandprofoundlyunderstandingthetradition,theresearchesonthemeliorationoffasionsarecarried.Keywords:Cheong-sam,Creation,Revolution,Tradition.