绪论
选择主题的原因
Clothing is a vital material necessity in human life, serving both practical and aesthetic purposes Its primary function is to protect individuals, but as human history has progressed, clothing has evolved to fulfill various roles, leading to the categorization of garments based on their relationship with nature and their intended use These categories include traditional attire, ethnic wear, sportswear, religious garments, festive clothing, stage costumes, children's apparel, military uniforms, police outfits, and seasonal clothing such as winter and summer wear Among these, traditional clothing has consistently garnered significant attention from researchers.
Traditional or ethnic clothing represents the historical attire of a nation, region, or ethnic group, often symbolizing community unity The study of a country's traditional garments reveals a stable continuity between tradition and modernity, highlighting the subtle creativity and openness that arise from cultural exchanges Cultural differences lead to diverse perspectives on clothing, influenced by factors such as history, civilization, economy, geography, climate, beliefs, and customs Traditional attire serves as a significant emblem of a nation, distinguishing one ethnic identity from another Consequently, the exploration of traditional clothing has captivated scholars, as it aids in understanding both the material and spiritual aspects of human development.
Today, while European dresses have increasingly dominated the global fashion scene, traditional attire in countries like Vietnam and China, such as the "ao dai" and "qipao," continues to be reserved for cultural, solemn, and festive occasions Efforts are being made to preserve the cultural identity of these traditional garments through renovations, adapting them to modern trends As a result, traditional clothing is rarely seen outside formal events, highlighting the importance of maintaining cultural heritage in contemporary life.
1 Theo Văn hóa trang phục Hàn Quốc (Trường hợp Hanbok nữ): Luận văn thạc sĩ: Nguyễn Võ Phương Thanh
The cheongsam and ao dai are recognized globally as exemplary representations of the fusion between Eastern and Western fashion cultures, reflecting a harmonious blend of folk and academic influences Their increasing presence in film festivals and music events is no coincidence; it stems from various objective factors, including historical context, cultural significance, and the subjective nature of fashion These garments are designed to embrace the body's natural curves, elegantly showcasing Eastern ideals of beauty through a refined and respectful lens The intricate patterns found on both the cheongsam and ao dai not only highlight the wearer's individuality but also create a fashion statement that resonates with themes from nature, such as flowers, leaves, and artistic representations While the ao dai represents the traditional beauty of the Vietnamese people, it is increasingly popular for both men and women, embodying a blend of passionate and noble aesthetics However, there remains a notable lack of in-depth research on the differences between the ao dai and cheongsam, particularly regarding their structural significance and the meanings behind their designs in both Chinese and Vietnamese contexts.
This article explores the historical development of the qipao in modern Chinese culture and the evolution of the ao dai in traditional and contemporary Vietnamese culture By examining these two iconic garments, it aims to enhance the understanding of the incomplete knowledge surrounding the historical progression of traditional clothing in both China and Vietnam, providing readers with a comprehensive overview of their cultural significance.
研究现状
The study of the historical development of the traditional Vietnamese áo dài, particularly in the context of Chinese fashion, remains relatively new Most existing research focuses on specific periods of the áo dài or qipao, lacking a comprehensive historical perspective on the systematic evolution of these garments In contrast, numerous scholars in China have thoroughly examined the qipao, with works such as "A Cultural History of the Chinese Qipao" by Liu Yu, published by Shanghai People's Fine Arts Publishing House on July 1, 2011, providing an overview of the qipao's history from its inception to contemporary times.
The article outlines the historical development of the qipao, dividing it into five distinct stages while detailing the accessories and adornments that reflected the social environment and beauty demands of the time It highlights the cultural significance of the qipao in cities like Beijing, Shanghai, and Hong Kong, and examines the influences of weather, cinema, and Western aesthetics on its evolution Although the work provides a comprehensive overview of the qipao's history, it lacks an in-depth analysis of specific designs and their meanings This piece serves as a valuable resource for general readers interested in the qipao and for scholars seeking a deeper understanding of its historical progression.
Published by Shanghai People's Publishing House on February 1, 2014, "The Craftsmanship of Dragon and Phoenix Qipao" offers a detailed examination of the historical development of the renowned "Dragon and Phoenix" brand It highlights the ongoing efforts to preserve qipao culture, showcasing the brand's iconic qipao designs that have evolved over time The book meticulously explains the techniques of hand sewing and embroidery, as well as the materials used, providing readers with a deeper understanding of each qipao and its significance However, it primarily outlines the formation and evolution of the qipao, lacking detailed discussions on external factors like weather and urban culture This work serves as a valuable reference for those interested in the famous and historically significant Dragon and Phoenix brand and the intricacies of various qipao designs.
邵曼“刘瑜”的作品《中国文化经典元素：旗袍图案》由上海文化出版社于2016 年
Released on August 15, this book by the authors focuses on three classic elements of the qipao: patterns, shapes, and details, highlighting its intricate craftsmanship Specifically, the authors examine the evolution of qipao elements from 1920 to 1960, emphasizing the development of classic elements within the culture The book aims to restore the qipao to its original form, utilizing popular patterns of the time through modal diagrams for collection, comparison, research, analysis, and clear visual representation It provides detailed and original pattern models of qipaos, making it a valuable resource for modern qipao designers and researchers interested in traditional Chinese clothing culture However, the work's focus on the "restoration" of patterns from the 1920s to 1960s limits its ability to comprehensively summarize the overall historical progression and development of the qipao, as it does not consider the subjective and objective factors influencing its evolution.
Edited by Yuan Jieying, "Chinese Qipao" was translated by Chenfang Publishing House and published by Han Textile Publishing House on January 1, 2002 This book provides a comprehensive and systematic introduction to the history, present, and future of the qipao in both Chinese and English The author analyzes the origins, craftsmanship, artistic value, and social status of the qipao within specific historical contexts This work makes a significant and valuable contribution to the Chinese fashion industry and serves as a beneficial reference for scholars interested in the topic.
In September 2016, the author Xu Li published a notable work titled "China," released by the Chemical Industry Press, contributing significantly to the literary landscape.
The book "200 Examples of Qipao" and "Impression China: Historical Living Fossil - Qipao," published by Huangshan Publishing House on March 1, 2016, explores the cultural significance and historical evolution of the qipao This traditional Chinese garment has played a vital role in the cultural and social life of the Chinese people, reflecting their pride and identity through its development from the past to the present, including its hybrid forms.
《Ngàn năm áo mũ》是对陈光德的精心研究和雄心勃的研究：从李到院朝代（1009-
Vào năm 1945, việc phục hồi trang phục Việt Nam đã diễn ra, kéo dài khoảng một nghìn năm, với sự kiểm soát nghiêm ngặt từ triều đình Trang phục của hoàng gia luôn bị điều chỉnh và ảnh hưởng bởi các quy định, đồng thời có sự bắt chước từ trang phục Trung Quốc Các bộ trang phục như Tế phục Cổn Miện, áo dài của hoàng đế và các trang phục của quan lại, cũng như trang phục của hoàng hậu đã được mô tả chi tiết Trong khi đó, trang phục dân gian không có nhiều thay đổi, chủ yếu là áo dài nam và các kiểu dáng truyền thống của phụ nữ Đặc biệt, việc vua Minh Mạng cấm sử dụng “quần không đáy” đã giúp áo dài trở thành trang phục quan trọng trong đời sống người Việt Cuốn sách "Ngàn năm áo mũ" đã góp phần quan trọng trong việc bổ sung vào lịch sử trang phục Việt Nam và văn hóa Việt Nam, mặc dù nó không đề cập nhiều đến sự phổ biến hiện tại của áo dài.
In her 2013 work, "Through the Development and Changes of the Vietnamese Ao Dai: A Look at the Transformation and Empowerment of Vietnamese Women," Liu Lixian thoughtfully reshaped perceptions of women's clothing and highlighted the social factors influencing the status of Vietnamese women While her analysis provides a detailed exploration of the development process, it still lacks clarity on various stages and issues that remain unaddressed.
Research on the topic of dragon imagery in Vietnam is scarce, primarily consisting of rough translations of foreign literature However, some scholars have shown interest in this area, notably in Nguyen Duc's work, "The Image of the Giant Dragon in Eastern Culture," which offers a comprehensive study of the local dragon's origins, occurrences, and development The work emphasizes the broader Eastern context, particularly Chinese culture, and explores various aspects of dragons, including the Nine Children of the Dragon, classifications, and their cultural significance in daily life and attire This resource is invaluable for scholars interested in the dragon's representation within Eastern, especially Chinese, culture and its connections to various aspects of human life.
目的研究
This article explores the historical evolution of the qipao and ao dai, tracing their origins from the 1934 modern qipao to contemporary styles It examines the cultural significance, usage, and forms of these garments within the context of Vietnamese and Chinese history The aim is to enhance understanding of these traditional attires and their cultural implications, addressing existing knowledge gaps By comparing the imagery of the qipao and ao dai across different historical periods, the article highlights their roles and meanings for the people of China and Vietnam Ultimately, this research serves as a valuable reference for readers interested in the cultural heritage and historical context of these iconic garments.
研究的目的和范围
研究的对象是中国历史时期以及越南历史时期的旗袍和奥黛。
在研究范围上，从国民公民中的旗袍到现在和从现代1934年奥黛到现在。
实际和科学意义
The significance of this topic lies in its practical implications, as it enhances the understanding of the historical development of the cheongsam and ao dai Furthermore, it offers insights into the similarities and differences between these traditional garments, aiding readers in gaining a deeper appreciation of cultural identity in both ancient and modern China and Vietnam through their traditional clothing systems.
The study provides a scientific perspective by depicting the portrait of Vietnamese Chinese women through traditional attire and social context, showcasing the societal landscape of Vietnam It facilitates a comparative analysis between the Chinese qipao and the Vietnamese ao dai, highlighting the significance of traditional garments in preserving and promoting the cultural identities of both Vietnam and China Additionally, this topic holds substantial reference value for related studies, research, and educational endeavors.
研究方法
To conduct our research on the evolution of traditional garments, we have adopted fundamental scientific methods, including a historical-logical approach This method allows us to explore the formation and development of the Chinese qipao within the context of Chinese history, as well as the evolution of the Vietnamese ao dai throughout Vietnam's historical timeline.
The analysis-synthesis method involves examining the characteristics and transformations of the qipao and ao dai, piecing together their fragments to create a comprehensive overview of the development history of these traditional Chinese garments.
The interdisciplinary approach is relevant across various fields, including culture, history, and geography, highlighting the development of a country's clothing culture as a universal and accurate representation of its achievements.
语料来源
[2]《中国旗袍文化史》——“刘瑜”。
从民族时代到现在的中国旗袍的介绍
旗袍的历史与发展
The qipao is a quintessential representation of China's magnificent traditional attire While its exact definition and historical timeline remain subjects of debate, it has consistently stood out as a dazzling phenomenon and a significant achievement in the cultural heritage of traditional Chinese clothing.
The qipao, a symbol of traditional Chinese attire, has gained global recognition and popularity This garment embodies unique meanings, shapes, and decorative beauty, serving as a quintessential product of cultural exchange Its evolution has been influenced by three main factors: the Manchu culture of Northeast China, the nomadic traditions of the Mongolian people, and the feudal and democratic beginnings of the Han culture in central highlands, alongside coastal commercial culture and the rise of Western and semi-colonial influences Thus, the qipao has developed within a rich tapestry of multicultural and multi-ethnic backgrounds The Chinese people have continuously strived to inherit, develop, and innovate the qipao, ensuring its modern appearance remains vibrant Throughout its history, the qipao has undergone numerous transformations across different regions, thriving from the northern wilderness to Beijing, Shanghai, the south, and extending to Hong Kong, Taiwan, and back to the mainland, making its mark both domestically and internationally.
The evolution of the qipao can be categorized into several distinct periods: the Manchu qipao era before the 1644 events, which involved the governance of the ethnic minority military in northeastern central Vietnam; the Qing Dynasty qipao; the ethnic qipao; the modern qipao; and the contemporary qipao Each of these phases reflects significant historical events and cultural shifts in China, illustrating the garment's transformation over time.
名字“旗袍”
Traditionally, the qipao is viewed as an outer garment worn by Manchu women However, this interpretation is based on speculation and lacks solid evidence According to Tu Hai, the qipao originated from the clothing styles of women during the Qing Dynasty, reflecting the cultural evolution of this iconic dress.
Later, Han Chinese women embraced this style, which underwent continuous improvements The collar is typically straight, with buttons positioned on the right side, close to the body The length reaches the knees, featuring long lines and short sleeves.
Experts currently recognize that the "qipao" has various interpretations According to Professor Yan Jieying from Tsinghua University's Academy of Arts, the qipao can be categorized into two types In her book "Qipao China," she notes that the Manchu ethnic group, also known as the "Eight Banners" or "Banner People," originally wore garments referred to as "banner clothing." Over time, due to the complexity and disarray of these garments, and influenced by the ao dai of Mongolian women during the Nguyen Dynasty, the clothing evolved into a more streamlined and upright form, which is commonly known today as the "qipao."
The article discusses the differing definitions of "qipao" and "flag women's clothing" based on the insights of a professor from Donghua University "Flag women's clothing" refers to the attire worn by women during the Qing Dynasty, characterized by its slender form, small sleeves, and simple decorations, suitable for horseback riding and hunting Over time, as life became more stable, women's clothing evolved to become wider, longer, and more intricately adorned The term "qipao" specifically denotes ethnic attire, representing a traditional garment inherent to women of Chinese ethnic identity This evolution in fashion during the qipao era was influenced by modern interpretations of ancient clothing, with preferred materials including traditional silk and handcrafted embroidery, featuring long collars, fitted bodices, and varying lapel lines.
The primary distinction between the two points in the view above lies in the temporal and spatial distance This leads us to define "qipao" in both narrow and broad terms In a narrow sense, the qipao is derived from the clothing of the Qing Dynasty, evolving into modern women's attire Broadly, the qipao refers to the garments worn by the Manchu people during the Qing Dynasty, which have undergone continuous modifications and gained popularity among the Han Chinese Given the need for an in-depth study of the cultural significance of the qipao and its transformation within urban culture, this research paper aims to explore the qipao's broader implications.
Về cách viết tên loại trang phục này bằng tiếng Việt, chưa có quy định cụ thể nào cho các cách viết như sườn/sường, xường/xườn hoặc xám/sám Tuy nhiên, tính đến ngày 14 tháng 2 năm 2009, đã có một số kết quả tìm kiếm liên quan đến vấn đề này.
4 Dịch từ sách “ 中国旗袍文化史 ”- Lịch sử phát triển của văn hóa Xường xám Trung Quốc của tác giả Lưu Du “ 刘
The internet prominently features qipao and qipao-inspired styles The most accurate representation is based on the Vietnamese transliteration of the Cantonese term.
英文的“旗袍”被翻译成多种不同的含义：中国服转，“旗袍”，“国语服饰”，
“花旗”，“旗袍”……人们习惯于最称呼“旗袍”（旗装）。
民族时期的旗袍
The Xinhai Revolution erupted in 1911, aiming to overthrow the Qing Dynasty in China By 1912, the Beiyang government adopted Western clothing styles, particularly in the coastal regions of Liaoning and Shandong This marked the beginning of a significant cultural shift, as Chinese society rapidly embraced Western fashion and customs, leading to a dramatic decline in traditional attire almost overnight.
In the 1920s, the qipao emerged as a popular women's garment in Tonghai, a fashionable city center in China The design of the qipao during this national period differed from the Manchu clothing style Initially, the qipao featured a simple, conservative design characterized by a comfortable, loose fit that typically reached ankle length It had a wider body and flared hem, with a slightly cinched waist and wide cuffs resembling a trumpet shape The fabric was elegant and refined, with minimal decorative craftsmanship, often just a simple fold at the side hem, lacking traditional embellishments like inlays, trims, or embroidery Initially worn by female students and fashionable young women, the qipao gradually gained popularity and became more widespread.
During the ethnic period, the qipao evolved from its original wide design to a more fitted style, symbolizing the beauty of Han women, including Manchu women This transformation involved the acceptance of new styles and designs, moving away from the previously unique garments The qipao, as we know it today, is said to have originated from a group of girls who adapted the original designs of traditional qipaos They built upon the foundational elements of the qipao, utilizing blue fabrics to create and expand upon older styles The modern version features a long, fitted bodice reminiscent of late Qing dynasty designs, but simplifies the intricate decorative details.
图 1: 20世纪20年代后的旗袍
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
The qipao began to appear on the streets of Shanghai in the 1920s and quickly spread to cities like Yangzhou and Suzhou The opening of the Huayang Company in Shanghai brought together various industries and urban developments, contributing to the city's unprecedented prosperity, especially with a significant foreign presence During the early 1920s, the qipao gained popularity, maintaining similarities to its late Qing dynasty form, with notable changes such as wider waists, broader sleeves, and longer lengths Subsequently, the fusion of Manchu shirts with Western-style garments led to the emergence of the qipao jacket, which overshadowed traditional styles The design evolved to feature a fitted silhouette, high collars, and distinctive round pockets, with shorter lengths becoming fashionable In April 1929, the Nationalist government established dress codes, solidifying the long qipao as a national attire.
图 2 : 20世纪20年代的旗袍设计
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
The 1930s marked the golden age of the qipao, a time of prosperity where women of all ages and sizes embraced this iconic garment During this period, the qipao evolved technically, incorporating Western tailoring methods that allowed for innovative designs, including the separation of the front and back panels and the division of the underarm sections This shift resulted in a more form-fitting silhouette that celebrated the female body, contributing to a broader and more liberated concept of women's fashion in the 1930s, contrasting with the previously strict and rigid styles.
图 3 : 20世纪1930年代的旗袍设计
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
Around 1939, the qipao underwent significant transformation with techniques that separated the shoulders and chest, as well as the introduction of sleeves, making it more tailored to the female form and elegantly showcasing curves Influenced by international cultural trends, women in Shanghai increasingly abandoned traditional styles, leading to a fusion of local and Western fashion that created a garment embodying both Eastern beauty and modern flair The deep social stratification in Chinese society also provided ample opportunities for the qipao's evolution, marking an important advancement in the representation of modern femininity The fitted qipao, complemented by curled hair, sheer stockings, high heels, and leather accessories, became the epitome of fashion during that era.
图 4 : 二十世纪的旗袍设计与西方文化的影响
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
In the chaotic social environment of the 1940s, qipaos saw a reduction in design due to material shortages, with lengths now falling between the knee and calf and sleeves gradually shortening to sleeveless styles This evolution introduced vibrant colors and lightweight designs, reflecting the wartime aesthetic Following the victory in the Anti-Japanese War, accessories like zippers, pads, and buttons became prevalent, accentuating the qipao's slim silhouette and practicality The trend of "nationwide qipao wearing" persisted into the 1950s, marking a significant shift in urban women's daily lives as the qipao began to retreat from everyday settings, symbolizing the essence of Chinese women's experiences.
香港旗袍-台湾
After 1949, Shanghai symbolized the migration from the south to the inland, particularly to Hong Kong The "Shanghai style" qipao received enthusiastic responses from Hong Kong residents, marking the 1950s and 60s as the "golden era" for qipao in the region.
The Hong Kong qipao represents a continuation of the sea qipao style, with a notable distinction in its design During this period, the back of the shirt is tailored to fit snugly, accentuating the curves of a woman's silhouette, particularly highlighting the three key curves around the shoulder blades.
6 海派是京剧的一个之派，以上海的表演风格为典型
The design of the qipao features a striking silhouette, accentuating the curves of the hips and bust, particularly when the body is tightly fitted From the side, the distance between the three rings on the body is clearly visible, contrasting with the straight, natural, and elegant lines of traditional qipaos The hips are stylized and refined, contributing to a straight and delicate back while enhancing the waist's slender appearance and effectively increasing the volume and tension of the hips In contemporary fashion, the qipao typically falls about 4-5 centimeters below the knee, with a relatively high collar and rigid materials that stand upright This high collar design showcases the long, slender necks and graceful demeanor of Eastern women.
图 5 : 1950年代的旗袍设计
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
In the late 1950s to mid-1960s, the qipao reflected distinct characteristics of Hong Kong's colonial culture Hong Kong qipaos were typically shorter, featuring a higher collar and hemlines that often fell just above the knee or even shorter, deviating from traditional lengths Additionally, the silhouette of the qipao showcased less exaggerated curves, with Chinese women's waistlines appearing slimmer than ever, while the bust and hips remained smooth and less pronounced.
在20 世纪 50 年代末 60 年代到 20 世纪中期，殖民文化在香港的特点也很明显的旗
In Hong Kong, the traditional qipao is often designed to be shorter in length compared to its counterparts Notably, these qipaos feature higher slits that typically reach the knee or even shorter, resembling the length of Western styles Additionally, the three-curve line of the qipao is less exaggerated, reflecting a modern aesthetic where Chinese women's waistlines are slimmer than ever, while their busts and hips maintain a soft, full appearance.
图 6 : 20世纪50年代后期的旗袍设计
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
From the late 1960s to the early 1970s, the popularity of the qipao in Hong Kong began to decline, with fewer people wearing this traditional attire There was a trend towards a return to classic qipao styles, characterized by longer lengths that sometimes reached the floor, while maintaining high cuts similar to earlier designs However, these newer qipaos differed from the styles of the 1950s and 1960s in terms of fit; they featured a more relaxed waist and hips, with sleeves that were notably wider The neckline was upright yet not overly tight, reflecting a subtle revival of the classic look while embracing a more comfortable silhouette.
趋势 国家初期的后期。
图 7 : 20世纪60年代至70年代初期的旗袍设计
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
Similar to the styles of the 1950s and 1960s, the Taiwanese cheongsam reflects a unique trend The key difference between the popularity of Taiwanese and Hong Kong cheongsams lies in the 1920s, with Hong Kong's influence emerging in the 1930s and gaining global recognition by the 1940s.
图 8 : 20世纪60年代台湾旗袍的设计
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
In 1894, the Jiawu War broke out, leading to Taiwan's second colonization by Japan, which lasted until Taiwan regained independence in 1945 Although the qipao was worn in Taiwan during that time, it was not the predominant fashion among Taiwanese women.
Starting in 1949, a significant influx of people from outside the province brought the trend of the qipao to Taiwan, where they began producing and wearing this traditional Chinese women's garment, thus creating a unique fashion culture The qipao also became a means of nostalgia for those from outside the province, allowing them to express their longing for their homeland through this elegant attire This phenomenon continued well into the early 1970s.
现代旗袍
Since 1978, Chinese society has undergone significant transformations, encouraging individuals to embrace self-expression and personal care People began to adopt the latest trends from both Western and Eastern cultures, such as those from Japan and Hong Kong The qipao, once a symbol of traditional daily life, has experienced a revival, supported by government initiatives In the 1980s, China's textile and apparel industry aligned more closely with international trends, leading to the "nationalization of clothing" movement This sparked a wave of domestic designers incorporating classic qipao elements into their work, making it a common sight in fashion magazines and daily life Despite its newfound popularity among women in public and media, many did not initially consider it as part of their wardrobe The qipao symbolizes a blend of natural beauty and comfort, allowing women to showcase their bodies elegantly In an era focused on veganism and sustainability, a surge of weaving workshops and tailoring emerged, further revitalizing the qipao's presence in contemporary fashion through the growth of new professions in film, advertising, and promotions.
The revival of qipao culture truly gained momentum in the mid-1990s, with 1997 marking a significant milestone This year, the renowned French fashion house DIOR appointed designer John Galliano to lead a qipao-inspired fashion show, highlighting the global fascination with this traditional Chinese garment The allure and beauty of the qipao have captured the attention of Western designers and brands, leading to an increased interest in its design Beyond fashion, artists and Chinese cinema have embraced the qipao, often showcasing it as a symbol of Chinese culture The qipao has become synonymous with Chinese femininity, evolving into a cultural icon that quickly overshadowed other clothing styles within a decade As its popularity soared, innovative designs emerged, featuring variations in necklines, sleeves, and skirt lengths tailored to individual preferences This prosperous era saw many famous beauties, such as Song Meiling, Lin Huiyin, and Zhang Ailing, further popularizing the qipao.
图 9 : 当代旗袍的各种设计
（资料来源：书《中国旗袍文化史》——著作“刘瑜”）
This type of women's shirt enhances the figure of young women, featuring a body-hugging upper section with a diagonal button design that extends along one side The shirt is cut to thigh height, creating an elegant silhouette that emphasizes femininity Often, the front of the qipao is adorned with intricate five-color embroidery, showcasing the rich cultural traditions of China and other Eastern countries Additionally, this dress reflects the dignity, elegance, and grace of young women.
The qipao has played a significant role in shaping the era of beauty, becoming an essential garment in the artistic expression of Chinese women Since its inception, the qipao has transcended mere fashion to symbolize elegance and femininity, solidifying its place in the cultural heritage of China.
研究中的其 他表达方式
时间 地点 主要佩戴者
服饰风格特
民族时期的
海派旗袍 从1929年到
上海甚至全
典型的服装 是合适的，
并在当时受 到所有女孩 的欢迎
采用西方的 多种剪裁方 法，设计非 常合适，流 行且快速变
港台旗袍 旗袍香港
As one of the iconic outfits of its time, this style was initially very popular but gradually fell out of favor as Western fashion trends began to dominate.
Essentially, it belongs to the millennium qipao, but it has evolved in terms of size and the demographics of its wearers Additionally, the style has changed, with shorter and more refined hemlines taking precedence over the traditional long and meticulous designs.
现代旗袍 从1977年开
世界各地 通常，这种
服装不再用 于日常穿 着，而已成 为正装，装 饰和特殊场
许多样式， 样式，更改 和改进都很 多。
中国旗袍的形成与发展概述
小结
The qipao has a rich history dating back to the years before 1644 and continues to be celebrated as a quintessential traditional garment that honors beauty Despite facing challenges and periods of decline, the qipao has consistently adapted to reflect the historical context, needs, and lifestyles of its wearers This flexibility has allowed it to surpass other traditional attire, becoming a symbol of national spirit Recognizing its significance in cultural and spiritual life, Longfeng Garment Factory is dedicated to preserving and promoting the qipao, ensuring its recognition both domestically and internationally The creation of qipaos serves as a refined and effective means of showcasing Chinese culture and the beauty of Chinese women.
从 1934 年到现在的越南奥黛 的介绍
奥黛的形成和发展历史
The Ao Dai is a symbol of Vietnamese women, embodying elegance and charm that cannot be replicated Its presence anywhere in the world draws significant attention, highlighting its status as a unique Vietnamese garment Although the origins of the Ao Dai remain uncertain, it has evolved over the years into a distinctive representation of Vietnamese culture Today, the Ao Dai is recognized globally for its unique significance, aesthetic appeal, and as a product of cultural exchange It reflects the intersection of Vietnam's diverse ethnic and cultural heritage Throughout history, the Ao Dai has maintained its role as a vessel of traditional culture while adapting through interactions with foreign influences This garment has developed within a multicultural context, showcasing the continuous efforts of the Vietnamese people to inherit, enhance, and innovate its design Even centuries later, the Ao Dai continues to evolve, demonstrating significant transformations across both time and space in Vietnam's cultural narrative.
The evolution of the Ao Dai can be categorized into distinct periods: the adoption of traditional Chinese clothing systems around 970 AD, the reform of clothing styles in 1744, the introduction of Western influences in the 19th century, the rise and popularity of the Ao Dai from 1930 to 1975, a period of decline from 1975 to 1986, and the modern Ao Dai that emerged after 1986.
名字“奥黛”
The exact origins of the áo dài remain unclear, though early images resembling the garment can be traced back to the Đông Sơn culture (3rd century BC – 1st century AD) There are differing opinions on its emergence; some argue that the áo dài originated in southern Vietnam, influenced by French colonialism, where Confucian values were less entrenched and Western ideas were more readily embraced Consequently, southerners adopted Westernization before their northern counterparts, leading to a gradual cultural shift Others contend that the áo dài was first developed in northern Vietnam by designer Nguyễn.
Jixiang设计，法国人叫阮 Jixiang Le Mur，所以奥黛的别名也叫“奥黛 Le Mur”。有人
说，奥黛出现在巴黎第一次（1921年）和越南设计师设计的。
Áo dài là một loại trang phục truyền thống của Việt Nam, có nguồn gốc từ việc chuyển âm từ tiếng Trung sang tiếng Việt Tại miền Nam Việt Nam, áo dài được phát âm là "ow yai", trong khi ở miền Bắc là "ow zai" Bộ trang phục này bao gồm một chiếc áo và quần, với phần áo tương tự như áo dài Trung Quốc, dài đến mắt cá chân và có thiết kế ôm sát, giúp tôn lên vòng eo Phần dưới của áo được chia thành hai tà, bay bổng theo gió Có nhiều lý thuyết về ý nghĩa của từ "áo dài": theo lý thuyết đầu tiên, "áo" có nghĩa là "quần áo" và "dài" có nghĩa là "dài", do đó "áo dài" có thể được dịch là "áo dài" Thứ hai, từ "áo dài" có thể được phiên âm từ tiếng Hán thành "奥黛" hoặc "袄黛" Cuối cùng, do thiết kế tương tự áo dài Trung Quốc, áo dài còn được gọi là "áo dài Việt Nam".
Từ "áo dài" (ao dai / ˈɑːzɑːi /) lần đầu tiên được đưa vào từ điển Oxford, được định nghĩa là trang phục truyền thống của phụ nữ Việt Nam, với thiết kế gồm hai tà áo trước và sau, kết hợp với quần dài, tạo nên vẻ đẹp thanh lịch và duyên dáng.
现代 1934 年奥黛
Initially, the "ao dai" faced strong opposition from intellectuals, particularly regarding Vietnamese women having close ties with French men or husbands, as noted by Nguyen Trong Huan However, for generations born before the 1920s, the modern ao dai became widely embraced across society After the 1940s, the ao dai was often paired with the traditional conical hat, which had previously been worn only by men, or with headscarves The design evolved to feature two different lengths of flaps In 2007, the ao dai underwent further updates with the introduction of new materials, such as lace.
"Le Mur," the French translation for "the wall," refers to a mascot created by an artist named Le Mur in the 1930s, who was known for his work on five-body typography.
The shirt underwent significant reforms, featuring only two front flaps The designer extended the front flap to enhance the elegance of movement while tailoring the upper body to embrace the wearer's curves, creating a unique blend of elegance and sensuality To achieve a more feminine look, the front buttons were repositioned along the shoulder opening and down the side, with the front cover extending 8 centimeters below the waist A notable change is the lightly pressed waist, which, when worn slightly tighter around the abdomen, gives the appearance of a larger bust This artistic feature marks a first in Vietnamese women's fashion and has sparked considerable public interest However, the Le Mur shirt includes many embellishments, such as shoulder garments, puffy sleeves, plush necklines, and open neck designs, leading some to consider them excessive Additionally, the Le Mur collection showcases trendy white satin pants, enhancing its modern appeal.
The modern style of holding an umbrella in one hand while carrying a bag in the other has gained popularity among many, despite facing criticism from some quarters at the time, who deemed it inappropriate, as reflected in unfavorable public opinions.
同样在 1935 年，画家吉祥物遍历越南，向全国各地的妇女展示现代狐猴奥黛
In Hue, Lemur had the fortunate opportunity to meet photographer Wu An'e's granddaughter, Zheng Yao, and invited her to create another lemur-themed dress for Queen Nguyen He then traveled south to paint in blue attire for several reformers, including artist Feng Xia.
Nhiều tin đồn cho rằng nghệ sĩ Lê Phổ đã không thay đổi cách thể hiện con cáo lemur (Lemur) để phù hợp với trang phục phương Tây và áo năm thân truyền thống Khi cửa hàng của Mary khai trương, cửa hàng của Lê Ý Sương cũng thu hút sự chú ý.
Họa sĩ Lê Phổ đã giới thiệu một thợ may cho họa sĩ 吉祥 vào năm 1934, trong một mùa đẹp đẽ.
Trong số các sản phẩm đặc trưng theo mùa, Lê Phổ nổi bật với trang sức nhưng không thiết kế áo dài Đến cuối tháng 10 năm 1937, Lê Phổ đã đưa một thợ may giỏi trở lại cửa hàng thời trang Lemur tại Pháp trong chuyến đi thứ hai Sau khi mối quan hệ tình cảm với bạn gái tan vỡ, Lê Phổ không trở lại mà đã kết hôn Ông tiếp tục vẽ tranh tại Pháp cho đến khi qua đời vào năm 1934.
9月14日在风化报纸第115号上刊登了一个广告：“May quần áo phụ nữ lối mới và lối cũ
Họa sĩ Lê Phổ đã sáng tạo ra những kiểu dáng độc đáo, không phải là mẫu mới mà là sự lựa chọn tinh tế cho từng khách hàng, mang đến vẻ đẹp riêng biệt cho mỗi tác phẩm.
The style can be slightly adjusted to fit the body and tailored to match the client's skin tone Doctors prescribe medication, while ready-made options are also available for purchase.
一些1930年代的Lemur风格
7 D ị ch t ừ“'Thâm cung' áo dài Lemur”
图 10 ：少女和妇女穿着现代的狐猴奥黛（Lemur奥黛），在1938年的今日报纸上拍摄。
Năm 1947, trong bối cảnh Việt Nam Dân chủ Cộng hòa vừa tuyên bố độc lập, phong trào "diệt giặc đói, giặc dốt" được phát động nhằm khuyến khích lối sống tiết kiệm Vào ngày 20 tháng 3 năm 1947, Hồ Chí Minh đã viết bài "Đời sống mới" dưới bút danh Tân Song Hình, kêu gọi người dân từ bỏ thói quen mặc áo dài kết hợp với áo khoác vì sự bất tiện trong di chuyển Ông chỉ ra rằng với chi phí may áo dài, người phụ nữ có thể may được ba chiếc áo sơ mi, từ đó tiết kiệm được 200 triệu đồng mỗi năm Phong trào này đã nhận được sự hưởng ứng từ người dân, và trong một thời gian dài, áo dài không còn là trang phục phổ biến của phụ nữ Việt Nam ở phía Bắc vĩ tuyến 17.
Vào cuối năm 1958, khi Chen Li Chun còn là Đệ nhất phu nhân của Việt Nam Cộng hòa, bà đã thiết kế một mẫu áo dài sáng tạo mới, với phần cổ được gọi là áo dài cổ thuyền, mở và cắt cổ Mẫu áo này được biết đến với tên gọi áo dài Chen Li Chun hay áo dài bà Như Không chỉ độc đáo, phần cổ áo dài mở còn mang tính "phá cách", với các họa tiết trang trí như cành tre mọc vào trong Một số nhà phê bình phương Tây cho rằng thiết kế này rất phù hợp với khí hậu nhiệt đới của miền Nam Việt Nam.
8 Dịch từ : Tân Sinh, "Đời sống mới", Ban vận động Đời sống mới 1947, hoặc
H ồ Chí Minh, V ề đạo đứ c cách m ạ ng, trang 14, Nhà xu ấ t b ả n Chính tr ị qu ốc gia, năm 2007
The style, which once infuriated archaeologists for its perceived deviation from good customs, has evolved over time Today, the popular sleeveless dress features a rounded neckline, a departure from its originally shorter design.
（来源: 互联网）
奥黛丽（Raglan）手（1960）
In the 1960s, the first tailor shop in First County, Ho Chi Minh City, introduced the handmade áo dài featuring Raglan assembly This innovative technique addressed the common issue of wrinkles at the underarms when sewing áo dài The unique arrangement of buttons is angled from below the neck, down through the underarm, and extending along one side By utilizing Raglan assembly, the fabric hugs the wearer's body from the underarm to the waist, ensuring a flattering fit that accentuates every curve of a woman's figure and enhances overall aesthetic appeal, according to several designers' assessments.
图 12 ：奥黛 与 raglan 袖 绘图
（来源: 互联网）
The Austrian design is popular for girls, featuring a Raglan short-sleeve shirt with a collar that matches the short length of the sleeves The legs are covered with two leg straps, while the pants are secured with fecmotuy and include additional pockets for convenience.
船颈raglan奥黛（1988）
船领为白色，紫色，黄色，红色，手工绘制或刺绣。 匹配他们紧身胸衣的颜色。
蕾丝raglan式连衣裙，领口和踝部开放（2007年）
创新的奥黛 2017
The 2017 Year of the Rooster showcased a series of innovative ao dai designs that highlight the powerful influence of traditional Vietnamese culture Featuring rich designs and materials, these garments incorporate elements such as rural bamboo, lotus flowers, and representations of Vietnamese women The typical triangular sleeve style of the ao dai is complemented by short skirts and underskirts, reflecting a modern twist on a classic attire.
Initially, five-piece shirts were designed for both men and women However, over time, men's styles have gradually faded away As a result, when it comes to traditional attire, people predominantly associate it with women's fashion.
The men's five-piece shirt, featuring a high collar, straight cut, and square neckline, symbolizes the integrity of a gentleman Adorned with five buttons made from materials such as metal, jade, and wood, it differs from the fabric buttons found on traditional Chinese qipaos The design represents a mother with her four fathers, while the smallest body represents the wearer The shirt is intentionally loose-fitting, allowing for greater dispersion as it drapes lower, with sleeves that can vary in width.
Shirts are typically worn in elegant colors and often lack collars or hems, usually paired with a white bra to highlight cleanliness underneath This reflects the beautiful traditional values of the Vietnamese people, emphasizing that beauty should be concealed within Each shirt is consistently accompanied by a towel, enhancing the overall aesthetic.
According to surveyor Chen Shilai, the five-piece outfit consisting of a shirt, trousers, and a scarf is also considered traditional attire for men While women and men embrace vibrant rainbow colors, boys typically opt for classic shades like black, white, or dark blue.
Theo sắc dụ của Thường phục do Vương hầu阮武王勋爵 ban hành, quy định về trang phục cho nam giới trở nên nghiêm ngặt hơn Cụ thể, áo cổ đứng ngắn tay được yêu cầu, với ống tay có thể rộng hoặc hẹp tùy ý Hai bên nách phải được khâu kín, không được xẻ mớ Tuy nhiên, nam giới có thể lựa chọn áo cổ tròn và tay hẹp nếu cảm thấy thuận tiện cho công việc.
9 D ị ch t ừ : “Sao Việt lăng xê mốt áo dài cách tân Xuân 2017”
Since 1952, Prime Minister Chen Wenyouw has established a national uniform for government officials: for religious or historical ceremonies, the attire consists of a jacket and scarf, paired with black or white silk trousers.
In traditional ethnic attire, legal documents such as the decree from Lord Nguyen Vuong and King Minh Mang's more explicit dress code standards define a bolder style for women's high collars.
The Ao Dai, a traditional Vietnamese dress, is typically worn during cultural festivals and weddings Notably, during the 2006 APEC Summit held in Vietnam, leaders from various APEC economies donned the Ao Dai as a symbol of respect for the host country's heritage.
图 13 ：奥黛在2006年河内举行的APEC会议上
越南的象征
10 D ị ch t ừ : Nguy ễ n An Tiêm "S ổ luân lưu" Khởi hành Năm XV, số 173, Tháng Ba, 2011 tr 6
The Vietnamese Ao Dai embodies the vibrancy of the 21st century, making it a versatile choice for women This elegant attire can be worn in various settings, including the office, as a school uniform, or during formal home gatherings Its modern design ensures comfort and ease of wear, allowing it to be paired effortlessly with silk pants or soft fabrics, and suitable footwear like high heels, ballet flats, or sneakers For formal occasions, one can enhance the outfit with accessories such as a gown, scarf, or Western-style crown.
Before 1975, the white ao dai was a mandatory uniform for high school girls in southern Vietnam After the reunification, some schools replaced the ao dai with their own uniforms, while in most northern schools, girls were only required to salute the ao dai on Mondays.
The modern Ao Dai celebrates every body type with a design that tightly hugs the upper body while featuring soft, flowing flaps over wide pants This unique waistline creates a comfortable posture, exuding elegance and femininity, enhanced by the soft silk that contours the body and the shirt that reveals the waist for a touch of sensuality Each piece of modern Ao Dai is highly personalized, crafted specifically for the individual, with meticulous measurements taken by the tailor After the garment is constructed, a fitting is essential to make any final adjustments.
图 14 ：越南学生穿奥黛上学
五身袄的复兴
When searching for information about the Aodai structure, the most common descriptions highlight its tailored design that embraces the wearer's body Key features include a belt, two flaps at the front and back resembling a corset, flaps extending to the collar, sleeves sewn from the shoulders close to the arms, and buttons that serve as functional fasteners.
The description provided captures the structural aspects of the two-piece Ao Dai that emerged in the 1930s, influenced by modern European fashion trends However, it overlooks the rich history of the Ao Dai, which spans over 300 years The traditional Ao Dai, particularly the long-standing five-piece version, showcases significant differences in appearance and texture compared to the innovative shirt styles we recognize today.
Sự khác biệt dễ nhận thấy nhất giữa áo dài truyền thống và áo dài năm thân là áo dài năm thân có thân áo rộng, không có vòng eo và chiều rộng cơ thể lớn hơn Khi mở áo dài năm thân ra, phần cổ áo sẽ bị cong Một đặc điểm khác của áo dài năm thân là nó được cấu thành từ năm mảnh vải được may dọc với nhau, phần thân trước và sau được nối với nhau qua đường may giữa Phần bên phải phía trước có một lớp kép bên trong được gọi là "thân con", được tính là mảnh thứ năm Nhờ vào cấu trúc này, khi quan sát, chúng ta dễ dàng nhận thấy đường may thẳng ở giữa thân áo khi áo dài được may theo hình dạng cổ áo.
In a renovated two-piece Aobao, if the wing is too long or positioned too close to the heel, the five-piece Aobao's wing may only extend slightly beyond the pillow Typically, the five-piece sleeve is not directly attached to the scapula; instead, the fabric used to create the body is sewn to the half-arm, with another fabric connected to the sleeve This design results in a very wide underarm, secured only at the wrist, contrasting with the innovative fitted underarm that enhances comfort for the wearer during movement.
Buttons are a distinctive feature of five-body jackets, which uniquely utilize buttons without alternatives In the 1930s, innovative designs like those seen in the audacious button styles and modern shirts caused dissatisfaction among traditionalists, who viewed buttons as vulgar, fragmented, and a departure from conventional aesthetics Today, the materials used for buttons, such as stone, pearl, copper, and wood, vary according to personal preference and individual style, contributing to a diverse range of products.
In conclusion, the materials and colors of five-body shirts can be differentiated based on social class Popular styles typically feature straight fabrics and adhere to darker color palettes, such as browns and blacks Conversely, higher social classes, including nobility, often opt for more refined materials and a broader range of colors.
The hierarchical layers of fashion utilize high-quality fabrics such as satin, silk, and brocade, adorned with exquisite embroidery and intricate textile patterns The colors vary depending on the location, featuring accessories like hands and diamonds that enhance the overall aesthetic.
In today's climate of reviving traditional culture, the once-exclusive five-part shirts favored by the elite have become widely popular due to an open and evolving social environment Craftsmen in artisan villages are reimagining the traditional "Ao Dai" by using diverse materials and vibrant colors to meet customer demands, while also creating accessories that complement the garments.
Vào năm 2013, cuốn sách "Ngàn năm áo mũ" do nghiên cứu viên Trần Quảng Đức xuất bản đã góp phần hình thành giá trị truyền thống cho thế hệ trẻ, giúp họ hiểu rõ hơn về áo dài Hiện nay, những người trẻ yêu thích văn hóa, du lịch và nghệ thuật (phim ảnh, kịch, video âm nhạc) đang khôi phục lại những chiếc áo dài này Trong số đó, việc tái hiện theo truyền thống cổ xưa được thực hiện bởi nghệ sĩ áo dài Từ Đu Minh và nghiên cứu viên Trịnh Bạch, những người đã phục hồi nhiều trang phục của triều Nguyễn, cùng với nhiều nhà thiết kế nổi tiếng khác vẫn đang tìm kiếm trang phục cho áo dài Việt Nam.
奥黛艺术：诗歌
图 15 ：白色奥黛（通常是女学生的礼服）
图 16 ：奥黛婚礼
The traditional red ao dai, often worn during weddings or Vietnamese prayer ceremonies, features brides in high heels and grooms in shorts paired with Western-style shoes.
图 17 : 在河内的一场时装秀中表演奥黛
Nhiều nghệ sĩ đã ghi lại hình ảnh phụ nữ Việt Nam mặc áo dài, đặc biệt qua thơ ca và âm nhạc Một trong những bài thơ nổi tiếng về áo dài là "Áo lụa Hà Đông" của Nguyễn Sa, bài thơ này không chỉ trở thành một ca khúc nổi tiếng mà còn là nguồn cảm hứng cho bộ phim cùng tên.
“Nắng Sài Gòn anh đi mà chợt mát
Bởi vì em mặc áo lụa Hà Đông ”
在裴江的诗歌中，奥黛的记忆色彩被提升为一个传奇：
“Biển dâu sực tỉnh giang hà
Còn sơ nguyên mộng sau tà áo xanh”
Áo dài là trang phục truyền thống rất phổ biến trong các bài hát Việt Nam Trong âm nhạc của nhạc sĩ Trịnh Công Sơn, áo dài thường được nhắc đến Theo hồi ký, hình ảnh cô gái trong chiếc áo dài tím đã gợi cảm hứng cho bản nhạc nổi tiếng "Diễm xưa" do gia đình nhạc sĩ sáng tác Ngoài ra, trong bài hát "Hạ trắng", hình ảnh áo dài cũng được khắc họa một cách nhẹ nhàng và thơ mộng.
“Gọi nắng trên vai em gầy đường xa áo bay 《Hạ trắng》，”
在1940年代的和平之梦中，范维也没有忘记提及这件衬衫：
“Nằm mơ, mơ thấy trăm họ tốt tươi, mơ thấy bên lề cuộc đời, áo dài đùa trong nắng cười
图 18 ：学校的女孩穿着奥黛骑自行车在街上
图 19 ：画“Thiếu nữ bên hoa huệ”của họa sĩ Tô Ngọc Vân
(来源: vi.wikipedia.org）
The painting "Girl with Evening Primrose," created by artist Su Yuyun in 1943, is one of Vietnam's earliest and most renowned modern artworks It features a girl dressed in a contemporary ao dai, seated beside a pot of evening primroses.
越南国内外都有很多奥黛设计和示范比赛。
Designer Ming Xing has held prominent positions at various Vietnam Fashion Weeks and major festivals, achieving significant success in introducing and promoting the Ao Dai collection Her series, designed in Japan, features a unique double-layer silk fabric with necklines and sleeves arranged in layered patterns reminiscent of kimonos The primary color palette includes shades of pink and fuchsia, inspired by cherry blossoms.
花的颜色 11 到英国与一百图案奥黛由图案启发在英国皇家的装备结合越南族群的颜色 12 ，
小结
The Ao Dai is a symbol of Vietnamese identity, embodying beauty and compassion, and is an integral part of every Vietnamese woman It reflects the hardworking spirit of a nation where women often sacrifice for the greater good, promoting national pride and harmony Throughout various historical periods, the Ao Dai has remained a constant presence, representing the soul of the Vietnamese people and the essence of their culture This traditional attire carries the weight of Vietnam's rich history and thousands of years of civilization Its elegance, charm, and sensuality contribute to the pride of the Vietnamese people, making the Ao Dai not just a garment but a vital cultural emblem that enhances the allure of Vietnamese women.