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Historical and contemporary design development: Chinese influence - Suggested Answers

Chinese dress in the Qing dynasty

Sketch and describe three of four pieces of historical clothing characteristic of the styles of the Chinese formal court and official dress.

Court robes
Asymmetrical; ornamentation included dragon motif, cosmos; dragon symbolised the Emperor; rank distinguished by a hierarchy of colour and ornamentation; silk and gold wrapped embroidery on gauze weave fabric; worn by Government official.

Surcoat
Symmetrical design; Imperial family coat featured round shaped dragon medallions; circle design represented heaven; square design represented earth; dragon symbolised the Emperor; worn over the dragon robe.

Formal court dress
Worn to solemn state ceremonies; worn with ceremonial collar–sign of honour; horse hoof cuff; lightweight; made of silk; embroidered with dragons, clouds, waves with silk and metal threads.
Outline the differences in styles for the clothing worn by men and women.
Men’s rank was distinguished by hierarchy of colour. Women’s styles incorporated flowers, butterflies.
Describe the fabric decoration and ornamentation used.
Embroidery used gold wrapped threads and silk threads. Significant symbols included dragon medallions, golden pheasant and cosmology.
Identify the symbols of sovereignty and explain their significance.
Emblems of power appeared on sacrificial robes of the ‘son of heaven’ (1759). These symbols were of cosmic significance and represented the Emperor as the ruler of the universe. They included the sun, moon, three stars, mountain, dragons, pheasant, bronze cups, waterseed, grain, fire, ax and fy.

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Cheungsam

Outline the development of the Cheungsam from the loose fitting styles and the extended wide sleeves of late 1800s to the form fitting cheungsam of the 1930s.
The Cheungsam developed from a simple form fitting garment made from two pieces of cloth with two long slits to allow ease of movement. Lengths varied; sleeve lengths varied from long to cap and sleeveless and side slits varied in length. The change was associated with social change and attitudes to women.
List the special skills for the traditional tailoring of the Cheungsam.
The tailor needed to be able to work with silk, brocade, velvet, lace, synthetics, wool, cotton and satin fabrics and fur linings. Hand sewing of the outer Cheungsam included piping, darts and frog closure design.
Sketch three different collars and right fastening lapels for a Cheungsam including the huaniu.
Individual answer
Outline the changes that the Cheungsam underwent in the 1950s and 1960s.
The Cheungsam became a glamour garment; style reflected class and profession.
Describe the impact that the 1960s movie The World of Suzie Wong had on the cheungsam.
The Hollywood movie had an impact on the hem length of the Cheungsam; Suzie Wong wore a mini Cheungsam.

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Mao suit

Describe the features of Chinese fashion which have links to the nationalism and ideology of the People's Republic of China.>
A military style suit, known as the Zhifu, was a sartorial symbol of communist China. The navy blue, grey or khaki suit had upper and lower pockets concealed with a flap and no external button. Trouser suits were also worn.
Outline the importance of pocket designs to rank.
Rank was reflected in the number of pockets on the jacket. For example, a soldier’s uniform has two upper pockets; officer’s uniform has two upper and two lower pockets.
Identify the garment colours worn during 1950-1970s.
Dominant colours were dark navy blue, grey and khaki.
Describe the garments for men and women.
Women wore loose fitting trouser suits in dark blue, grey, khaki with no ornamentation. Young men wore a loose fitting military suit (Zhifu) with upper and lower pockets, long sleeves to cover knuckles of the thumb.
Identify a designer who uses inspiration from the Mao or Sun Yat-sen suit style.
Guo Pei – designs women’s fashion
Sketch and describe the garment
Individual answer.

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Chinese contemporary designers

Choose one garment design by a mainland China designer, a Hong Kong and a Taiwan designer and complete the following:
1. Sketch and label a garment from each designer
  Individual answer
2. Identify the similar design features.
  Individual answer
3. Outline reasons for the designer’s success.
  Sun Jian is able to design for a varied clientele base including actors, pop stars and television personalities; and can design and make for the ‘made to measure’ market.
  
  Peter Lau designs for a diversified age range and target markets across Asia.
  
  Carole Chang designs express personality and are creative and optimistic.

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Australian designers: Eastern influence

Select one of the following designers and outline their background for a successful career in fashion and fabric design.
Individual answer.

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