绪论
选择主题的原因
Clothing is a fundamental material need in human life, serving both practical and aesthetic purposes Its primary function is to protect individuals, but throughout history, clothing has evolved to fulfill various roles, leading to distinct categories based on nature and utility These categories include traditional attire, ethnic garments, sportswear, religious outfits, festive clothing, stage costumes, children's wear, military uniforms, police uniforms, and seasonal apparel such as winter and summer clothing Among these, researchers often focus on traditional clothing.
Traditional or ethnic clothing represents the historical attire of a country, region, or community, often symbolizing unity among its people The study of traditional garments reveals a stable continuity between tradition and modernity, highlighting the subtle interplay between ethnic identities and global influences through cultural exchange Each country and region showcases unique perspectives on clothing, shaped by differences in history, civilization, economy, geography, climate, beliefs, and customs Traditional attire serves as a powerful symbol of national identity, distinguishing one nation from another and playing a crucial role in the historical development of a country The exploration of traditional clothing remains a captivating topic, drawing scholarly interest as it offers insights into both the material and spiritual aspects of human development.
Today, while European dresses have increasingly dominated the global fashion scene, traditional garments in countries like Vietnam and China, such as the "ao dai" and "qipao," continue to serve as special attire for cultural and solemn occasions Efforts are being made to preserve the cultural identity of these traditional outfits through restoration and modernization, allowing them to adapt to contemporary trends As a result, these traditional garments are now making rare appearances outside of formal events, bridging the gap between heritage and everyday life.
1 Theo Văn hóa trang phục Hàn Quốc (Trường hợp Hanbok nữ): Luận văn thạc sĩ: Nguyễn Võ Phương Thanh
The qipao and ao dai stand as exemplary representations of the fusion between Eastern and Western fashion cultures, gaining global recognition for their aesthetic appeal Recently, these traditional garments have increasingly appeared at film festivals and music events, reflecting their growing popularity This trend is influenced by various factors, including historical context and cultural significance, highlighting a complex relationship between subjective expression and the garments themselves Both the qipao and ao dai are designed to accentuate the natural curves of the female body, embodying an elegant and respectful interpretation of beauty Their intricate patterns not only enhance the wearer's individuality but also serve as a fashion statement linked to nature, featuring motifs like flowers, leaves, and birds While the ao dai represents Vietnam's traditional beauty and is widely embraced for its grace and nobility, it is essential to note the distinctions between the ao dai and the qipao, as the latter has been more extensively documented and studied Despite the rich exploration of these garments, there remains a gap in understanding their structural significance and cultural meanings within the context of fashion.
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 garments, the aim is to enhance the understanding of the incomplete knowledge surrounding the historical progression of traditional attire in both China and Vietnam.
研究现状
The study of the historical development of traditional attire in China, particularly the Ao Dai in Vietnam, remains relatively new Most research focuses on specific periods of the Qipao or Ao Dai, 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 like "A Cultural History of the Chinese Qipao" by Liu Yu, published by Shanghai People's Fine Arts Publishing House on July 1, 2011, offering an overview of the Qipao's entire historical journey from its inception to contemporary times.
The article outlines the historical development of the qipao, dividing it into five distinct stages while also highlighting the social context and beauty trends that influenced its accessories It discusses the flourishing qipao culture in cities like Beijing, Shanghai, and Hong Kong, and examines the impact of weather, cinema, and Western influences on its evolution Although it provides a comprehensive overview of the qipao's history, the piece lacks an in-depth analysis of specific styles and the meanings behind their patterns Nonetheless, it serves as a valuable reference for readers interested in the qipao's historical development, particularly scholars seeking a deeper understanding of the topic.
The book "Dragon and Phoenix Qipao Handmade Craftsmanship," published by Shanghai People's Publishing House on February 1, 2014, offers an in-depth exploration of the history and development of the renowned "Dragon and Phoenix" brand, emphasizing the importance of preserving qipao culture It details the challenges faced by the tailor shop in maintaining this traditional craft while showcasing the brand's iconic qipao designs that have evolved over time The author provides clear explanations of the hand-sewing and embroidery techniques, fabric materials, and threads used in each piece, helping readers appreciate the significance of every qipao However, the work primarily focuses on the formation and evolution of the qipao, overlooking details related to environmental and urban cultural influences This book serves as a valuable reference for those interested in the famous Dragon and Phoenix brand and the intricate details of qipao craftsmanship.
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 two authors focuses on three classic elements of the qipao: patterns, shapes, and details, highlighting the garment's intricate craftsmanship It specifically examines the development of qipao elements from the 1920s to the 1960s, emphasizing the evolution of these cultural classics The authors aim to restore the qipao to its original form by collecting, comparing, and analyzing popular patterns of the time through modal images The book features detailed and original patterned qipao models, providing valuable insights for modern designers and researchers of qipao, while also promoting traditional Chinese clothing culture However, the work's focus on "restorative" patterns from this specific era limits its scope, failing to encompass the broader historical progression and development of the qipao influenced by both objective and subjective factors.
"The book 'Chinese Qipao,' edited by Yuan Jieying and translated by Chenfang Publishing House in January 2002, offers a comprehensive introduction and explanation of the qipao's past, present, and future in both Chinese and English The author provides a clear analysis of the qipao's origins, craftsmanship, artistic value, and social status within specific historical contexts This work significantly contributes to the Chinese fashion industry and serves as a valuable reference for scholars interested in the subject."
In addition to a variety of works, author Xu Li published "China" on September 1, 2016, through the Chemical Industry Press.
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 of the qipao throughout history This garment's evolution, including its hybrid forms, highlights its vital role in the cultural and social lives of the Chinese people, symbolizing their identity and pride.
《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 dựng trang phục Việt Nam đã diễn ra trong bối cảnh hoàng cung và dân gian, kéo dài gần một thiên niên kỷ Trong suốt triều đại, trang phục hoàng gia luôn bị quản lý nghiêm ngặt và thay đổi liên tục Hàng ngàn chiếc mũ đã lý giải cho điều này, đồng thời phân tích mức độ bắt chước trang phục Trung Quốc trong quy định về trang phục của các triều đại Việt Nam, với những mô tả chi tiết về các loại trang phục tinh xảo như Tế phục Cổn Miện, trang phục của hoàng đế, lễ phục của quan lại, áo dài của các trung thần, và trang phục lộng lẫy của hoàng hậu Trong khi đó, trang phục dân gian không có nhiều biến đổi, với sự phổ biến của lễ phục nam, kiểu áo bốn thân, và các loại trang phục truyền thống của phụ nữ Việc vua Minh Mạng cấm sử dụng "quần không đáy" là một điều đáng chú ý, giúp áo dài trở thành trang phục quan trọng trong đời sống người Việt Có thể nói, cuốn sách "Ngàn năm áo mũ" đã phần nào bù đắp cho khoảng trống lớn trong lịch sử trang phục Việt Nam, đặc biệt là trong lịch sử văn hóa Việt Nam Với ảnh hưởng chính trị và xã hội rộng rãi, đây thực sự là một nghiên cứu quan trọng và có giá trị lâu dài, mặc dù nó chỉ đề cập đến lịch sử cổ xưa của áo dài mà không nhấn mạnh sự phổ biến của áo dài hiện đại ngày nay.
In 2013, Liu Lixian's work, "Through the Development and Changes of the Vietnamese Ao Dai, Observing the Transformation and Empowerment of Vietnamese Women," skillfully reshaped perceptions of women's clothing and highlighted the societal factors influencing the status of Vietnamese women The piece provides a detailed account of the development process but lacks clarity on various stages and unresolved issues within this evolution.
Research on dragon and phoenix imagery in Vietnam is quite rare, often limited to rough translations of foreign literature However, some scholars in Vietnam have shown interest in this topic Notably, Nguyen Duc Thi's work, "The Image of the Giant Dragon in Eastern Culture," provides a comprehensive study of the dragon's origins, occurrences, and development, focusing primarily on Eastern, particularly Chinese, perspectives The author explores various aspects of the dragon, including its nine offspring, classifications, and cultural significance in daily life, including attire This work serves as a valuable resource for scholars interested in the dragon's representation in Eastern culture, especially within Chinese traditions, and helps illuminate the connections between dragons and various facets of human life.
目的研究
This article explores the historical development of the qipao and ao dai from their origins to the modern day, tracing their evolution since 1934 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 the qipao and ao dai, addressing existing knowledge gaps while providing a comprehensive overview of their cultural relevance By comparing the imagery of the qipao and ao dai across different historical periods, the study affirms their important roles and meanings for the people of China and Vietnam Ultimately, this research serves as a valuable reference for readers interested in these cultural topics.
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 qipao and ao dai Additionally, 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 attire.
The study illustrates the portrait of Vietnamese Chinese women through traditional attire and social context, reflecting the societal landscape of Vietnam It aids scholars in comparing the Chinese qipao with the Vietnamese ao dai, highlighting the significance of traditional clothing in preserving cultural characteristics of both Vietnam and China Furthermore, this topic holds substantial reference value in related studies, research, and education.
研究方法
To conduct our research on this topic, we have employed fundamental scientific methods, including a historical-logical approach This method allows us to explore the evolution of the Chinese qipao and the Vietnamese áo dài within the context of their respective historical developments.
The analysis and synthesis method examines the characteristics and changes of the qipao and ao dai, piecing together fragments to provide a comprehensive overview of the development history of these iconic Chinese garments.
An interdisciplinary approach is essential for understanding the development of a nation's clothing culture, as it draws on knowledge from various fields such as culture, history, and geography This perspective fosters a comprehensive and accurate appreciation of the achievements in the evolution of fashion within a country.
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, the qipao continues to be a dazzling symbol and a significant achievement in the cultural heritage of Chinese fashion.
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 The evolution and historical development of the qipao have been influenced by three key factors: the Northeast Manchu culture, Mongolian nomadic traditions, and the feudal culture of the Han people, alongside the rise of Western and semi-colonial influences In essence, the qipao has emerged and evolved within a multicultural and multi-ethnic context The Chinese people have continuously strived to inherit, develop, and innovate the qipao, ensuring its modern appearance remains vibrant Remarkably, despite centuries of change, the qipao has not diminished in significance Its rich history showcases a journey from the northern wilderness to Beijing, Shanghai, the south, and regions like Hong Kong and Taiwan, ultimately resonating 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 military actions of minority groups in central and northeastern Vietnam; the Qing dynasty qipao; the ethnic qipao; the modern qipao; and the contemporary qipao Each phase reflects significant historical events and cultural shifts in Chinese society, showcasing the garment's transformation and its enduring significance.
名字“旗袍”
Traditionally, the qipao is understood as an outer garment of the Manchu or women's robe; however, this interpretation is largely speculative and unfounded According to Tu Hai, the qipao originated from the clothing styles of women during the Qing Dynasty, reflecting a significant cultural evolution.
Subsequently, Han Chinese women popularized this attire, which underwent continuous improvements The collar typically features a straight shape, with buttons positioned on the right side, close to the body The garment reaches knee length, has a long silhouette, 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 The first type relates to the Manchu ethnic group, also known as the "Eight Banners" or "Banner People," whose clothing was originally referred to as "banner attire." Over time, due to its complex design and influence from the Ao Dai of Mongolian women during the Nguyen Dynasty, the garment evolved into a simplified and upright form, commonly known today as the "qipao."
The second perspective, based on the views of an emerging professor from Donghua University, offers distinct definitions for "qipao China" and the "reliable record of modern Chinese women's clothing," specifically differentiating between "qipao" and "qifu." The attire worn by women of the Qing dynasty, known as "qifu," evolved through two stages: the first featuring slender shapes with simple decorations suitable for equestrian and hunting lifestyles, and the second reflecting a more stable life, resulting in wider, longer garments with intricate embellishments Additionally, "qipao" is exclusively used to denote ethnic attire, characterized as a traditional garment inherent to women of Chinese nationality This definition highlights its evolution during the qipao era, influenced by modern adaptations of ancient clothing, with preferred materials including traditional silk and handcrafted embroidery, featuring long collars, fitted bodices, and varying lapel designs.
The primary distinction between the two points in the above view lies in the temporal and spatial distance In a narrow sense, the qipao is derived from the clothing of the Qing Dynasty, evolving into a popular women's garment in modern times Broadly, the qipao refers to the attire worn by the Manchu people during the Qing Dynasty, which has been continuously modified and embraced by the Han Chinese community This article aims to conduct an in-depth study of the cultural significance of the qipao and its transformation within urban culture, focusing on its broader implications.
Về cách viết tên loại trang phục này bằng tiếng Việt, hiện chưa có quy định cụ thể nào Các cách viết như sườn/sường, xường/xườn, hoặc xám/sám đều được sử dụng Tuy nhiên, tính đến ngày 14 tháng 2 năm 2009, theo kết quả tìm kiếm
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 dominant presence of qipaos and qipao styles on the internet reflects their cultural significance According to the Cantonese transliteration of Vietnamese, the most accurate representation is crucial for understanding this traditional attire.
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, emerging during the late Qing period, began adopting Western fashion trends, particularly in coastal regions like Pengtian-Liaoning and Shandong This marked a significant cultural shift, as Chinese society rapidly transitioned from traditional attire to Western clothing styles and habits, seemingly overnight.
In the 1920s, the qipao gained popularity in Tonghai, a fashionable city center in China, becoming the preferred attire for women The design of the qipao during this ethnic period differed from Manchu clothing, showcasing a simpler and more conservative style Characterized by a comfortable and spacious fit, the qipao typically reached ankle length, featured a wide body and hem, and had slightly tapered waists with wide, flared sleeves The elegant fabric and straightforward craftsmanship included only minimal decorative elements, lacking traditional techniques like inlay, edging, or embroidery Initially worn by female students and fashionable girls, the qipao soon became widely adopted.
During the ethnic period, the qipao evolved from its original wide design to become a symbol of beauty for Han women, including Manchu women, with a focus on style and design acceptance This unique garment is said to have emerged from a group of girls who relied on the original qipao design Utilizing the inherent foundation of the qipao, they created and expanded upon its styles using blue fabric The resulting fitted bodice of the qipao closely resembled late Qing designs but eliminated 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 gradually spread to cities like Suzhou and Yangzhou The opening of the Huayang Company in Shanghai brought together various industries and urban elements, contributing to the city's unprecedented prosperity, particularly with a significant foreign presence While the qipao style of the early 1920s was not vastly different from that of the late Qing Dynasty, notable changes included a wider waist, broader sleeves, and longer lengths Following this period, the fusion of Manchu shirts with Western styles led to the emergence of the qipao jacket, which surpassed traditional variations Key features included a fitted design with a straight collar, round pockets, and a snug fit, with sleeves that could be seamless or separated, resulting in increasingly form-fitting silhouettes and shorter lengths In April 1929, the Nationalist government established dress codes, making the long qipao 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 period of prosperity where this traditional garment was worn by women of all ages and sizes across various regions Technically, the qipao evolved during this time, incorporating Western tailoring techniques that allowed for distinct front and back designs, as well as separate underarm sections and methods to manage fabric excess or shortages As the qipao became increasingly form-fitting, it contributed to a more open and liberated concept of women's fashion in the 1930s, moving away from the previously 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 a transformation that made it more fitted to the body, showcasing women's curves through the innovative separation of the shoulders and chest Influenced by international cultural trends, women in Shanghai boldly abandoned old styles, blending local attire with Western fashion to create a garment that embodied both Eastern beauty and modern flair The profound social stratification in Chinese society also provided ample opportunities for the qipao to evolve, marking a significant advancement in the image of modern women The fitted qipao, paired with curled hair, sheer stockings, high heels, and leather accessories, defined the most popular fashion trends of the time.
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, the design of the qipao was simplified due to material shortages, resulting in a style that typically fell between the knee and calf, with gradually shorter sleeves and even sleeveless options This evolution created vibrant, lightweight colors and styles that reflected the wartime spirit After the victory in the War of Resistance against Japan, accessories such as zippers, pads, and buttons became widely used, emphasizing the garment's delicate silhouette The popularity of the qipao continued into the 1950s, aligning with modern trends while showcasing the daily lives of urban women in China as it gradually retreated from the domestic sphere.
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 an enthusiastic response from the people of Hong Kong, marking the 1950s and 1960s as the "golden age" for qipao in the region.
The Hong Kong qipao is a continuation of the Hai qipao style, with a notable distinction in this period: the back of the shirt fits closely, accentuating the curves of a woman's silhouette, particularly highlighting the three key areas of the body, including 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 with an emphasis on the curves of the hips and bust, tightly hugging the body From the side, the distinct spacing between the three rings highlights a departure from the traditional straight and elegant design of classic qipaos The structured and refined treatment of the hips contributes to a straight and delicate back, enhancing the waist's slender shape and effectively increasing the volume and tension of the hips In contemporary styles, the qipao typically falls about 4-5 centimeters below the knee, with a relatively high collar and stiff fabric that stands upright This high collar design beautifully 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 in Hong Kong distinctly reflected colonial cultural influences These qipaos were typically shorter in length, with high collars and hemlines that often grazed the knee or were even shorter than those seen in Western styles Additionally, the three-dimensional lines of the qipao were less exaggerated, emphasizing a slimmer waist for Chinese women, while the bust and hips remained smooth and less pronounced compared to previous fashions.
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
Hong Kong qipaos are typically shorter in length compared to traditional styles They feature two main differences: firstly, the hemline is significantly shorter, often reaching just above the knee, similar to Western styles Secondly, 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 bust and hips remain soft, full, and curvaceous.
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 garment There was a noticeable trend towards a return to the classic Chinese qipao style, characterized by longer lengths that sometimes reached the floor, while maintaining high cuts similar to earlier designs Although the variety of qipaos expanded, their fit differed significantly from the styles of the 1950s and 1960s, featuring a more relaxed waist and a flattering hip fit The sleeves became more spacious, the necklines were upright yet not overly tight, reflecting a subtle revival of traditional aesthetics.
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 fashion of Taiwanese qipaos shares similarities with those from Hong Kong However, the differences in trends can be traced back to the 1920s in Hong Kong, where the qipao began to gain popularity By the 1940s, the qipao had become increasingly fashionable and sought after worldwide.
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 erupted, 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 era, it was not the predominant fashion among Taiwanese women at the time.
Starting in 1949, a significant influx of people from other provinces brought the trend of the qipao to Taiwan, where they began producing and wearing this traditional Chinese dress, thus creating a unique fashion culture The qipao became a symbol of nostalgia for those from outside the region, allowing them to express their longing for their homeland through this elegant attire This phenomenon continued into the early 1970s, highlighting the enduring cultural significance of the qipao in Taiwan.
现代旗袍
Since 1978, China has undergone significant social changes, with people increasingly embracing self-improvement and personal style They have begun 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 fashion and daily life in the old society, has experienced a revival, supported by government initiatives In the 1980s, China's textile and garment industry aligned more closely with international trends, leading to the "nationalization of clothing" movement This prompted many domestic designers to incorporate classic elements of the qipao, such as vertical necklines and side profile decorations, into their creations As a result, the qipao began to appear frequently in lifestyle magazines and was embraced as everyday wear by women, despite being primarily showcased in public and media This revival aligns with broader movements for women's liberation, emphasizing natural beauty and comfort in expressing one's femininity The rise of new professions in film, advertising, and promotions has further contributed to the qipao's renewed popularity, making it a fashionable choice once again.
The revival of qipao culture truly gained momentum in the mid-1990s, marking a significant milestone in 1997 This resurgence was highlighted by renowned French fashion house DIOR, which appointed designer John Galliano to create a qipao-inspired fashion show The qipao has garnered unprecedented global attention, captivating Western audiences who recognize its allure and beauty, leading to an influx of Western brands and designers focusing on its design Beyond fashion, artists and the Chinese film industry embraced the qipao, further solidifying its status as a cultural symbol of Chinese femininity Over the years, the qipao has evolved into a representation of Chinese women’s attire, becoming a national emblem Its popularity surged, quickly overshadowing other clothing styles and establishing itself as the primary attire for Chinese women As its fashion evolved, innovative designs emerged, featuring varied necklines, sleeve styles, and skirt lengths tailored to personal preferences This flourishing period also saw iconic figures such as Soong Mei-ling, Lin Huiyin, and Hu Die, who contributed to the qipao's legacy and charm.
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 with a body-hugging upper section and a diagonal button design that extends along one side The shirt features thigh-high slits that create a graceful silhouette, emphasizing femininity Often adorned with intricate five-color embroidery, these garments reflect the rich cultural traditions of China, particularly in Eastern countries Additionally, this dress embodies dignity, elegance, and modesty for young women.
The qipao has played a significant role in defining beauty standards, marking the era of elegance that enhances its allure Since then, it has become an essential garment in showcasing the artistry of Chinese women.
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 a quintessential example of girl’s fashion at the time, this style was initially very popular but gradually lost favor to Western-inspired clothing.
Essentially, it belongs to the millennium qipao, but with variations in both size and the demographic of wearers Additionally, the style has evolved, featuring shorter and more refined hemlines that are meticulously crafted.
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, with a history dating back to the years before 1644, remains a proud symbol of traditional Chinese attire and beauty Despite facing challenges over the years, the qipao has continually evolved to reflect the historical context, needs, and lifestyles of its wearers This adaptability has allowed it to surpass other traditional garments, becoming a representation of national spirit Recognizing the qipao's significance in both physical and cultural life, Longfeng Garment Factory is dedicated to preserving and promoting this iconic dress, ensuring its recognition not only in China but also on the international stage 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 Its global presence attracts attention, although the origins of the Ao Dai remain uncertain Over the years, it has evolved into a distinctive Vietnamese garment recognized worldwide The Ao Dai represents not only unique aesthetics and cultural significance but also serves as a medium for cultural exchange, reflecting the diverse and rich heritage of Vietnam Its history illustrates a continuous interaction between traditional Vietnamese culture and foreign influences, showcasing its development in a multicultural context The Vietnamese people have diligently worked to inherit, refine, and innovate the Ao Dai, ensuring its enduring relevance Even centuries later, the Ao Dai has undergone numerous transformations, both temporally and spatially, solidifying its status as a timeless emblem of Vietnamese identity.
The evolution of the Ao Dai can be categorized into distinct periods: the full adoption of Chinese clothing styles in 970 AD, reforms in clothing regulations in 1744, the introduction of Western-style garments in the 19th century, the rise and popularity of the Ao Dai from 1930 to 1975, a decline in its development from 1975 to 1986, and the emergence of the modern Ao Dai after 1986.
名字“奥黛”
The exact origins of the Ao Dai in Vietnam remain unclear, though early representations of its form can be traced back to the Dong Son culture (3rd century BC - 1st century AD) There are differing opinions on where the Ao Dai first emerged, with some suggesting it originated in southern Vietnam, where French colonial oppression played a significant role in its development The southern region, influenced by a relatively shallow Confucian ideology, was more open to Western thoughts and culture, leading to a quicker adoption of Westernization compared to the north Conversely, others argue that the Ao Dai was initially created in northern Vietnam by designer Nguyen.
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 trang phục truyền thống của Việt Nam, có nguồn gốc từ từ "áo" trong tiếng Việt có nghĩa là "áo" và "dài" có nghĩa là "dài" Áo dài bao gồm một chiếc áo và quần, với phần áo trên giống như áo dài Trung Quốc, có chiều dài đến mắt cá chân, ôm sát cơ thể ở phần ngực và thắt eo giúp tôn lên vòng eo Phần dưới của áo được chia thành hai tà trước và sau, tạo cảm giác bay bổng khi di chuyển Tùy theo vùng miền, áo dài được phát âm khác nhau: "ow yai" ở miền Nam và "ow zai" ở miền Bắc Áo dài cũng được gọi là "áo dài Việt Nam" do thiết kế tương tự như áo dài của Trung Quốc.
Từ "áo dài" (ao dai / ˈɑːzɑːi /) lần đầu tiên được đưa vào từ điển Oxford, được mô tả là trang phục truyền thống của phụ nữ Việt Nam, bao gồm một chiếc áo dài với thiết kế hai vạt trước và sau, kết hợp với quần dài che phủ mắt cá chân.
现代 1934 年奥黛
Initially, the "ao dai" faced strong opposition from intellectuals, particularly against Vietnamese women having close contact with French men or husbands, as noted by Nguyen Trong Huan However, for generations born before the 1920s, the modern ao dai became widely accepted in society In the 1940s, the ao dai was often paired with the conical hat, which had previously been worn only by men, or headscarves The design of the ao dai evolved to feature two different lengths of flaps In 2007, the ao dai saw further updates with the incorporation of new materials, including lace.
"Le Mur," the French translation for "The Wall," refers to a mascot created by an artist named Le Mur in the 1930s, who is known for his work on five-body murals.
The shirt underwent significant reform, featuring only two flaps at the front and back 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 feminine look, the front buttons were repositioned along a shoulder opening and extended down the side, with the front cover ending 8 centimeters below the waist A notable change is the subtly compressed waistline, which gives the appearance of a larger bust around the abdomen This artistic feature marks a first in Vietnamese women's fashion and has sparked considerable public attention However, the Le Mur design includes many embellishments that some consider extravagant, such as puffed sleeves and a plush neckline Additionally, the Le Mur shirt pairs stylishly with white satin pants, showcasing a contemporary aesthetic.
The modern style of holding an umbrella in one hand and a handbag in the other has gained popularity among many, yet it faced criticism from some circles at the time, who deemed it inappropriate, as reflected in the negative commentary surrounding the trend.
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 Au Dai had the fortune of meeting photographer Wu An'e's granddaughter, Zheng Yao, and invited her to create another lemur dress for Queen Nguyen He then traveled south to paint in blue attire for several reformers, including artist Feng Xia.
Như nhiều tin đồn đã nói, nghệ sĩ Lê Phổ không cải thiện cách thức của lemur Ô Đài để làm cho trang phục phương Tây phù hợp với áo dài truyền thống Khi cửa hàng của Marie khai trương, cửa hàng của Lê Y Sương cũng đã mở cửa.
Năm 1934, họa sĩ Lê Phổ đã giới thiệu một thợ may cho họa sĩ吉祥, người là cháu trai của ông.
Trong số các sản phẩm đặc trưng theo mùa, Lê Phổ có một trang riêng về trang sức nhưng không thiết kế áo dài Vào cuối tháng 10 năm 1937, Lê Phổ đã đưa một thợ may giỏi trở lại cửa hàng thời trang Lemur ở Pháp trong lần trở lại thứ hai Sau khi mối quan hệ tình cảm với bạn gái tan vỡ, Lê Phổ không trở lại mà 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 phát triển một phong cách độc đáo, không phải là một kiểu mới mà là sự lựa chọn phù hợp cho từng khách hàng Kiểu dáng có thể được điều chỉnh nhẹ để phù hợp với cơ thể và lựa chọn màu sắc phù hợp với tông da của khách hàng Bác sĩ sẽ "cho thuốc" bằng cách kê đơn thuốc, trong khi khách hàng có thể mua thuốc sẵn có.
一些1930年代的Lemur风格
7 Dịch từ“'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 mới tuyên bố độc lập, phong trào “diệt giặc đói, giặc dốt” được khởi xướng nhằm thúc đẩy một cuộc vận động tiết kiệm Vào ngày 20 tháng 3 năm 1947, Hồ Chí Minh, dưới bút danh Tản Đà, đã viết bài “Đời sống mới” khuyến khích người dân từ bỏ thói quen mặc áo dài kết hợp với áo khoác, vì sự bất tiện khi di chuyển Chi phí cho một bộ áo dài có thể may được ba chiếc áo sơ mi, và nếu chỉ mặc áo sơ mi, mỗi năm có thể tiết kiệm được 200 triệu đồng Áo dài không còn phù hợp với đời sống mới của phụ nữ Việt Nam Phong trào này dần nhận được sự ủng hộ từ người dân, và trong một thời gian dài, áo dài không còn là trang phục chính của phụ nữ Việt Nam ở phía bắc vĩ tuyến 17.
Cuối năm 1958, khi Chen Lệ Xuân còn là Đệ nhất phu nhân của Việt Nam Cộng hòa, bà đã thiết kế một kiểu áo dài mới mang tính sáng tạo, được gọi là áo dài thuyền cổ với phần cổ mở và cắt sâu Kiểu áo này được biết đến với tên gọi áo dài Chen Lệ Xuân hay áo dài bà Như Không chỉ lạ lẫm với thiết kế, cổ áo dài mở còn mang tính "phá cách" và được trang trí bằng họa tiết cây trúc mọc hướng vào trong Một số nhà phê bình phương Tây cho rằng điều này phù hợp với thời tiết nhiệt đới của miền Nam Việt Nam.
8 Dịch từ : Tân Sinh, "Đời sống mới", Ban vận động Đời sống mới 1947, hoặc
Hồ Chí Minh, Về đạo đức cách mạng, trang 14, Nhà xuất bản Chính trị quốc gia, năm 2007
The style that once infuriated archaeologists for its perceived deviation from good customs has evolved over time Today, the popular sleeveless dress features a rounded neckline, differing from its original, shorter design.
（来源: 互联网）
奥黛丽（Raglan）手（1960）
In the 1960s, the first tailor shop in the First District of Ho Chi Minh City introduced the Raglan-style ao dai, which featured a unique hand-assembly technique This method addressed the common issue of wrinkling at the armpits when sewing ao dai The distinctive button arrangement slopes down from the neckline to the armpit and extends along one side, allowing the fabric to fit snugly from the underarm to the waist This design not only enhances the silhouette of the female form but also, according to some designers, adds to the overall aesthetic appeal of the ao dai.
图 12 ：奥黛 与 raglan 袖 绘图
（来源: 互联网）
The Raglan short-sleeve shirt is widely used for girls in Austria, featuring a collar that matches the short sleeves The design includes leg coverage with two leg straps, while the pants are secured with fecmotuy and come with additional pockets for practicality.
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）
The materials and designs of wedding dresses are akin to those of evening gowns, featuring colorful pants, sequins, modern embroidery, back zippers, and long flaps that can be folded back for bridesmaids to secure During this time, the traditional image of Vietnamese people, characterized by the five-pocket Zhongshan suit, scarves or brooches, wide-brimmed hats, and traditional footwear like slippers or wooden clogs, has almost been forgotten.
创新的奥黛 2017
The 2017 Year of the Rooster ushered in a new era for the traditional áo dài, showcasing a powerful blend of innovative designs and rich materials This evolution highlights the cultural significance of Vietnamese elements such as rural bamboo, lotus flowers, and representations of Vietnamese women The áo dài features classic triangular sleeves, complemented by short skirts and underlayers, reflecting a modern twist on this iconic 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 the Ao Bao, people often associate it primarily 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 This shirt is adorned with five buttons made from materials such as metal, jade, and wood, distinguishing it from the fabric buttons commonly found on Chinese qipaos The design represents a mother with four fathers, while the smallest body symbolizes the child, reflecting the wearer's identity The shirt is designed to be loose-fitting rather than tight, allowing for greater dispersion as it hangs lower, with wide sleeves that can vary in width.
Shirts are typically worn in elegant colors and lack collars or hems, often paired with a white bra as a backdrop to showcase cleanliness This style reflects the Vietnamese cultural belief that true beauty is found within Each shirt is consistently accompanied by a towel, adding to the overall aesthetic.
Theo lời của thầy đo đạc Trần Gia Hồng, trang phục truyền thống của nam giới bao gồm áo năm phân, quần dài và khăn quàng Phụ nữ và nam giới thường sử dụng màu sắc tươi sáng như cầu vồng, trong khi các chàng trai thường chọn màu đen, trắng hoặc xanh đậm Theo sắc lệnh của Lê Văn Duyệt, quy định về trang phục cho nam giới khá nghiêm ngặt và không thoáng mát: "Thường phục thì đàn ông, đàn bà dùng áo cổ đứng ngắn tay, cửa ống tay hoặc rộng hoặc hẹp tùy tiện Áo thì hai bên nách trở xuống phải khâu kín liền không cho xẻ mớ Duy đàn ông không muốn mặc áo cổ tròn và hẹp tay cho tiện làm việc thì cũng được" (trích sắc dụ này).
9 Dịch từ : “Sao Việt lăng xê mốt áo dài cách tân Xuân 2017”
Since 1952, Prime Minister Chen Wenyu has established a national dress code for government officials, specifying that for religious or historical ceremonies, the attire should consist of a jacket and a scarf, complemented by black or white silk trousers.
In traditional ethnic attire, legal documents such as the decree from Lord Nguyen Vuong and the more defined dress standards set by Emperor Gia Long indicate that women's high collars are bolder in design.
The Ao Dai, a traditional Vietnamese dress, is primarily showcased during cultural festivals and weddings Notably, in 2006, during the APEC summit held in Vietnam, leaders from APEC economies donned the Ao Dai, highlighting its significance as a symbol of Vietnamese heritage.
图 13 ：奥黛在2006年河内举行的APEC会议上
越南的象征
10 Dịch từ : Nguyễn An Tiêm "Sổ luân lưu" Khởi hành Năm XV, số 173, Tháng Ba, 2011 tr 6
The Vietnamese Ao Dai embodies the vibrant spirit 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 for formal home receptions Its modern design ensures it is neither bulky nor cumbersome, allowing for easy wear with silk pants or soft fabrics, paired with heels, ballet flats, or sneakers For formal occasions, accessories such as a dressy scarf or Western-style crown can be added to enhance the outfit.
Before 1975, the white áo dài was a mandatory uniform for high school girls in southern Vietnam After the reunification, some schools replaced the áo dài with their own uniforms, while in most northern schools, girls were only required to salute the áo dài on Mondays.
The modern Ao Dai celebrates every body type with its unique design The fitted bodice hugs the body, while the soft flaps drape over wide trousers, creating a comfortable and elegant silhouette The waistline's flaps enhance the wearer's posture, offering a graceful and feminine look, accentuated by the soft silk that hugs the body and the shirt's exposure at the waist, adding a touch of sensuality Each modern Ao Dai is highly personalized, tailored specifically for the individual, with meticulous measurements taken by the tailor and fitting adjustments made after the initial sewing.
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 fit that embraces the wearer's body Key features include a belt, two front and back flaps resembling a corset, flaps extending to the head, sleeves sewn from the shoulders close to the arms, and buttons that are simply buttons.
The previous description, while accurate, lacks depth as it only outlines the structural aspects of the two-piece Ao Dai that emerged in the 1930s, influenced by modern European fashion trends However, the Ao Dai boasts a rich history spanning over 300 years, with traditional designs and textures—particularly the longstanding five-piece Ao Dai—differing significantly from what we recognize today as the innovative shirt style.
Sự khác biệt dễ nhận thấy nhất giữa áo dài năm thân và các loại áo khác là áo dài năm thân có thân rộng, không có eo và chiều rộng cơ thể lớn hơn Khi mở áo, phần cổ áo sẽ bị cong Một đặc điểm tiếp theo của áo dài năm thân là nó được cấu thành từ năm mảnh vải may dọc lại với nhau, với thân trước và thân sau được may theo đường giữa của sống lưng, trong đó phần bên phải phía trước có hai lớp với một "thân con" bên trong, 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 nhìn vào hình dáng cổ áo.
In a refurbished two-piece Aobao, if the wing is too long or positioned too close to the heel, the five-piece Aobao's wing may only slightly exceed the pillow's length Typically, the five-piece sleeve is not directly attached to the scapula; instead, the fabric used for the body is sewn into the half-sleeve, with another fabric connecting to the sleeve This design results in a very wide underarm area, secured only at the wrist, contrasting with the innovative snug underarm fit that enhances comfort during movement for the wearer.
The five-body coat exclusively uses buttons, avoiding any other fasteners In the 1930s, innovative buttons on dresses and modern shirts sparked dissatisfaction among older generations, who viewed buttons as vulgar and a departure from tradition Today, the materials used for buttons, such as stone, pearl, copper, and wood, cater to individual preferences and styles, resulting in a diverse range of products.
The materials and colors of five-body shirts can be distinguished based on social class For popular styles, the fabrics are typically straight-cut, with a preference for darker shades like brown and black In contrast, higher social classes, such as nobility, often opt for more refined materials and a broader color palette.
The article discusses the use of high-quality fabrics such as satin, silk, and brocade, adorned with exquisite embroidery and textile patterns It highlights that the colors of these materials vary depending on their location, featuring accessories like hands and diamonds.
In today's era 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 Artisans in craft villages are not only reconstructing the iconic Qipao using various materials and vibrant colors to meet customer demands but are also creating accessories to complement these garments.
Vào năm 2013, cuốn sách "Ngàn năm áo mũ" của nghiên cứu viên Trần Quang Đức đã góp phần hình thành những 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 như phim ảnh, kịch và video âm nhạc đang khôi phục lại trang phục truyền thống này Trong số đó, việc tái hiện theo truyền thống cổ xưa được thực hiện bởi nghệ sĩ áo dài Tú Duy và nghiên cứu viên Trịnh Bạch, 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 Vietnamese wedding attire features the bride in a red ao dai, often worn during ceremonies, complemented by high heels Meanwhile, the groom typically wears shorts paired with Western-style shoes, showcasing a blend of cultural and modern fashion elements.
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 trong thơ ca và âm nhạc Một bài thơ nổi tiếng về áo dài là "Áo lụa Hà Đông" của Nguyễn Sa, bài hát này đã trở thành một ca khúc nổi tiếng và 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 được yêu thích trong các bài hát Việt Nam Trong âm nhạc của nhạc sĩ Trịnh Công Sơn, hình ảnh áo dài xuất hiện khá nhiều Theo ghi chép, giai điệu của bài hát "Diễm xưa" do gia đình nhạc sĩ Trịnh sáng tác đã khắc họa hình ảnh cô gái trong chiếc áo dài màu tím Ngoài ra, trong bài hát "Hạ trắng", hình ảnh áo dài cũng được miêu tả một cách nhẹ nhàng và bay bổng.
“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 Among the Evening Primroses," created by artist Su Yuyun in 1943, is one of Vietnam's earliest and most renowned modern artworks It features a girl in a contemporary ao dai seated next to 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 designs feature a series crafted from double-layered silk fabric, with necklines and sleeves elegantly layered in a kimono style The primary color palette consists of pink and fuchsia, drawing inspiration from 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 essential 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 significant aspect of Vietnamese culture, representing the soul of the people and carrying the weight of thousands of years of civilization Its elegance, charm, and sensuality contribute to the pride of the Vietnamese, making it not just a garment but a cultural emblem that enhances the allure of Vietnamese women and serves as a vital element of traditional sports culture.