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Fashionable Open Long Robe Style Coat

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Fitted dress in Chinese culture

For the male version of the cheongsam, see Changshan.

"Qi pao" redirects hither. For the Thai television series, run into Qi Pao (TV series).

Cheongsam
Qipao women.jpg

A woman in a cheongsam
Type Dress
Cloth Silk, cotton
Place of origin Cathay
Cheongsam
Cheongsam (Chinese characters).svg

"Cheongsam" in Traditional (top) and Simplified (bottom) Chinese characters
Traditional Chinese 長衫
Simplified Chinese 长衫
Literal meaning long garment
Qipao
Chinese 旗袍
Literal meaning banner gown

The cheongsam (, ), also known as the qipao (), is a Chinese clothes worn past women which takes inspiration from the ethnic clothing of the Manchu people. It is most often seen as a longer, figure-fitting, one slice garment with a standing collar, an asymmetric left-over-correct opening and ii side slits. It was popular in China from the 1920s to 1940s, overlapping the Republican era, and was popularized by Chinese socialites and high lodge women in Shanghai.[ane] Information technology is sometimes known as the mandarin gown.

Terminology [edit]

As English loanwords, both "cheongsam" and "qipao" draw the same type of trunk-hugging apparel worn by Chinese women, and the words could exist used interchangeably.[two] The term qipao (derived from Hanyu Pinyu) is used in mainland China, whereas cheongsam (derived from Jyutping) is more than commonly used in Hong Kong.

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

The discussion qipao ( keipo ), which literally ways "Bannerman robe" and originally referred to a loose-fitting, trapezoidal-cut garment worn by both Manchu men and women, became a more formal term for the female chèuhngsāam . Usage of the term "cheongsam" in Western countries mostly followed the original Cantonese meaning and applies to the dress worn by women simply.

History [edit]

Background [edit]

A model of the Qing-style Han Chinese wearing apparel that Han women wore effectually the 19th to 20th centuries. Noticeably, the Han women wore skirts below their Qing-style tops, which was inherited from the Ming dynasty style clothes

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

The Manchus are an ethnic minority that founded the final of China'south imperial dynasties, the Qing Dynasty, which lasted from 1644 to 1911. When the dynasty was first established, dress regulations were implemented as a mode of expressing their identity equally a people and create social order. They used an administrative partitioning called the Eight Banner organization. Originally only the Manchu households were organised within this system, simply over time naturized Mongols and Han Chinese were incorporated. The Manchus, and anyone living under the 8 Banners organization, wore different clothing from ordinary civilians. Thus they became known every bit Banner People (旗人 pinyin: qí rén ). The Manchu clothing that they wore consisted of similar long robes for both men and women. These were called changpao (長袍). The Manchu people were originally nomadic and their clothing was designed for ease of mobility when riding horses, which is where the 2 side slits of the qipao came from.

For a period of fourth dimension under the dynastic laws during transition from Ming to Qing, all Han Chinese were forced to adopt the Manchu male person queue hairstyle (see Queue Order) and the Manchu changpao instead of traditional Han Chinese vesture nether a policy threatening the penalty of decease called tifa yifu (Chinese: 剃发易服; pinyin: tìfāyìfú ). Still, the society for ordinary non-Banner Han civilians to wear Manchu clothing was lifted, and just those Han who served as officials or scholars were required to wear them. Over time though, some Han civilian men voluntarily adopted changshans. By the tardily Qing, non but officials and scholars, but a keen many Han commoners wore Manchu male person attire.[3] [four] Until 1911, the Manchu changpao was required habiliment for Chinese men of a certain class.

For women, Manchu and Han systems of clothing coexisted.[5] Throughout the Qing dynasty, Han civilian women connected to wear traditional Han clothing from the Ming dynasty.[6] Every bit a result, Ming dynasty way wearable was retained in some places in China until the Xinhai Revolution of 1911.[7]

Throughout China'southward multicultural history, wear has been shaped through an intermingling of Han wear styles, Han beingness the dominant ethnicity, and the styles of various ethnic groups. Some examples of this include the standing collar of the qipao, which has been found in relics from the Ming Dynasty (1368–1644 AD), ruled past Han Chinese, and was subsequently adopted in Qing Dynasty Manchu clothing items.

Nativity of the cheongsam [edit]

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

The predecessor of the more well known qipao resembled the men's changpao. The changpao was a long gown unremarkably associated with the male literati class. The first 1920s iteration was androgenous and had a "wide, angular and puritanical cut"[8] This version was adopted primarily past activists and students who had studied abroad. This cross-dressing reflected, among other things, a desire for women to be seen equally equals in the public sphere.

The version seen equally the typical cheongsam in China today was popularized past the celebrities, socialites and politicians of the time in Shanghai from the 1920s to the 1940s. Old Starting time Lady of Red china Madame Wellington Koo (Oei Hui-lan) was a prominent effigy among them.[9] [10] Voted several times past Vogue into its lists of the world's best-dressed women, Madame Wellington Koo was much admired for her adaptations of the traditional Manchu fashion, which she wore with lace trousers and jade necklaces.[nine] [ten] Cheongsam dresses at the fourth dimension had been decorously slit a few inches up the sides, but Madame Koo slashed hers to the articulatio genus, 'with lace pantelettes but visible to the talocrural joint'.[10] Different other Asian socialites, Madame Koo as well insisted on local Chinese silks, which she thought were of superior quality.[ix] [10]

Farther transformation [edit]

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

Starting from the early 1930s, there was a further feminization of the qipao as it became increasingly shorter and tighter and thus arose an emergence of the female body. Consumer civilization was also on the rising as Western and Chinese merchants co-operated to movement towards capitalism.[11]

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

According to the Wear Regulations, the cheongsam needed to exist worn with trousers and be calf-length, just with the introduction of Western fashion many people replaced trousers with stockings and added matching accessories. The side slits were re-purposed into an artful pattern reaching the top of the thighs to reflect the new fashion trend. By the 1940s, trousers had completely fallen out of utilize, replaced past dissimilar type of hosiery. Loftier-heeled shoes were another style trend introduced to Shanghai at the same time, and it became an essential part of cheongsam fashion set up, which continued into modern days.[13] As tendency of hosiery in plough declined in later decades, women started to wear cheongsam more commonly with blank legs. While this development settled the cheongsam as a one-piece dress, by contrast, the related Vietnamese áo dài retained trousers.

The modernized version of cheongsam is noted for accentuating the figures of women, and as such was popular every bit a dress for high society. Every bit Western fashions evolved, so does the cheongsam blueprint, with introduction of high-necked sleeveless dresses, bell-like sleeves, and the black lace frothing at the hem of a ball gown. By the 1940s, cheongsam came in a wide variety of fabrics with an equal diversity of accessories.

The 1949 Communist Revolution curtailed the popularity of the cheongsam and other fashions in Shanghai, merely the Shanghainese emigrants and refugees brought the fashion to Hong Kong and Taiwan where it has remained popular. Recently[ when? ] at that place has been a revival of the Shanghainese cheongsam in Shanghai and elsewhere in Mainland Prc; the Shanghainese style functions now generally equally a stylish political party apparel.

Popularity and women'south liberation [edit]

The Republican period is the golden age of cheongsam. In exploring reasons backside its prevalence in Democracy of Mainland china, many scholars chronicle it to the women's liberation movements. Later on the feudal Qing dynasty was overturned, Chinese feminists chosen for women'southward liberation from traditional roles and they led several movements against the Neo-Confucian gender segregation, including a termination of bound feet for women, cutting off long hair which was conventionally symbolized as women'south "oriental" beauty, and encouraging women to wear men'southward i-piece clothing, Changshan or "changpao".

"Changpao" was traditionally taken as men's patent throughout the long history since Han dynasty (202 BC to 220) to Qing dynasty (1616–1911). During that fourth dimension, Chinese Han female's clothing gradually developed into two pieces. Women were forbidden to wear robes as men did and instead had to wear tops and bottoms known as "Liang jie yi". After the Xinhai Revolution of 1911 (which overthrew the Qing dynasty), young Chinese people began to learn Western scientific discipline and cultures in order to seek a way of saving the nation. As well, the opening of several ports and ceding territories of China to Western powers imported some Western ideas to mainland China. Amidst all these Western thoughts, the thought of gender equality chop-chop gained its followers, amidst whom young female students became its prime advocates.[fourteen]

It was the May Thirteenth Movement of 1925, where anti-Westernization demonstrations persisted throughout the country, that served as an important push in the qipao'south institutionalization. The Republicans declared the qipao a formal dress in the Clothing Regulations of 1929. The dress was meant to assert the importance of nationalism through rejecting Western forms of dress. That being said, in that location were even so strict rules regulating how the clothes needed to be worn including specifications about length, material, accessories, collar, buttons and sleeves, but curiously enough, none of these were followed.[xv]

From the start, there was no unifying way for the clothes similar the Republicans intended; Chinese women had no respect for the Wearable Regulations of 1929 which tried to control individuality. There were endless variations in manner, with adaptations to length, material, hemlines, collars, fabrics, patterns, colours and with the accessories it was paired with. Information technology was worn by everyone from Shanghai sociolites to students, housewives, and prostitutes. [16]The manner of the qipao was often in tune with way cycles and was influenced by Western trends seen through women styling it with matching scarves, fur coats and leather heels. Magazines such as LingLong also gave women access to dressmaking knowledge and normalized information technology for women to make their own dresses in their own style. The base form of the qipao is rather simple to sew, which makes information technology easily accessible and economic.

The mode of cheongsam likewise varied due to Western influence. It changed from a wide and loose style to a more form fitting and revealing cut, which put more emphasis on women's body line. The length of cheongsam was too reduced from ankle reaching to in a higher place the knee.

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

Timeline of Chinese apparel [edit]

Starting from the Qing dynasty, changpao, which was the early form of cheongsam, was the daily wearing apparel of Manchus Bannerman. Apart from cheongsam, changpao was a long robe without sleeves and collars.[ citation needed ]

Until the 1920s, right afterward the overthrow of the Qing dynasty and founding of the Republic of Communist china, cheongsam was originated in Shanghai. Cheongsam of the early 1920s had loose cut, with long, wide sleeves. Afflicted past Western civilization, cheongsam kept on changing, such as becoming more fitted and body-hugging, with side slits that reached up to the thigh.[17] [18] Moreover, numerous distinct designs were unveiled and cheongsam became a way trend.[19]

In 1929, cheongsam was chosen by the Republic of China to be 1 of the national dresses. In the 1930s, the manner prevailed in Shanghai. At that time, cheongsam was fabricated of silk and embroidered with pearls and other decorations. Also, they were close fitting, and drew the outline of the wearer'southward body.

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

From the 1950s to the 1970s, due to the anti-tradition movements in China, especially the Chinese Cultural Revolution (1966–1976), the cheongsam was seen as a feudal apparel of the ancient times. It was abandoned every bit daily clothing, and people who wore cheongsams were judged equally being bourgeois, which was considered a political misbehaviour at that time. For instance, in 1963, when Chinese President Liu Shaoqi visited four neighbouring countries in Southward Asia, first lady Wang Guangmei wore a cheongsam. She was subsequently declared guilty in the Cultural Revolution for wearing a cheongsam.

Since the 1980s, with the trend of reevaluation of Chinese traditional culture, people in mainland Communist china started to pay attention to the cheongsam again. The cheongsam is gaining popularity in films, beauty pageants, and manner shows in both China and other countries all over the world. In 1984, the cheongsam was specified as the formal attire of female diplomatic agents past the People's Commonwealth of Cathay.

  • Guangxu Catamenia
    (1875–1908)
    Lady Heseri

  • Guangxu Flow
    (1875–1908)
    Lady Aixingioro Hengxiang

Modern use [edit]

Workplace [edit]

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

Some airlines in Mainland Prc and Taiwan, such as China Airlines[20] and Hainan Airlines,[21] have cheongsam uniforms for their women flight attendants and ground workers. These compatible cheongsams are in a plain colour, hemmed just to a higher place the knee, with a shut-plumbing fixtures wool accommodate jacket of the aforementioned colour as the cheongsam. It is likewise common for these uniforms to only infringe certain elements, such as the standing neckband and frog clasps without adopting the whole pattern.

In the 1950s, women in the workforce in Hong Kong started to vesture more functional cheongsam fabricated of wool, twill, and other materials. Virtually were tailor fitted and often came with a matching jacket. The dresses were a fusion of Chinese tradition with modern styles. Cheongsam were ordinarily replaced by more comfortable clothing such as sweaters, jeans, business suits and skirts. Due to its restrictive nature, it is at present mainly worn as formal wear for important occasions. They are sometimes worn by politicians and film artists in Taiwan and Hong Kong. They are shown in some Chinese movies such as in the 1960s motion-picture show The Globe of Suzie Wong, where extra Nancy Kwan made the cheongsam briefly fashionable in Western culture. They are also commonly seen in dazzler contests, along with swim suits. Today, cheongsam are only unremarkably worn solar day to day as a uniform by people similar eating place hostesses and serving staff at luxury hotels.

School uniform [edit]

A few main schools and some secondary schools in Hong Kong, especially older schools established by Christian missionaries, use a manifestly rimmed heaven-blue cotton and/or nighttime blue velvet (for winter) cheongsam with the metal school bluecoat right nether the stand-upwardly collar to be closed with a metallic hook and eye as the official uniform for their female students. The schools which use this standard include Truthful Light Girls' College, St. Paul'south Co-educational College, Heep Yunn School, St. Stephen'due south Girls' Higher, Ying Wa Girls' School, etc. These cheongsam are usually straight, with no waist shaping, and the cheongsam hem must reach mid-thigh. The cheongsam fit closely to the neck, and the stiff neckband is hooked closed, despite the tropical humid and hot weather. Although the skirts take curt slits, they are too narrow to let students to walk in long strides. The seams above the slits often split up when walking and are repeatedly sewn. Many schools also require underskirts to be worn with the cheongsam. The underskirt is a white cotton full slip, hemmed slightly shorter than the cheongsam, and have slits at the sides like the cheongsam, although the slits are deeper. A white cotton undershirt is often worn underneath the cheongsam. The cheongsam's length, styling, color and sleeve length varies between schools. Many students feel it an ordeal, yet it is a visible manifestation of the strict bailiwick that is the hallmark of prestigious secondary schools in Hong Kong and many students and their parents similar that. Some rebellious students express their dissatisfaction with this tradition past wearing their uniform with the stand up-upwards collar intentionally left unhooked or hemmed to a higher place their knees. The Ying Wa and True Light Schools have sent questionnaires to their students near compatible reforms just have not altered their policies.[22] However, Madam Lau Kam Lung Secondary Schoolhouse of Miu Fatty Buddhist Monastery ended their cheongsam uniform in 1990 later on receiving suggestions from its student matrimony.[23]

Festivities [edit]

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

Weddings [edit]

In Western weddings, Chinese brides or brides marrying into a Chinese family, will often wear cheongsam for a portion of the nuptials day. It is common for many brides to have both a traditional white wedding dress and a cheongsam or kwa to be worn during the tea ceremony. Cheongsam styles accept also evolved to be more than modernistic from mermaid silhouettes to semi-traditional styles that characteristic a cheongsam superlative with softer details like lace and a looser brim.[24]

Lolita way [edit]

Some Lolita dresses are styled similar a cheongsam. The dresses or jumper skirts are designed later traditional Chinese dresses. This style of Lolita fashion is called Qi Lolita.[25]

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

  • Typical modern cheongsam in curt style higher up the knee joint

On the international stage [edit]

[edit]

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

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

Political stage [edit]

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

In contemporary Red china, the meaning of cheongsam has been revisited once again. Information technology at present embodies an identity of existence indigenous Chinese, and thus is used for important diplomatic occasions.

Since 2013, Peng Liyuan, the kickoff lady of Cathay, has worn cheongsam several times while on foreign visits with Chinese leader Eleven Jinping.

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

International style [edit]

With the growth of the Chinese economy, cheongsam has experienced a renewed popularity. Many Western designers accept integrated elements of cheongsam in their way collections. French designer Pierre Cardin once said that cheongsam was his inspiration for many of his evening apparel designs.[29] In many films and movies, cheongsam is used to make a fashion statement. The varied interpretations of this ethnic dress brings in debates of cultural appropriation and the designs being linked to Orientalism. In the 2011 moving-picture show One Day, Anne Hathaway wore a set up of nighttime blue cheongsam as evening apparel.[ citation needed ] Many western stars such as Elizabeth Taylor, Grace Kelly, Nicole Kidman, Paris Hilton, Emma Watson, Deepika Padukone, and Celine Dion have also made public appearances wearing cheongsam.

Controversies on origin [edit]

The cheongsam is generally considered to exist adapted from the jumpsuit dress of Manchu women during the Qing dynasty. However, at that place has been considerable contend on the origin of the cheongsam in academic circles. The following are three common arguments on the origin of the cheongsam:

The first statement says that the cheongsam came straight from the clothing of the banner people when the Manchu ruled Communist china during the Qing dynasty. This argument was prominently represented past Zhou Xibao (Chinese: 周锡保) in his work The History of Aboriginal Chinese Clothing and Ornaments.[thirty]

The second opinion holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty, but the truthful origin of the cheongsam dates back to a period between the Western Zhou dynasty (1046–771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty. According to Yuan Jieying's (Chinese: 袁杰英) book Chinese Cheongsam, the modern cheongsam[31] shares many similarities with the narrow-cut direct brim that women wore in the Western Zhou dynasty.[32] And Chinese Professor Bao Minxin (Chinese: 包铭新) also pointed out in his book A Real Record of Modern Chinese Costume that the cheongsam originated from the ancient robe in the Han dynasty (206 BC-220 AD). The robe is a one-piece upper and lower connected long clothes which was quite popular among ladies in Han.[33]

The third argument was raised by Bian Xiangyang (Chinese: 卞向阳) in his volume An Analysis on the Origin of Qipao. Bian thinks that the cheongsam originates from neither the robe nor the chángpáo. Information technology is an adaption of Western-style dress during the Republic of China era when people were open to the Western cultures. In his stance, the cheongsam was a hybrid of traditional Chinese costumes and Western costumes such as the waistcoat and one-slice wearing apparel.[34]

Like garments [edit]

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

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

In the 18th century, in an attempt to carve up his domain from Tonkin ruled past his rival Trịnh clan and build an independent land, Lord Nguyễn Phúc Khoát (reigned 1738–1765) forced his subjects to article of clothing Ming dynasty style Chinese clothing.[39] The ethnic Kinh robe (i.east. the traditional áo giao lĩnh, a type of crossed-neckband robe, which was identical to the ones worn by the Han Chinese)[40] was therefore replaced by a robe with Chinese-style fasteners,[39] which was buttoned in the front,[41] and had an upright collar.[38] The skirt which was worn by the Vietnamese was also replaced by trousers under his rule.[38] [39] This form of new fashion became the paradigm of the áo dài; it was a form of áo ngũ thân which was invented past Lord Nguyễn Phúc Khoá; the áo ngũ thân also had v flaps instead of four (the 5th flap was small and was institute nether the front garment) and v buttons.[38] [42] Some other new course of way included a type of four-panel robe which was described by Lê Quý Đôn as an áo dài which was loose fitting similarly to the áo giao lãnh.[39] Nether the rule of Emperor Minh Mang, ii new forms of áo dài were created from the áo ngũ thân regulated by Nguyễn Phúc Khoát: the áo tứ thân, and the Huế-way áo dài which was created with v flaps.[38] The Huế-manner áo dài represented royal court culture of the Huế and later adult influenced the modern áo dài. [38]

Meet likewise [edit]

  • Hanfu
  • Mao conform
  • Chinese clothing

References [edit]

Citations [edit]

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  4. ^ Twitchett, Denis; Fairbank, John G. (2008) Cambridge History of Prc Volume nine Part 1 The Ch'ing Empire to 1800, p87-88
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Sources [edit]

  • Bai Yun (2006). Zhongguo lao qipao: lao zhaopian lao guanggo jianzheng qipao de yanbian [The traditional qiapo of China: show of its [stylistic] changes in erstwhile photographs and one-time advertisements]. Beijing: Guangming ribao chubanshe. ISBN9787802061866. OCLC 123015683.
  • Bao Mingxin; Ma Li, eds. (1998). Zhongguo Qipao [People's republic of china's Qipao]. Shanghai: Shanghai wenhua chubanshe. ISBN9787805119960. OCLC 51630832.
  • Chang, Eileen (Zhang Ailing) (Fall 2003). Andrew F. Jones, trans. "A Chronicle of Changing Clothes". Positions: Eastern asia Cultures Critique. 11 (2): 427–441. doi:10.1215/10679847-11-2-427. S2CID 145592956. Archived from the original on 15 November 2013. Retrieved 6 July 2012.
  • Clark, Hazel (2000). The Cheongsam. Images of Asia. Hong Kong: Oxford University Press (Communist china). ISBN9780195909395. OCLC 44876865.
  • Finnane, Antonia (2007). "Chapter half dozen: Qipao China". Changing Clothes in China: Fashion, History, Nation. New York: Columbia University Printing. pp. 139–176. ISBN9780231143509. OCLC 84903948.
  • Roberts, Claire, ed. (1997). Evolution and Revolution: Chinese Clothes 1700s–1900s. Sydney: Powerhouse Pub., Museum of Applied Arts and Sciences. ISBN9781863170673. OCLC 37745658.
  • Lee, Chor Lin; Chung May Khuen (2012). In the Mood for Cheongsam: A Social History, 1920s–Present. Singapore: Editions Didier Millet and National Museum of Singapore. ISBN9789814260923. OCLC 767566394.
  • Schmitz, Rob (ii June 2012). "The Street of Eternal Happiness: The Tailor". Marketplace . Retrieved 22 June 2012. [ permanent dead link ] Near a tailor of cheongsam who has been in the business for nearly eighty years.
  • Van Roojen, Pepin (2009). Cheongsam 旗袍 (Book + CD-ROM). Pepin Fashion, Textiles & Patterns, no. 1. Amsterdam: Pepin Printing. ISBN9789460090011. OCLC 632704710.

External links [edit]

  • About.com entry on the qipao

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