How The Current Traditional Cheongsam Incorporates Historical Influences

Specific purpose: To inform my audience about the significance of the traditional dress, “Ao Dai” in Vietnamese culture.

From this project, my topic is the change of clothing style can be one symbol of culture shifts. I choose three different dynasties’ clothes to analyze it. This is an interesting part during the Chinese history because when the dynasty comes to the next, clothes’ style will change with it. Sometimes the change does not make big differences, but sometimes it makes a lot. From ancient to modern, Chinese traditional feature disappeared. Instead of these traditional features, combining with western one appears. I am wondering why this will happen in these times. Then three dynasty I chose are Ming. Qing and modern. During these three dynasties, the political power moves from Han ethic group to Manchu to Han ethic group but with foreign culture. Because of it, mixing different clothing style becomes one big feature in these times. Also, clothing style makes a big change especially in this period of time.

The reason for the sharp contrast in the style of taotie decoration between the two vessels can be attributed to the evolution of decoration preferences from the Shang to the Zhou dynasty. During the transition from the Shang dynasty to the Zhou dynasty the artistic style of taotie design became more simplified as, with the transfer of power, taotie began its journey towards disintegration. As opposed to the highly decorated and animalistic taotie bands on Shang vessels, taotie bands during the Zhou period are thinner, less decorative, and more geometric. This newly simplified style of decoration also allows for more blank space, emphasized by the comparison between these Shang and Zhou vessels. There was also a rise in bird imagery as depictions of birds developed an association with clans. Therefore, the animal that appears to be carved into the handle of the Zhou jia vessel could resemble this bird.

Nami nodded and shifted from her red cheongsam. It was meant for maternity as it hung more loosely on the body while opening outwards at the bottom. The Lady Hibari liked to wear the traditional clothes of her country as it made her feel more at home that way.

The weather in England was harsh, resulting in the need to wear many layers of clothing. The monarch, the nobility, the gentry, merchants, yeomanry, and laborers wore a chemise under all of their clothes, then a corset (stiffened with wood, iron, or whalebone), then a petticoat, then a farthingale, stockings, a gown, sleeves, and neck and wrist ruffs(Elizabethan Clothing). A farthingale and ruffs were the statement making pieces of a high fashion outfit belonging to anyone close ranked to a queen. A farthingale was a hooped skirt made of whalebone or wood, used to give the gowns their “cupcake” look, the women believed that the bigger the farthingale the more rich and powerful the woman was. The farthingale was draped with fabric and was the most seen part of a gown, therefore, it had to be detailed uniquely with braiding, borders, embroidery, lace, guarding (ribbon trim), and gems or pearls.

The constant socio-economic challenges and violations of human rights in wartime and under dictatorships caused certain changes in the unique mixture of religious beliefs of the Latin American indigenous people. Specifically, Castellanos and Eramus’ perception of Catholicism was already differentiated due to an exclusive mixture of pre-Conquista ancient myths, mixed with radical Catholicism the indigenous people absorbed throughout the centuries. Socioeconomic and political factors also added the socialistic notes of equality as one of the core human values. Overall, this brought together the unique mixture of ancient beliefs and potential salvation from modern challenges.

Headwear included a small hat called the cloche hat which was shaped like a bell or flowerpot. A woman’s accessories included pearls and a clutch to give a classy appearance to offset the risqué dress. The dresses were usually straight with a pattern and mesh areas to make the dress have a sexy, risqué look. The stockings were worn with strappy shoes which were usually tied with bows or buckles. Other clothing wear was changed in the 20s as well to have a more comfortable fell along with a sexier appearance. Athletic wear was made with a lighter fabric for comfortability. Evening wear was known to have a scandalous look with high hemlines and mesh layers. Bridal wear strayed from the classic long dress with modest coverage to more revealing looks. These clothing changes of the 20s led to modern clothing styles.

Colorful, multi-layered Clothing wear by Kuna women of Panama.During the early years, the women are mention by the bright red,yellow, and blue body painting and its swirling geometric pattern.During the 1700s missionary intervention led to the wearing of blouses,which is decorated the same way as it is for the body paintings.

A dugong is a mammal weighing up to 600kg and can be 3m in length when fully grown. They do not have feathers like a bird to keep them warm they have a thick layer of blubber underneath their wrinkly grey skin to keep them warm when they are cold. To push through the water Dugongs use their tails, but use their flippers to balance and steer. To spot them in small groups you will be lucky, but spotting them in herds of hundreds or small groups are not rare at all, although they are not usually found with their own children. It is rare to live up to 70 years but in some cases that can happen, I am saying it is rare because the food supplies is limited now. The shape of their body makes them look slow but if they need dugongs can speed up 15 miles

What we always mention that the taotie that decoration of Hu and Jue. Taotie combines the characteristics of various

The variety of styles worn across various cultures reveals something about the social codes. The textual codes can be seen in how clothing is advertised, and what this means across the various cultures whether it serves to individualize some or unite others plays

Spanish clothing was is influenced by elegance and decoration (Spanish Dresses). These clothes were very heavy. They had a lot of silver, gold, and gems on them. Women worn big hooped skirts know as Farthingales. They also wore fan-shaped wired collar known as a Wisk. Men wore short hair in this time. Men wore hats too. A Mantilla is a long lace or silk veil worn over their head and shoulders. This is worn by Moorish women. Peineta is a tortoise-shell comb to hold the Mantilla. Traje corto, worn by men, is a short jacket with high waist-band worn with a white shirt (How).

There were two different types of garments, it was either a peplos or chiton. Chitons were wore by both men and women. A chiton is folded or wrapped fabric and made up of light material, normally linen. It was sewn up at the sides and very long and rectangle, usually girded around

The Flower cloth is intriguingly designed by hand. Hmong women were responsible for sewing the cloth and the beautiful embroideries. Several Hmong women use a rare method of reverse appliqué, "designs made by sewing on a patch to the underside of a fabric and then cutting away and turning under the edge of the top fabric" (Fadiman ). The design is extremely difficult and takes years to acquire this skill. Hmong dresses are elaborated with trimmings, coins, and a variety of colorful yarns. The dresses were highly decorative and added bulk to the man or woman wearing the dress. However, the Rooster hat is a modernized tradition when the Hmong people came to the United States. The base of the hat was normally purchased and decorated with the coins and trimmings.

The sari (or "saree") is a cloth with a length ranging from five to more than nine yards that is tied and folded loosely around a woman's body to create it in a form of a dress. The sari is weaved primarily made from cotton threads, but other variations, such as linen and silk and recently, polyester, have also been used to create the fabric needed for this popular dress among the Indians (Kamat, 2012).