Exercise 50. Composition

Write two reasons for or against wearing the current fashion styles.

Exercise 51. Find out where each of the following garments came from and how they are worn.

1. Stetson 2. Kimono

3. Blue jeans 4. Kilt

5. Sneakers 6. Clogs 7. Loafers

Read the text

Dress in china

More than 2000 years before the beginning of the Christian era, the Chinese discovered the marvelous properties of silk and shortly thereafter invented looms equipped with devices that enabled them to weave patterned silks rapidly enough to satisfy the demand for them by luxury-loving Chinese society. Thus. centuries before Chinese silks began to be shipped westward and still more centuries before the West learned the secret of sericulture, the people of China had already established ultrarefined standards of elegance in matters of dress.

The earliest period of Chinese history for which reliable visual evidence of clothing styles is obtainable is the Han dynasty (206 BC-AD 220). Han bas-reliefs and scenes painted in colour on tiles and lacquers show men and women dressed in wide-sleeved kimono-style garments which, girdled at the waist, fall in voluminous folds around their feet. The graceful dignity of this p'ao-style robe, which continued to be worn in China until the end of the Ming dynasty in 1644, is clearly revealed in Chinese figural paintings attributable to the interval between the 8th and the 17th century. Other traditional garments include the tunic or jacket, worn by both sexes over loosely cut trousers. For colder weather, clothing was padded with cotton or silk or lined with fur.

Chinese records indicate that at least as early as the Tang dynasty (618-907) certain designs, colors, and accessories were used to distinguish the ranks of imperial, noble, and official families; but the earliest visual evidence of these emblematic distinctions in dress is to be found m Ming portraits. In some of these, emperors are portrayed in voluminous dark-coloured p'ao on which the 12 emperial symbols, which from time immemorial had been designated as imperial insignia, are displayed. Other Ming portraits show officials clothed in red p'ao that have large bird or animal squares (called "mandarin squares", or p'u-fan) on the breast, specific bird and animal emblems to designate each of nine ranks of civil and military officials having been adopted by the Ming in 1391.

When the Manchus overthrew the Ming in 1644 and established the Ch'ing dynasty, it was decreed that new styles of dress should replace the voluminous costume. The most formal of the robes introduced by the Manchus was the ch'ao-fu designed to be worn only at great state sacrifices and at the most important court functions. Men's ch'ao-fu had a kimono-style upper body, with long, close-fitting sleeves that terminated in the "horsehoof" cuff introduced by the Manchus, and a closely fitted neckband over which was worn a detached collar distinguished by winglike tips that extended over the shoulders. Below, attached to a set-in waistband, was a full, pleated or gathered skirt. Precisely stipulated colors and pattern arrangements of five-clawed dragons and clouds, waves, and mountains were specified for the ch'ao-fu of emperors, princes, nobles, and officials; the bright yellow of the emperor’s robe and the 12 imperial symbols emblazoned on it clearly established his lofty rank. All other ranks wore “stone blue” ch'ao-fu decorated in accordance with prescribed rules about the number, type, and arrangement of dragon motifs.

Only women of very high ranks were permitted to wear ch'ao-fu. Women’s robe’s were less commodious than the men’s and were cut in long straight lines with no break at the waist. The narrow sleeves with horsehoof cuffs of these ch'ao-fu robes and the arrangement of their dragon, cloud, mountain, and wave patterns were essentially the same as those of the so-called dragon robes discussed below. They were clearly differentiated from the dragon robes, however, by their capelike collars and by flaring set-on epaulets which, gradually narrowed, were carried down under the arms. Stolelike vests, always worn over women's ch'ao-fu, were also a distinguishing feature of this costume.

The informal Manchu ch'ao-fu, a plain long robe, was worn by all classes from the emperor down, though Chinese women also continued to wear their Ming-style costumes, which consisted of three-quarter-length jacket and pleated skirt. Men's ch'ao-fu, cut in the style of the chi-fu, usually were made of monochrome patterned damask or gauze; women's ch'ao-fu had wide, loose sleeves finished off with especially designed sleevebands decorated with gay woven or embroidered patterns.

The declining Ch'ing dynasty was finally swept aside in 1912, and Western influences exerted pressure on China to begin to emulate the world outside its boundaries. Under the new republic the traditional Chinese culture began to give way to modern ideas. Gradually this was reflected in dress.

By the 1920s women, in particular, adopted a compromise attire. This was the ch'i-p'ao, better known in the West by its Cantonese name, cheongsam. The ch'i-p'ao had developed from the ch'ang-fu and by 1930 the majority of women were wearing it. A close-titling dress made from one piece of material, the ch'i-p'ao was fastened up the right front side. It had a high mandarin collar, and its skirt was slit up the sides to the knee. It was made of traditional Chinese fabrics, padded in winter for warmth. At first it was a long dress, but the hemline gradually rose to come into line with Western dress.

In mainland China the communist revolution of 1949 brought strict directives on dress. Styles were to be the same for everyone, whether man or woman, intellectual or manual labourer. This drab uniform was a blend of peasant and military design. It consisted of a military-style high-collared jacket and long trousers. Men's hair was short and covered by a peaked cap. Women's hair was longer but uncurled. Shoes had flat heels. No cosmetics was permitted. Traditional Chinese cotton was used to make the garments; colour designated the type of worker. After about 1960 a slow Westernization set in, permitting a variation in colour and fabric. Dresses were introduced for women.