Evolution of Chinese Clothing and Cheongsam

Chinese clothing has approximately 5,000 years of history behind it, but regrettably
I am only able to cover 2,500 years in this fashion timeline. I began with the Han
dynasty as the term <i>hanfu</i> (Chinese clothing) was coined in that period.
Please bear in mind that this is only a generalized timeline of Chinese clothing
primarily featuring aristocratic and upper-class ethnic Han Chinese women (the
exceptions are Fig. 8 (dancer) and Fig. 11 (maid, due to the fact I couldnt find many
paintings in this period)).
My resources are mainly the books: 5,000 years of Chinese Costume, China Chic:
East Meets West, and Changing Clothes in China: Fashion, History, Nation. 5,000
years of Chinese Costume is an invaluable resource (though sadly currently out of
print), I would highly recommend this book if you can get your hands on it.

Han Dynasty:
In the Han Dynasty, as of old, the one-piece garment remained the formal dress for
women. However, it was somewhat different from that of the Warring States Period,
in that it had an increased number of curves in the front and broadened lower
hems. Close-fitting at the waist, it was always tied with a silk girdle. (5,000 years of
Chinese Costume, pg. 32)

Wei and Jin dynasties:

On the whole, the costumes of the Wei and Jin period still followed the patterns of
Qin and Han. (5,000 years of Chinese Costume, pg. 54)
From the costumes worn by the benefactors in the Dunhuang murals and the
costumes of the pottery figurines unearthed in Louyang, it can be seen that
womens costumes in the period of Wei and Jin were generally large and loose. The
upper garment opened at the front and was tied at the waist. The sleeves were
broad and fringed at the cuffs with decorative borders of a different colour. The skirt
had spaced coloured stripes and was tied with a white silk band at the waist. There
was also an apron between the upper garment and skirt for the purpose of fastening
the waist. Apart from wearing a multi-coloured skirt, women also wore other kinds
such as the crimson gauze-covered skirt, the red-blue striped gauze double skirt,
and the barrel-shaped red gauze skirt. Many of these styles are mentioned in
historical records. (5,000 years of Chinese Costume, pg. 65)

Southern and Northern Dynasties:

During the Wei, Jin and the Southern and Northern Dynasties, though men no
longer wore the traditional one-piece garment, some women continued to do so.
However, the style was quite different from that seen in the Han Dynasty. Typically
the womens dress was decorated with xian and shao. The latter refers to pieces of
silk cloth sewn onto the lower hem of the dress, which were wide at the top and
narrow at the bottom, so that triangles were formed overlapping each other. Xian
refers to some relatively long ribbons which extended from the short-cut skirt. While
the wearer was walking, these lengthy ribbons made the sharp corners n the lower
hem wave like a flying swallow, hence the Chinese phrase beautiful ribbons and
flying swallowtail. (5,000 years of Chinese Costume, pg. 62)
During the Southern and Northern Dynasties, costumes underwent further changes
in style. The long flying ribbons were no longer seen and the swallowtailed corners
became enlarged. As a result the flying ribbons and swallowtailed corners were
combined into one. (5,000 years of Chinese Costume, pg. 62)

Sui Dynasty:
During the period of the Sui and early Tang, a short jacket with tight sleeves was
worn in conjunction with a tight long skirt whose waist was fastened almost to the
armpits with a silk ribbon. In the ensuing century, the style of this costume
remained basically the same, except for some minor changes such as letting out the
jacket and/or its sleeves. (5,000 years of Chinese Costume, pg. 88)

Tang Dynasty:
The Tang Dynasty was the most prosperous period in Chinas feudal society.
Changan (now Xian, Shananxi Province), the capital, was the political, economic and
cultural centre of the nation. [] Residents in Changan included people of such
nationalities as Huihe (Uygur,) Tubo (Tibetan), and Nanzhao (Yi), and even Japanese,
Xinluo (Korean), Persian and Arabian. Meanwhile, people frequently travelled to and
fro between countries like Vietnam, India and the East Roman Empire and Changan,
thus spreading Chinese culture to other parts of the world. (5,000 years of Chinese
Costume, pg. 76)
all the national minorities and foreign envoys who thronged the streets of
Changan also contributed something of their own culture to the Tang. Consequently,
paintings, carvings, music and dances of the Tang absorbed something of foreign
skills and styles. The Tang government adopted the policy of taking in every exotic

form whether or hats or clothing, so that Tang costumes became increasingly

picturesque and beautiful. (5,000 years of Chinese Costume, pg. 88)
Women of the Tang Dynasty paid particular attention to facial appearance, and the
application of powder or even rouge was common practice. Some womens
foreheads were painted dark yellow and the dai (a kind of dark blue pigment) was
used to paint their eyebrows into different shapes that were called dai mei (painted
eyebrows) in general. (5,000 years of Chinese Costume, pg. 89)
In the years of Tianbao during Emperor Xuanzongs reign, women used to wear
mens costumes. This was not only a fashion among commoners, but also for a time
it spread to the imperial court and became customary for women of high birth.
(5,000 years of Chinese Costume, pg. 89)

Song Dynasty
The hairstyle of the women of the Song Dynasty still followed the fashion of the
later period of the Tang Dynasty, the high bun being the favoured style. Womens
buns were often more than a foot in height. (5,000 years of Chinese Costume, pg.
107)
Womens upper garments consisted mainly of coat, blouse, loose-sleeved dress,
over-dress, short-sleeved jacket and vest. The lower garment was mostly a skirt.
(5,000 years of Chinese Costume, pg. 107)
Women in the Song Dynasty seldom wore boots, since binding the feet had
become fashionable. (5,000 years of Chinese Costume, pg. 107)
Although historians do not know exactly how or why foot binding began, it was
apparently initially associated with dancers at the imperial court and professional
female entertainers in the capital. During the Song dynasty (960-1279) the practice
spread from the palace and entertainment quarters into the homes of the elite. By
the thirteenth century, archeological evidence shows clearly that foot-binding was
practiced among the daughters and wives of officials, reports Patricia Buckley
Ebrey [] Over the course of the next few centuries foot binding became
increasingly common among gentry families, and the practice eventually
penetrated the mass of the Chinese people. (Chinese Chic: East Meets West, pg.
37-38)

Yuan Dynasty:

Han women continued to wear the jacket and skirt. However, the choice of darker
shades and buttoning on the left showed Mongolian influence. (5,000 years of
Chinese Costume, pg. 131)
After the Mongols settled down in the Central Plains, Mongolian customs and
costumes also had their influence on those of the Han people. While remaining the
main costume for Han women, the jacket and skirt had deviated greatly in style
from those of the Tang and Song periods. Tight-fitting garments gave way to big,
loose ones; and collar, sleeves and skirt became straight. In addition, lighter more
serene colours gained preference. (5,000 years of Chinese Costume, pg. 142)

Ming Dynasty:
The clothing for women in the Ming Dynasty consisted mainly of gowns, coats, rosy
capes, over-dresses with or without sleeves, and skirts. These styles were imitations
of ones first seen in the Tang and Song Dynasties. However, the openings were on
the right-hand side, according to the Han Dynasty convention. ((5,000 years of
Chinese Costume, pg. 147)
The formal dress for commoners could only be made of coarse purple cloth, and no
gold embroidery was allowed. Gowns could only in such light colours as purple,
green and pink; and in no case should crimson, reddish blue or yellow be used.
These regulations were observed for over a decade, and it was not until the 14th
year of Hong Wu that minor changes were made. (5,000 years of Chinese Costume,
pg. 147)

Qing Dynasty
When China fell under Manchurian rule, Chinese men were forced to adopt
Manchurian customs. As a sign of submission, the new government made a decree
that men must shave their head and wear the Manchurian queue or lose their
heads. Many choose the latter.
On the other hand, Chinese women were not pressured to adopt Manchurian
clothing and fashions. Women, in general, wore skirts as their lower garments, and
red skirts were for women of position. At first, there were still the phoenix-tail skirt
and the moonlight skirt and others from the Ming tradition. However the styles
evolved with the passage of time: some skirts were adorned with ribbons that
floated in the air when one walked; some had little bells fastened under them:

others had their lower edge embroidered with wavy designs. As the dynasty drew to
an end, the wearing of trousers became the fashion among commoner women.
There were trousers with full crotches and over trousers, both made of silk
embroidered with patters. (5,000 years of Chinese Costume, pg. 173)
The Manchurians attempted several times to eradicate the practice of foot-binding,
but were largely unsuccessful. Manchurian women admired the gait of bound
women but were effectively banned from practicing food-binding. Hence, a flower
pot shoe later came into creation and it allowed its wearer the same unsteady gait
but without any need for foot-binding.

Republic Era
Women traditionally bound their breasts in the Ming and Qing dynasties with tight
fitting vests and continued to do so in the early 20th century.
The vests were called xiaomajia little vest or xiaoshan little shirt used by
Chinese women as underclothing for the upper part of the body. (Changing Clothes
in China: Fashion, History, Nation: Finnane pg 162) Doudu [is] a sort of apron for
the upper body [] in former times the doudu had been worn by everyone, old and
young, male and female. The young wore red, the middle-aged wore white or greygreen, the elderly wore black. A little pocket sewn into the top was used by adults to
secrete them money and by children their sweets. When a girl got engaged, she
would show off her embroidery skills by sending an elaborately worked doudu to her
fianc, decorated with bats for good forturne and pomegranates, symbolizing many
sons. (Changing Clothes in China: Fashion, History, Nation: Finnane pg 162)
A ban on bound breasts began in 1927, in which the government started advocating
for the Natural Breast Movement. Despite this, bound breasts still widely
continued into the 1930s. The government also banned earrings as it fell under the
criteria of deforming the natural body. The 1930s also saw the introduction of the
western/French bra come to Shanghai.
The little vest was designed to constrain the breasts and streamline the body. Such
a garment was necessary to look comme il faut around 1908, when (as J. Dyer Ball
observed): fashion decreed that jackets should fit tight, though not yielding to the

contours of the figure, except in the slightest degree, as such an exposure of the
body would be considered immodest. It became necessary again in the midtwenties, when the jacket-blousea garment cut on rounded lines began to give
way to the qipao. At this stage, darts were not used to tailor the bodice or upper
part of the qipao, nor would they be till the mid-fifties. The most that could be done
by way of further fitting the qipao to the bosom was to stretch the material at the
right places through ironing. Under these circumstances, breast-binding must have
made the tailors task easier. (Finnane 163, Changing Clothes in China: Fashion,
History, Nation)
Successful eradication of bound feet would not come until the 1949 when the
Peoples Republic of China came into power.

1950s-1960s
Under the Peoples Republic of China, very few mainland women wore the
cheongsam, save for ceremonial attire. Clothing became de-sexualized for
mainlanders.
It was the flip side in Hong Kong, as the cheongsam continued its function as
everyday wear which lasted until the late 1960s. The cheongsam in the 1950s and
1960s became even tighter fitting to further accentuate feminine curves. Western
clothing became the default after the late 1960s, though the cheongsam continued
to survive as uniforms for students (who donned a looser and androgynous version),
waitresses, brides, and beauty contestants.
21st century
Designers today are creating new forms of the qipao/cheongsam. The mermaid tail
appears to be a current popular trend.