Clothes are a language, you will understand after I wear them | Poetic things
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"We try to understand things, in our own way." Wild grass and idle flowers bloom in spring Huang Yingying - Burning heart Ruan Lingyu movie soundtrack
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Is it true that I have no clothes, I am with my son 
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"The people in the past struggled to spend their whole life, and what they did gradually covered them with dust; when their descendants hanged their clothes, they shook the dust off, and in the yellow Flying in the sun. If you recall this thing with a smell, it would be the fragrance of camphor , sweet and secure, like the joy that you remember clearly, sweet and melancholy, like the sorrow that you forgot. ”
——Zhang Ailing " Changing Notes "
clothes is a language clothes fan Zhang Ailing once said in "Clothes Record": "During political chaos, people are not able to improve their living conditions. They can only create their close-fitting environment - that is clothes. We each live in their own clothes." And the cheongsam is like a house that looks pretty well-behaved, with a tight collar and a retracted waist, as if reminding women to straighten their backs and raise their jaws. Under any circumstances, don't lose their dignity. But the slit lower body and the looming calves are like a window in this house, tells the girls' yearning for unrestrained beauty.
Clothes is a language. In the era of material scarcity, cheongsam has become the ultimate embodiment of Chinese women's yearning for beauty. They wear this faint desire on their bodies, tailor and cut it on it, and put it into their own "language", making infinite small changes in a limited framework. Different people wear cheongsams and have different styles. For example, Xiao Hong in Northeast China, with two small braids, a plain robe, and her eyebrows are as clear as snow. It seems that she has crawled into her clothes, looking simple and cute. The cheongsam collection madman Soong Mei-ling has a kind of upright toughness when wearing a cheongsam, like a dull horned tripod, exquisite and solemn.
till today, cheongsams are still popular among Chinese people:
Maggie Cheong changed 23 cheongsams in the film, designed by famous Hong Kong art director Zhang Shuping . When this movie was released, it almost affected the entire clothing industry. Some fashion design companies even began to spend a lot of effort to study cheongsams and Chinese style. Tang Wei changed 27 cheongsams in "Lust and Caution". The changes in the style and material of the cheongsam suggest the changes in the environment faced by the heroine. ——"The Costume has a Play" New Horizon Issue 160
As the times change, cheongsams should not be left behind. They should be used as a measure of solidified traditional aesthetics to judge Chinese women, but should exist as one of the forms of beauty, so that we can touch the hearts of the people at that time, and more importantly, the power given to these skirts by those beauties of the times.
01
Soft and hard, Ruan Lingyu
| Stills of the movie "Goddess"
In the movie "Goddess", Ruan Lingyu plays a single mother from the lower class who becomes a secret prostitute for her son and deals with the patriarchal society. In the whole movie, Ruan Lingyu wears only ordinary clothes, but she has the ability to make these clothes incorporate into her character . When she appeared as her mother (pictured on the left below), she was wearing a plain robe, , and hugged herself with her arms. Although she was thin, she looked soft and hard.She will not rely too much on external factors such as heavy makeup and hair and stage to help herself establish a role, but will use her own body language to drive these objects and let them speak for herself.
When she was about to go head-on with the bully, she changed into a more beautiful cheongsam of (pictured on the right), pulled the hem of the skirt that was slightly mopping the floor, slowly walked towards the other party, and raised her legs to climb the table became a classic scene in film history. In fact, Ruan Lingyu's figure is the same as her facial features, and is not the ultimate beauty. The eyebrows and eyes are slender, but not too delicate. They exude a sense of silence when laughing and crying, so they make people feel real. The skeleton she wore in a cheongsam was thin but not tiring. It was thin, but as difficult as cardboard. Ruan Lingyu, wearing this cheongsam, was originally a low-level person at this time, but she was chivalrous in dressing, and was both charming and charming.
02
Whispering peach blossom Anita Mui
| Stills of the movie "Rouge Button"
For example, the female ghost played by Anita Mui in "Rouge Button" is like a cheongsam. has been wearing a cheongsam for fifty years, from birth to death, to rebirth and death. The bottom of the cheongsam is black, but the top is embroidered with a pink butterfly. is secretly red in , implying the love she always protects in her miserable destiny.
peach color is not as red as red. It is legitimate and bold and direct. Peach color is not big in Chinese language and cannot be used as a prestigious person. Beauty is also the beauty in the dark corner, dazzling but not ostentatious . It's like a love that is born as a brothel girl like a flower, but is betrayed by the love of a passionate young man, and the beauty is filled with sorrow, like "worn bloody peach blossoms". But for Ruhua personally, this peach color is innocent. Compared with the red that blooms to the extreme, the peach color is more suitable for the love of Ruhua's death, like the remaining red that was buried early and buried in the soil.
| Stills of the movie "Rouge Button"
In the movie, Mei Gu played the role of a flower-black eyebrows and black hair, describing her beautiful hair, but a touch of red lips and the peach butterfly on her body make her face pale. In addition, there is a dazzling peach wallpaper behind her, seems to be trying to win a sigh for herself in the dangers of the world. From beginning to end, Ruhua never cried. has always maintained her dignity and elegance in this cheongsam. is neither humble nor arrogant, but the pair of slender arms that are exposed are placed in front of the abdomen with reserve, and the dry hands are trembling slightly, but she expresses the pain of her life's infatuation as a flowing water and falling flowers. What is thin is the clothes, not her affection.
03
Dingjing female actress Meng Xiaodong
Although people rely on clothes, when a person's own temperament is better than that dress, even if it is a plain clothes, she can still wear her personality . Meng Xiaodong, the " Winter Emperor " picture below, was in his youth, and was wearing an ordinary bun, and was wearing a common high-standing cheongsam. However, his whole body was filled with a steady force beyond his age. His eyebrows and eyes were already dark and he tended to be decisive in the future. By middle age (pictured on the right below), Meng Xiaodong had already experienced all kinds of things in the world, and the air conditioning in her girls turned into toughness. Compared to Soong Mei-ling's appearance, Meng Xiaodong was lying inward, and her upright figure wrapped in a satin cheongsam still shows the style of an old man back then, which was expensive but not extravagant and impartial.
| Meng Xiaodong
And another beauty in the Republic of China, Shangguan Yunzhu, did not have the good luck of the Winter Emperor. She is a beautiful woman of Shanghai, and she wears bright in good times, and her brilliance comes from the inside. However, the various disasters encountered in the future (Shangguan Yunzhu was thoroughly investigated during the Cultural Revolution and committed suicide.) made her beauty a kind of "burden". she had to obey the blue cloth cotton robe, and made herself try to meet the requirements of the times. Although the eyebrows and eyes are still warm, the light that has not broken in the early years has dissipated.The hardships brought to a person by the times are also fully described.
| Shangguan Yunzhu 04
zhang Ailing html l10
"Life is a gorgeous robe"
If you want to say that people who wear clothes to the extreme and write to the extreme must be Zhang Ailing. The master who once made cheongsam for Eileen Chang recalled: "How many cheongsams I made for Eileen Chang, I can't remember the specific numbers clearly, but each cheongsam is 'constructed according to the drawing'. For example, the cheongsam she wore in winter has a velvet clip, and the head and neck should not be too high or too hard, because she said: ' cheongsam' head is high and hard, and it is very uncomfortable to sit and write. ' tight, narrow long sleeves, slits on both sides to the knees. Plus a 'Sea Tiger Velvet' coat. I like to wear a low collar in spring and autumn , 'cheongsam skirt' with a belt. The style she painted in summer, such as 'collarless, short-sleeved, long-to-knee-long clothes', called 'fengliang cheongsam', should be called 'dress', and it has been popular to the present. '
Zhang Ailing recorded the changes in clothing of Chinese people since the Ming and Qing dynasties from a keen personal perspective in the famous work "Clotheshu". In her eyes, clothes have never been outside of her body. "In the past, people spent their hard work, and their actions gradually became dusty; when their descendants hanged their clothes, they shook the dust off and flew in the yellow sun. If this thing smelled, it would be the fragrance of camphor, sweet and safe, like the joy of remembering clearly, sweet and melancholy, like the sorrow that I forgot. "
Zhang Ailing's attention to clothes reflects her in an uncontrollable fate, which is also inconsistent with her literary pursuit. During the war, when other writers wrote books and talked about the fate of the country, she turned back to her "camponium box" and talked about the "little" on the gorgeous robe, whether it was dirty or corrupt. In her opinion, it is these tiny and fragile debris of life that constitute our complex human nature.
This reminds people of Mu Xin's comment on Zhang Ailing in "Sympathy Interrupt Record": "Zhang Ailing accompanied Su Qing to try the coat sample in the clothing store. Under the lamp, she felt that Su Qing was like a gossip in the troubled times. In fact, she was in the national crisis and was in the occupied area. She was lucky and even negative in her successful reputation and profit. In the glorious years of famous and profitable, she understood in her heart that 'good times are not always'... Then Zhang Ailing and Su Qing are just two weak women. What they want to maintain is a piece of golden powder and sand individualism that they themselves cannot understand. "And how rare this humanism is.
clothes seem thin, but they are objects that may be left in troubled times. Choose one or two items by your side and you will have a dependence in your heart. After going through the troubled times, open the moldy camphor wood box and take out the old clothes that are still shining with slightly shining golden threads. seems to be keeping the good time of the day for yourself. Even if it is dazzling and sad, it is worth it, because it is a beautiful relic of time.
In the old photos, Zhang Ailing, wearing a cheongsam, with her hands on her slender waist, raised her thin jaw, her eyes were cold, and her thin lips seemed to be smiling. The clothes were more like they were grown against her bones, neither tight nor loose, leaving some gaps, giving the wind, gave herself the "lightness" that was not defeated.
's pursuit of beauty has never been a superficial action that only focuses on skin, and not loving military uniforms and red clothes may not necessarily lack high ambition. Whether it is the little red dress symbolizing the light of ruins in "Schindler's List"; the silk green dress standing for love in "Atonement"; the red dress that swore "revenge" and was ready to die in "Inglorious Bastard"; or the Monroe white dress symbolizing the patriarchal perspective in "Carnival", they all show us the flexibility of different women under different circumstances. Although these skirts are thin, each stitch is sewn tightly. Even though they are old and forgotten, in our memory, the bright green, red and snow-white skirts of are still bright.
| Necessary fat
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