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Republic of China Women: those who wrapped in the legendary cheongsam (Figure)
The delicate eyebrow powder and the classic cheongsam became symbols of beauty during the Republic of China era, with Zhou Xuan and Ruan Lingyu embodying much of the imagination tied to women of that time. However, as literary works like "The Four Sisters in Hefei," "Lin Huiyin's Letters," and "A Small Reunion" gained popularity, readers were introduced to a new group of intellectual women whose stories revealed their talents and independence. These women, educated and from prominent families, challenged traditional gender norms. Eileen Chang once noted how life could be seen as being dressed in splendid robes, and indeed, within these works, clothing became a window into a hidden world, revealing more than just outdated elegance.
One admirer of cheongsams repeatedly read "A Small Reunion," captivated by a particular outfit described—a ivory chiffon cheongsam adorned with black phoenix motifs and dark purple feathers. This blend of milk white and black-purple hues exuded an elegant tone, capturing the melodic and soothing essence of women from that era. Similarly, in works like "Moods of Love" and "Colors, Rings," the depiction of cheongsams was stunning, yet perhaps not as grandiose as the ink-washed landscapes of old, offering a refined and delicate appeal that resonated deeply.
Zhang Ailing’s "A Small Reunion" offers a particularly vivid account of these costumes. Her descriptions suggest a dress with a short collar, a reddish base, and blooming blue and white flowers, unbuttoned on both sides, resembling a casual sweatshirt. Hu Lancheng’s niece, Qingyun, also recalled how Zhang Ailing favored ancient attire, pairing her outfits in unexpected ways. Despite knowing that "Chinese people are not particularly inclined to admire women’s clothing," Eileen Chang chose bold colors—reds, greens, lemon yellows, and blues—to counteract feelings of humility and unhappiness from her childhood. Her self-designed garments in vibrant fabrics expressed her courage and resistance against societal pressures.
Eileen Chang believed that clothing was a form of language, speaking volumes about one’s personal environment. Bright colors became a way for her to overcome feelings of inferiority and embrace a new world of her own creation. Lin Huiyin and Lu Xiaoman represent another facet of this era. While Lu Xiaoman might have struggled to maintain her allure over time, Lin Huiyin’s simple cotton cheongsam seemed to hold its charm. Lin Huiyin’s designs, especially during her time in Canada, were striking, featuring headdresses reminiscent of crowns with nationalistic flair, decorated with tassels and long veils, blending sweetness and sophistication.
Despite her physical frailty due to lung disease, Lin Huiyin passionately defended Beijing’s ancient architecture, famously reproaching Wu Han, the city’s deputy mayor, for demolitions. Her efforts marked a pivotal moment in her life, transitioning from a sweet, elegant persona to a resolute advocate for cultural preservation. This transformation highlights her strength and resilience, allowing her to stand tall in the historical narrative of Chinese architecture.
For Xiao Hong and Duan Mulao, their choice of attire—cashmere cheongsams paired with black silk dresses, adorned with lace at the slits—reflected their strong personalities and determination, echoing the Northern Chinese spirit emphasized in Lu Xun’s evaluations of their work. Similarly, Daisy, portrayed in Chen Dan-yan’s "Golden Jade Leaf in Shanghai," chose Chinese attire throughout her life, embracing her Eastern identity and beauty.
Today, while cheongsams remain fashionable, contemporary renditions often lack the depth and authenticity found in historical accounts. Works like "Brocade Jiafu" and "Silk" strive to recreate the charm of the past, yet their efforts feel more like echoes of a bygone era, overshadowed by the original vibrancy and vitality of the aristocratic lifestyle. The humor and generosity behind these portrayals have faded into history, leaving only a faint trace of nostalgia.