Leather looking fabric involves adding a metallic finish to the surface of the fabric to give it a shiny, metallic appearance. This can be achieved through a variety of techniques, including:
1.Foil stamping: This involves using heat and pressure to transfer a metallic foil onto the surface of the fabric.
2.Spray coating: A metallic coating can be sprayed onto the surface of the fabric to create a bronzed effect.
3.Screen printing: Metallic ink can be screen printed onto the fabric to create a bronzed design or pattern.
4.Laminating: A metallic film can be laminated onto the surface of the fabric to create a bronzed finish.
Overall, bronzing leather looking fabric can add a touch of glamour and sophistication to any project, making it a popular choice for fashion and home decor applications.
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Republic of China Women: those who wrapped in the legendary cheongsam (Figure)
The delicate eyebrows and powdered cheeks of the cheongsam-clad beauties from the Republican era—women like Zhou Xuan and Ruan Lingyu—once embodied the collective dreams of Chinese women. Yet, as literature evolved with works like "The Four Sisters of Hefei," "Linhui Yin Chuan," and the bestseller "A Small Reunion," readers were drawn into the lives of a new generation of intellectual women whose talents rivaled those of men. Educated and from prominent families, these women brought a distinct elegance to their wardrobes. Eileen Chang once remarked, “Life is wearing a gorgeous robe,†and indeed, the cheongsams worn by these women became a window into a hidden world, showcasing more than just outdated grace. One admirer of cheongsams repeatedly reread "A Small Reunion," captivated by a single outfit described—a ivory chiffon cheongsam printed with black phoenixes and accented with dark purple feathers. Its gentle blend of milk white and black-purple hues evoked an elegant tone, encapsulating the poetic grace of Republican-era women.
In "Love in Mood" and "Color, Rings," the cheongsam imagery was even more striking, yet perhaps less vibrant than the ink-washed atmosphere of tradition. Zhang Ailing, however, offered a more precise insight into this wardrobe in "A Small Reunion." Her descriptions revealed the cheongsam's intricate design, with its phoenix-style embellishments inspired by antique garments. Zhang Ailing’s flair for fashion was well-known, though her taste differed from others'. As Zhang Zijing noted in "Missing My Elder Zhang Ailing," she wore a cheongsam with a short collar, a reddish base adorned with blue and white blossoms, and no buttons on either side, giving it a casual, sweatshirt-like quality. Hu Lancheng’s niece, Qingyun, added that Zhang Ailing favored half-black, half-yellow shoes and ancient-inspired attire, making her stand out uniquely.
Eileen Chang, despite acknowledging Chinese society’s reluctance to embrace bold women, used vivid colors to challenge the oppressive norms of femininity. In her writings, she described women adorned in reds, greens, lemon yellows, Shihlin blues, and rose red Guangdong earth fabrics, asserting her independence through self-designed garments. Chang believed clothing to be a form of communication, a language that expressed her inner rebellion against societal constraints. Her vibrant attire symbolized a new world she created, where she could transcend familial expectations, financial limitations, and cultural norms, finding joy and self-expression.
Lin Huiyin and Lu Xiaoman serve as contrasting examples of elegance and resilience. Despite Lu Xiaoman’s allure, Lin Huiyin’s simplicity, particularly her plain cotton cheongsams, often overshadowed her rival in photographs. Lin’s designs were often understated yet fitting, reflecting her ladylike demeanor. However, her sweet exterior masked a fierce determination, evident when she passionately defended Beijing’s ancient architecture against demolition by Deputy Mayor Wu Han. Despite her failing health, Lin’s passionate defense echoed her lifelong pursuit of national pride, perhaps symbolized by her design of a wedding gown inspired by traditional styles.
In the Republican era, clothing was more than fashion—it was a declaration of identity and self-awareness. Xiao Hong, in her marriage, wore a luxurious cheongsam with black silk layers and lace detailing, echoing her literary works’ bold themes. Similarly, Daisy, portrayed in Chen Dan-yan’s "Golden Leaf in Shanghai," embraced her Chinese heritage, choosing traditional attire and hairstyles to honor her identity. Chen Danqing once noted, “Human nature often aligns more closely with talent than art,†suggesting the authenticity behind these women’s choices.
Today, the resurgence of cheongsams in modern fashion is a nod to this legacy. Yet, while shows like "Brocade Jiafu" and "Silk" strive to revive the past’s splendor, they remain mere echoes of a bygone era. These efforts, while visually stunning, lack the depth and authenticity of the original garments, which carried the weight of history, identity, and personal triumphs.