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In this way, we can control our own destinies, with not blind optimism, but full of confidence, while avoiding possible deviations. This kind of power of common sense feelings is especially important for a strong vision of the Qipao's reforms. 2. A focused understanding is necessary for re-creation through reform The reform of Qipao has not been a simple change of forms and contours, but has been re-creation on the basis of realizing its cultural significance and the subtle effects of decorative accessories. The master Chinese traditional painter Qi Baishi evaluated the contents of his own painting as a kind of "between similarity and non-similarity", that is to say, shrimps are swimming in water, but his image, even without depicting the water, has vividly presented shrimps swimming in water. With a free style of painting, the shrimps have been vividly depicted both in substance and in mood with their long antennae and deft tails. Therefore it is just like "soundless better than the sounds" or "between similarity and non-similarity". What Mr. Qi looked for was not only "similarity in form" but also more important "in demeanor". The reformed Qipao must impress people with its figure, its feeling, its spirit and its beauty. It should not be traditional, 300-years old, nor 20th-century modern—but contemporary, even 21st century. 3. It is necessary to preserve tradition yet study what's vogue The so-called preservation of tradition should not be unalterable or just taking what the "ancestors" left, but reforms should be carried out with a foundation of deep understanding and study of tradition. Since the old Qipao has its own origin, source, development and evolution, its emergence and existence have a clear stamp of the times. The Qipao' s structure, coloring, selected fabrics, decorative accessories and tailoring process all have their antecedents, sources, and symbolic meanings. Reform of the Qipao is not an oversimplifying matter, which can be carried out in accordance with one's own inclinations. The great value of the Qipao is the reason this style of dress has been handed down generation after generation. What's in vogue or prevalent in time and space, possesses outstanding period characteristics. Its spontaneous and changeable cycles and speed must be kept up with and handled according to the times. In order to suit the life of each period, there must be study, research, exploration and follow-up. The reform of the Qipao must possess the earlier two conditions, otherwise lack of development, or too much avant-garde will result in incompatibility with present needs Many accessories such as macramé are used to decorate shoulders, bodices, pockets, seams, and openings of clothing, as well as belts, hair ornaments, and necklaces. Some successful examples of combinations of modern and traditional fashion elements are the modern bridal tiara, based on a Sung Dynasty design and the Hunan Province style of embroidered sash made in the traditional colors of pure red, blue, and green. From these examples, it can be seen how traditional Chinese dress is the foundation of modern fashion. However, the Chinese have also adopted many Western styles of clothing such as business suits and jeans. Sexy Wedding Apparel Shop Typical Manchu clothing style reflected a specific range of technical, cultural, and historic factors within East Asian garments. These factors imparted particular characteristics and shapes to garments. 

Tapered sleeves, flared cuffs, curved-front overlaps, skirt vents, or loop and toggle fastenings were used by the Manchu to emphasize their ethnic separation from, and control over, the Chinese empire. The garments worn by the Manchu were very functional garments, and thus, they contrasted sharply with voluminous coats of the Han Chinese. The basic Chinese upper garment was a long coat which was either calf-length or full-length, and was constructed from n arrow widths of fabric. It had a center back seam and wide sleeves which were made from additional widths of cloth joined to the sides at the shoulders. This design reflects the rectilinear properties of woven cloth, as well as concerns for fabric economy. Weaving technology in East Asia was based on the back strap loom that originally produced widths of cloth insufficient to cover the body. As a result, upper body garments had a center back seam where two lengths of cloth brought over the shoulder were joined. The front was left open for easy removal, but kept closed by a belt, or later, by pairs of ties. To this basic shape, sleeves of any length or width could be added, as well as extensions at the sides to increase the width of the garment. Additional fabric sewn to the front edges provided overlap for more secure closure. To the Han Chinese, woven cloth was valued and symbolized wealth. Weaving was a time consuming process, and silk weaving was very important to the Han Chinese economy. Silk was both a source of revenue and a reward for government service. Han garment construction methods reflected these economic concerns by minimizing the amount of cutting needed as well as fabric wastage. Han Chinese used excess fabric to indicate wealth and prestige. This would be symbolized by garments that used abundant quantities of cloth either through length and width, or through excessively long and full sleeves. The Han conveyed status by wearing larger and larger garments one over another which gradually immobilized the wearer. On the other hand, when Manchu garments began to be made of fabric, Han Chinese economic principles and methods of fabric utilization were ignored in order to continue utilizing the shape and structure that had once dictated survival in the forests and grasslands of North Asia. Rectangles of cloth were literally cut down to conform to the shapes of animal skins, and the excess fabric simply eliminated from the construction. The basic Manchu garment was a long coat split in the center front and sides for ease in riding. Narrower sleeves ended with a horse shoe cuff which could be folded back. Necklines were rounded and a front right overlap extended to the sideseam. Although a polarity exists between Han and Manchu populations, Chinese costume actually reflects a long and complex interaction between them. The wardrobe for the upper class Manchu and Han Chinese populations consisted of a rather small range of garment types. Initially, there was an obvious attempt to separate the two populations through their clothing. However, an examination of construction details and decoration indicates that they share a common background and that extensive intermixing of both technical and decorative features occurred.