How the qipao found favour as a film mood-setter and red-carpet favourite
It's officially awards season – and almost Lunar New Year – which means we're about to be treated to a slew of exquisite fashion moments as celebrities walk the red carpet in designer looks. In years past, qipao-inspired dresses have had their moment in the limelight as a series of actresses, singers and media personalities have donned outfits drawing on the traditional Chinese dress for major international events, including the Cannes Film Festival and the Met Gala, New York.
The qipao, also known as the cheongsam – meaning 'long garment' – is distinctive for its mandarin collar, curve-hugging bodice and thigh-high skirt slit. The silhouette was dominant in the 1920s and 30s and has since become synonymous with conventional Chinese beauty and style. It has often been used as a visual cue to capture a certain aesthetic in cinematic masterpieces, including The World of Suzie Wong and Wong Kar-wai's In the Mood for Love . Maggie Cheung and Tony Leung in Wong Kar-wai's In the Mood for Love. Photo: Handout
Though traditionally made with simple, knotted button fastenings on one side of the lapel, modern iterations of the qipao incorporate an array of contemporary individual elements to create designs that feel fresh and current on today's fashion scene. Examples from Chinese designers and brands forging a path in global fashion – such as Guo Pei and Shiatzy Chen – are sometimes photographed on the world's swankiest red carpets. A modern qipao-inspired outfit by Shiatzy Chen. Photo: Handout
For years, qipao-inspired dresses were the go-to choice for Chinese actresses making their first forays into the world film scene at major festivals, including those of Cannes and Venice.
Actresses such as Li Bingbing, Fan Bingbing and Gong Li have worn elaborate interpretations of these dresses on the international stage, garnering both good and bad reviews. While a recognisable part of Chinese culture, overly embellished versions can risk looking like costumes when not executed with precision. Movie idols Tony Leung and Gong Li arrive for the screening of 2046 at the Cannes Film Festival in 2004. Photo: AP
At the Cannes Film Festival in 2004, actress Gong Li walked the red carpet with Tony Leung and Zhang Ziyi in a green-blue dress featuring a cloud print often found in traditional Chinese art and a silhouette heavily influenced by the qipao. The garment featured many of the design elements of the traditional long dress, but was given a touch of sex appeal with an open neckline. Taylor Swift wears a Chinese-inspired Zuhair Murad gown at the 2012 Grammys.
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Asia Times
3 days ago
- Asia Times
Eternal Queen of Asian Pop's last encore from beyond the grave
Several years ago, an employee at Universal Music came across a cassette tape in a Tokyo warehouse while sorting through archival materials. On it was a recording by the late Taiwanese pop star Teresa Teng that had never been released; the pop ballad, likely recorded in the mid-1980s while Teng was living and performing in Japan, was a collaboration between composer Takashi Miki and lyricist Toyohisa Araki. Now, to the delight of her millions of fans, the track titled 'Love Songs Are Best in the Foggy Night' will appear on an album set to be released on June 25, 2025. Teng died 30 years ago. Most Westerners know little about her life and her body of work. Yet the ballads of Teng, who could sing in Mandarin, Cantonese, Japanese and Indonesian, continue to echo through karaoke rooms, on Spotify playlists, at tribute concerts and at family gatherings across Asia and beyond. I study how pop music has served as a tool of soft power, and I've spent the past several years researching Teng's music and its legacy. I've found that Teng's influence endures not just because of her voice, but also because her music transcends Asia's political fault lines. Born in 1953 in Yunlin, Taiwan, Teresa Teng grew up in one of the many villages that were built to house soldiers and their families who had fled mainland China in 1949 after the Communists claimed victory in the Chinese civil war. Her early exposure to traditional Chinese music and opera laid the foundation for her singing career. By age 6, she was taking voice lessons. She soon began winning local singing competitions. 'It wasn't adults who wanted me to sing,' Teng wrote in her memoir. 'I wanted to sing. As long as I could sing, I was happy.' At 14, Teng dropped out of high school to focus entirely on music, signing with the local label Yeu Jow Records. Soon thereafter, she released her first album, 'Fengyang Flower Drum.' In the 1970s, she toured and recorded across Taiwan, Hong Kong, Japan and Southeast Asia, becoming one of Asia's first truly transnational pop stars. Teng's career flourished in the late 1970s and 1980s. She released some of her most iconic tracks, such as her covers of Chinese singer Zhou Xuan's 1937 hit 'When Will You Return?' and Taiwanese singer Chen Fen-lan's 'The Moon Represents My Heart,' and toured widely across Asia, sparking what came to be known as 'Teresa Teng Fever.' In the early 1990s, Teng was forced to stop performing for health reasons. She died suddenly of an asthma attack on May 8, 1995, while on vacation in Chiang Mai, Thailand, at the age of 42. Perhaps the most remarkable aspect of Teng's story is that Teng Fever peaked in China. Teng was ethnically Chinese, with ancestral roots in China's Shandong province. But the political divide between China and Taiwan following the Chinese civil war had led to decades of hostility, with each side refusing to recognize the legitimacy of the other. During the late 1970s and 1980s, however, China began to relax its political control under Deng Xiaoping's Reform and Opening Up policy. This sweeping initiative shifted China toward a market-oriented economy, encouraged foreign trade and investment and cautiously reintroduced global cultural influences after decades of isolation. Pop music from other parts of the world began trickling in, including Teng's tender ballads. Her songs could be heard in coastal provinces such as Guangdong and Shanghai, inland cities such as Beijing and Tianjin, and even in remote regions such as Tibet. Shanghai's propaganda department wrote an internal memo in 1980 noting that her music had spread to the city's public parks, restaurants, nursing homes and wedding halls. Teng's immense popularity in China was no accident; it reflected a time in the country's history when its people were particularly eager for emotionally resonant art after decades of cultural propaganda and censorship. For a society that had been awash in rote, revolutionary songs like 'The East is Red' and 'Union is Strength,' Teng's music offered something entirely different. It was personal, tender and deeply human. Her gentle, approachable style – often described as 'angelic' or like that of 'a girl next door' – provided solace and a sense of intimacy that had long been absent from public life. Teng's music was also admired for her ability to bridge eras. Her 1983 album 'Light Exquisite Feeling' fused classical Chinese poetry with contemporary Western pop melodies, showcasing her gift for blending the traditional and the modern. It cemented her reputation not just as a pop star but as a cultural innovator. It's no secret why audiences across China and Asia were so deeply drawn to her and her music. She was fluent in multiple languages; she was elegant but humble, polite and relatable; she was involved in various charities; and she spoke out in support of democratic values. Throughout the 1990s and early 2000s, the Chinese immigrant population in the United States grew to over 1.1 million. Teng's music has also deeply embedded itself within Chinese diasporic communities across the country. In cities such as Los Angeles, San Francisco and New York, Chinese immigrants played her music at family gatherings, during holidays and at community events. Walk through any Chinatown during Lunar New Year and you're bound to hear her voice wafting through the streets. Teng visits New York City's Chinatown during her 1980 concert tour in the U.S. Wikimedia Commons For younger Chinese Americans and even non-Chinese audiences, Teng's music has become a window into Chinese culture. When I was studying in the US, I often met Asian American students who belted out her songs at karaoke nights or during cultural festivals. Many had grown up hearing her music through their parents' playlists or local community celebrations. The release of her recently discovered song is a reminder that some voices do not fade – they evolve, migrate and live on in the hearts of people scattered across the world. In an age when global politics drive different cultures apart, Teng's enduring appeal reminds us of something quieter yet more lasting: the power of voice to transmit emotion across time and space, the way a melody can build a bridge between continents and generations. I recently rewatched the YouTube video for Teng's iconic 1977 ballad 'The Moon Represents My Heart.' As I read the comments section, one perfectly encapsulated what I had discovered about Teresa Teng in my own research: 'Teng's music opened a window to a culture I never knew I needed.' Xianda Huang is a PhD student in Asian languages and cultures, University of California, Los Angeles. This article is republished from The Conversation under a Creative Commons license. Read the original article.
South China Morning Post
05-06-2025
- South China Morning Post
Fine and dandy: how luxury houses are embracing a return to refined accoutrements, from British labels Dunhill and Purdey, to Indian fashion designer Sabyasachi Mukherjee
At this year's Met Gala , an unexpected accessory emerged as the evening's quiet stand-out: the walking stick. Alongside jewel-handled umbrellas, watch fobs and even an ornate monocle, these gentlemanly flourishes added a sense of old-world formality to the event's 'Tailored for You' dress code, a tribute to the tradition of Black dandyism. A$AP Rocky at the Met Gala with a custom Briony Raymond silver umbrella, set with 90 carats of diamonds. Photo: AFP Advertisement Met Gala co-chair A$AP Rocky carried a custom silver umbrella by New York jeweller Briony Raymond, set with 90 carats' worth of diamonds and with a handle shaped like a revolver (likely a nod to Rocky's recent acquittal on gun charges, as well as a reference to Umbrella, the 2007 hit by his partner Rihanna ). Bollywood legend Shah Rukh Khan was dressed by Sabyasachi Mukherjee, his look made complete with this Bengal Tiger Head cane. Photo: Invision/AP For Indian fashion designer Sabyasachi Mukherjee , who dressed Bollywood legend Shah Rukh Khan for the evening, the cane wasn't just an accessory – it was central to the look. 'Shah Rukh Khan is such an important star and often wears very simple, tailored clothing. As an icon, you don't want to detract from the public image that already exists,' said Mukherjee. ' Stars like Shah Rukh Khan don't need to be dressed in a costume – they're so big that they just need to be presented as themselves.' Khan's cane, designed for the event, was inspired by the regal traditions of the historic region of the subcontinent called Bengal. 'I also wanted to evoke the image of Bengal's nobility, who carried walking sticks often adorned with bejewelled heads of tigers, elephants and lions,' said Mukherjee. 'Depending on one's status, the heads were cast in silver or gold, and for the wealthiest, entirely encrusted with gemstones.' The Sabyasachi Bengal Tiger Head cane. Photo: Handout Mukherjee's creation was a tour de force of craftsmanship: a Bengal tiger's head cast in 18k gold, its eyes of blue sapphire, its tongue carved from pink tourmaline, and the head adorned with pastel sapphires and old mine-cut diamonds. 'The Sabyasachi Bengal Tiger Head cane is a homage to Calcutta's goldsmithing heritage, with a nod to the colonial influence of British carpentry, creating a look that is global yet rooted in the soul and traditions of India,' he said. For Mukherjee, such meticulous detail signals a broader shift towards classic elegance. 'The internet has made us incredibly lazy,' he notes. 'We are no longer as well put together, as everything is taken too casually. Dressing up is important because it instils a sense of formality and discipline. I think the world could use a reminder of standards and the importance of holding oneself to them. The act of dressing up shows effort, and that's refreshing to see in fashion.'
RTHK
03-06-2025
- RTHK
Zheng ousted by Sabalenka in French Open
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