外文翻译2

CHARACTERISTICES of the modern qipao’s reforms

1. Prerequisites of reform.

(1) In order to adapt to life there must be reform. Nowadays, the number of unemployed increases more and the flourishing of the market, the pace of people’ lives becomes faster. Modern life in comparison with the relaxed and easy life of the 1930s is more vigorous and enthusiastic, full of different kinds of activities including reading. Sports, arts and literature, science and technology, tourism, visiting friends, household chores and work. People like to have a high -quality life, which is rich, exciting and pleasant, and attire should not be an obstacle to activities. Therefore it is more important to pay attention to as après to. So the high sales and popularization of professional and practical garments are inevitable. In China it must work on this way, as it does all other countries. The traditional Chinese-style women’ qipao lacks this kind of adaptability, so it must be improved in order to have a better future.

(2) In order to achieve the vogue there must be reform. The present changes in fashion ideas determine the necessity of improving old attire. It is just like someone will be bored of fruit if he eats the same fruit each day, or bored of food if he has the sane food every day. Attire must not only be nice, but also be in vogue. Out-of-date garments will bring about a behind-the-times feeling. It is a normal psychological response that contemporary people demand fashions stamped with the new times. Since the 1920s and 1930s, many changes have taken place, such as TV sets replacing radios, highrises replacing old courtyard buildings, automobiles replacing rickshaws…People kike to have clothes conveying modern feelings, so why shall the Qipaio not be improved?

(3) In order to carry out economic reconstruct there must be reform. In the last20 years, China’ economy has been growing. Buying different kings of clothing to suit different types of activities has become the practice. One of the outstanding examples is that besides high quality new concepts there are also the criteria for selecting evening and wedding attire. This reflects that income level s a necessary condition for choices to become affordable. When overseas Chinese come back to China, they see great changes

and enthusiastically exclaim: It’s time to rejuvenate Chinese-style garments. It’s tine for recovering the Qipao’s positing. So reforms of the Qipao must be carried out to serve the modern people.

(4) In order to adapt to the new century there must be reform. In the 21 th century high technology will be the strong driving force in the development of fashion designing, manufacturing and marketing. To satisfy people’s demands future garments shall not only satisfy physiological and safely standards, but also aesthetics and convenience along with individuality. When we make a detailed investigation of the market, we can find flaws on mass production, while, on the contrary, small batches and multi-type production are more welcomed and have better sales, depicting development trends in the future garment market. Only by raising the quality of products, and accelerating changes, especially towards individuality, can garment production satisfy the rising demands of consumers. High technology as a driving force should be reflected in the rising demands of garment fabrics, production techniques and on improvement of equipment and facilities. The Qipao is itself a traditional garment with high-quality requirements in tailoring methods, whether in the past, present and future, so it shall never be a product for mass production, and it is very much suited to the element of the new century, concentrating on image and modeling through special designing. As we enter into new areas of material, technology and equipments in the 21st century, only with times. Thorough this, garment industry can develop.

(5) In order to embody new values there must be reform. Some analyze that the reasons contemporary women do not like to wear Qipao are as follows:

a.The Qipao dress makes too much demand on the wearer’s figure, and only those who have well-proportioned figures, with slightly slanted shoulders, narrow waist, and well-endowed chest and buttocks, will be most suited. It seems that only models performing on the stage are suited to the Qipao, and as for common people they have been excluded.

b. In recent years, mimes, mater d’s of star hotels and high-class restaurants have put on the Qipao as their uniform, and this phenomenon has distorted people’s recognition of

the graceful identity of the Qipao, and created a distance from the former affectionate feelings for it.

c. People used to think that the Qipao was a dress suitable only for middle-aged women with high-status and dignified characters; and that Qipao attire was only complete if accompanied with brilliant and glamorous head accessories. On the whole it it has an image of “madame or mademoiselles, ” and young women., even those who have an interest on the Qipao avoid it, for “being out of keeping with the times. ”

d. The Qipao restricts people’s movements, such as when bicycling, rushing into public buses, walking with big steps, etc. ,so it is difficult for many women to accept Qipao.

2. How to reform the Qipao.

(1) A change in sensibility is necessary for ideological reform. In order to enhance China’s clothing and accessories culture and rejuvenate Chinese garment, there must be:

a. For a solid sense of identity, it is necessary to have a clear understanding of the traditions, culture as well as artistic wealth of one’s nation, together with the orgins, background and development process of clothing and accessories culture.

b. For a sense pf the times, it is necessary to study the competitive focus of the contemporary garments industry, to have a profound understanding of contemporary social life, to keep up with advanced epochal on a national basis. In this way, we can confidence, while avoiding possible deviations. This kind of power of common sense feelings is especially important for a strong vision of Qipao’ reforms.

(2) A focused understanding is necessary for re-creation through reform. Already reform of Qipao has not been a simple change of forms and contours, but has been recreation 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, 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 figure, its feeling, its spirit and its beauty. It should not be traditional, 300-years old, nor 20 th-century modern—but contemporary, even 21th century.

(3) It is necessary to preserve tradition yet study what’s vogue. The so-called preservation of tradition 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 out in accessories 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.

(4) To import the Western-style on order to combine with the Chinese-style. Early in the beginning of the 20 th century European and American- style garments spread into China through Japan and diplomatic exchanges. Influential Western-style garments have occupied the Chinese market in the last hundred years, competing with Chinese-style garments. In recent years the general trends of international garments has influenced and guided Chinese consumers with strong and changeable periodic prevalence, so the development of Chinese-style garments has only one easy and short-cut route, and that is to combine the fashions in order to appeal to the masses. This is the tread of the times.

In recent years China reformed “Chinese-Western-style” garment have been most popular. It is a type of dress, which mixes the traditional Qipao with the best qualities of the Western- style garments so as to transform the limited aspects into appropriate new

style of garment. For example, the collar of the Chinese-style garment has been changed into turned-down or collarless style, the slanted large front into front with buttons down the middle, the side site slit on the right and the left moved to the front, back or bias, the connected cut sleeves into a ready-made style, the frog closures (buttond and button holes) into fabric-covered buttons, and the wholly handmade process into half-handmade and half-machine-made. These kinds of clever reforms give the old dress an instant rejuvenation.

Today, at the end of the 20th century, there is a popular worldwide trend of retro styles and Eastern culture has become the hot spot of exploration which has aroused the enthusiasm of some Chinese fashion designers to fall deeply in love with domestic national clothing and accessories and stare to pay great attention to: understanding the necessity pf reforming Chinese-style garments with modern aesthetic national clothing Chinese-style garments with modern concepts; planting roots in China and establishing national brands; and combining tradition with modernity to preserve the Qipao’ vitality .

In their explorative reforms a group of fashion designers with their own understanding of national dress have created some new works with different sryles which have taken the urban spotlights. One type takes modern aesthetic ideas and dress sense as the foundation to introduce the spirit of traditional garments and, through division of structure and reform of clothing and accessories also break through the restrictions of traditional garments and merge modern causal styles with Chinese-style garments. The other type combines China’s traditional culture and simplified European and American styles to stress individuality and present urban sophistication and subtle classic charm with imported fabrics and drape cutting method to satisfy the needs pf major customers. The third type manipulates unique effects through strong contrast and selects not only fashionable fabrics to complete the national pattern, but also classic fabrics to have them embodied in modern fashions. Some other types preserve traditional style while simultaneously introducing modern ideas for a bohemian character which breaks through the original disposition of Chinese-style garments and changes its traditional “stereotyped face,” so as to give retro from avant-garde fashion.

For many years different kinds of experimental reforms have crept in to the different kinds of garments compatible with different seasons and ages, and achieved effective results.

Among them the most outstanding achievements are in evening dresses and wedding dresses. As for other Chinese-style garments most of them are reflected in the

Chinese-style jacket and trousers which have been promoted and popularized from urban districts to mountainous areas of the countryside. The fact has proven that the reforms are compatible with the needs of the new life, and new-style dressing ideas have been accepted by the vast masses and also proved that the reforms have awakened the Chinese people’s pride.

“winds from China ” blowing strongly in the West have given a terrific shock to the Chinese people’s national enthusiasm. Through the fashion market young people have accepted the trends set by the fashion designers once again. In summer wear the miniskirt accompanying a Chinese-style sleeveless and close-fitting jacket or with slanted and unsymmetrical front, or multi-colored small tunic, looks very pretty with infinite youth internet. For fall and winter wear, the quilted Chinese-style down vest accompanying different types of woolen sweaters and jeans in different colors looks casually smart. Young people’s new fashions and national feelings originating from the yellow earth really mean that reform is the requirement of the times.

文献资料出处: https://www.360docs.net/doc/c95344209.html,

现代旗袍的改良

1、改良的前提

（1）为适应生活，必须要改良。当前从业人口，在现代大都市中，日见增多。由于科技的进步、市场的繁荣、人们的生活节奏日渐加快。如今的生活和30年代的那种闲适平淡相比，要火爆、热烈得多。读书、体育、运动、文艺、科研、劳动、旅游、访友、家务、工作等等。人们要生活得质高、充实、紧张、愉快。着装不可成为行动的障碍。因此，注重适应性就显得更重要。只有这样，才可以适应工作高效率、社会负担重的现实。那么，职业服的畅销和普及，就是必然的了。在中国是这样，在许多国家也是同样道理。传统的淑女型旗袍，缺少这种适应性，因此它必需改良才能有前途。

（2）追求时尚，必需要改良。当今着装观念的改变，也决定了旧装改革的必要性。人们对衣妆的追新求变，是正常的生理、心理反映。如同每个人吃同样上午的水果容易厌倦，每天吃同样一种饭菜，没有了食欲。衣服不但要穿好，更要穿出时尚。过时的衣服使人有陈旧感，现代人要求有新时代印记的时装，这也是正常的心态反映。20世纪从二三十年代一步步走来，无线电收音机已被电视代替；高耸的楼群已代替了转瓦四合院；汽车司机代替了人力（黄包）车夫，人们着装也要求有时代感。那么，旧式旗袍哪有不改之理呢。

（3）经济振兴，必然要改良。近20年来，中国的国民经济处在上升阶段，人们的物质生活水平提高，反映在着装、住房和就读等诸多方面。市场的繁荣，日趋满足生活所需，服装的高、中档价格，体现了消费者的购买水平。生活的丰富充实，购置适应各种活动的服装，被列入议事日程之中。对于晚礼服和婚礼服的选择即为明显一例，既要上档次，又要有新意，说明经济收入水平已经具备选择的条件。国外归来者，见到近年来国内的显著变化，他们积极热情地呼吁：“振兴中式服装的时机到了”。因此，改良旗袍，使之为现代人服务，已势在必行。

（4）适应新世纪，必然要改良。高科技将成为21实际服装设计、生产、销售方面发展的强大动力。未来服装对于人们生活需要来说，不仅是满足生理和安全、艺术塑造和舒适性的需要，而且要有个性化。仔细观察市场，可以发现那种大批量生产的弊端，而小批量、多品种的生产受到欢迎和畅销景况，是未来服装发展趋向的体现。其市场只有提供品位越来越高之需求。高科技作为动力，反映在服装材料的改造、生产技术和设备的革新等方面。旗袍本来就是以个性发展为特点的上档次的传统服装。过去、现在和未来旗袍一向是不可能成为大批量的产品。因此，它十分符合新世纪更加主重形象塑造的专门设计的要求。为了步入新世纪材料、技术、设备的新领域，服装业只有走改良之路，才是适时、适应、适合，才能不断融入新

时期生活之中，得到现代人的认可和青睐。从而才能有所发展。

（5）体现价值，必然要改良。有人分析现代女性不着旗袍有以下原因：

a. 认为旗袍对人体型要求过于严谨。只有一些身材比例匀称、削肩、窄腰、胸臀丰满者才为上乘。除表演台上的模特以外，普通人似乎被拒之门外。

b. 近年来，中国星级饭店的迎宾领班小姐，争用旗袍作为入选服务服装。从而扭曲了人们对旗袍高贵身份的认识，感情上与之拉开了距离。

c. 人们视旗袍为中年以上、身份高、旗帜优者穿着最为合适。完整的旗袍着装要有光洁靓丽的发饰相配，总体印象是“小姐、贵妇人”形象。为与之拉开距离，青年人虽然对身着旗袍也怦然心动，但还是以“不合时宜”为由避开了。

d. 旗袍限制了人的行动，如骑自行车、挤公交车、大步快走等都受到约束，故众多妇女难以接受。

2．旗袍如何改良

(1) 革新观念，重在感知。红样中国服饰文化，振兴中华服装。

a. 自我感知：对本民族的传统文化艺术财富要清晰明确，对服饰文化的起源、背景、发展脉络要透彻熟知。

b. 感知时代：研究当代服装业的竞争焦点，深刻理解现代社会生活，捕捉流行规律、信息。形成在民族基础上。突出时代特性的创造革新观念，既可以把握自己、自信不盲目，也可避免出现偏向。对于旗袍这种服装的认识和对其改良的决心，特别应该具备这种感知能力。

(2) 新改良，重在无形。旗袍的改良，已不是简单的形式的变化和轮廓的修补，而需在领悟其文化内涵和装饰韵味的基础上进行再创造。中国画大师齐白石先生，对他所画的内容，有如下提示：“似与不似之间”。就是指画中之虾在水中游，但画面上并未表现水，而虾之身动已表明是在水中。。所画之虾以写意之笔，形象骨肉兼备，长须摆尾活灵活现。因此，好比“此处无声胜有声”，是“似与不似之间”。齐老追求的不仅仅是“形似”，更重要的“神似”，改良过的旗袍，应该留给人的印象是：旗袍的身影、旗袍的感觉、旗袍表达的精神、旗袍的姿色。它应该不是传统的、300年前的，也不是近代20世纪的，而的现代的，甚至是21世纪的。

(3) 保留传统，研究时尚。所谓保留传统，并非一成不变，将“老祖宗”搬挪过来。而是说“改良”要求，必须深入学习，在深入理解传统的基础上进行。古老的旗袍，有它孕育、起源、发展、演化的过程，它的出现和它的存在，都具有鲜明的时代的印迹。它的呈形、它的结构、它的用色、它的选料、它的装饰以及它的加工手段，都有一定来历、一定出处、一定的象征意义。绝非简单从事，随心所欲。因此，这种服饰才会如此有价值，才会流传数百年，才会经久不衰。

时尚是具有时间性和空间性的时髦和流行，它更具有明显的时代标志。对于它的转瞬即逝，流动的周期与速度，不许即使捕捉和掌握。为适应各个时期的新生活，不许随时研究、探讨、紧跟。现今和未来对旗袍的该娘，务需具备这两合条件，否则没有开拓，或者过于超前，其结果均不会合时宜的。

（4）引进西式，结合中式。欧美式服装早20世纪初，通过日本和各国使节在交往中传入中国。西方服装近百年来以巨大的冲击力，战局了中国的市场，与中式服装抗衡。由于近年来国际服装的总趋势，以强烈的多变换的时代流行，引导和影响着中国的消费者。因此，中式服装的发展，只有一条捷径，就是于时装结合，唤起民众，这是大势所趋。

近年来，中国流行一种“中西式”的改良服装。是一种将穿旗袍融进了西式服装的长处，将局限改造成合适的心型服式。例如：中式衣领改成翻领或无领；偏大襟改为对襟；左右开衩改为前后开衩或偏开衩；连裁袖改为装袖；盘扣改为包扣或暗扣；全部手工改为半手工、半机器制作。这种良好的思路和改革的手段，使古老的服式顿时生机盎然。

20实际末的今天，世界上流行着一股怀旧思潮，东方文化成为寻找的热点，从而激起国内一些设计师对本土民族服饰的的钟情，开始重视以现代历年理解中式服装改良的必要；重视植根于中国，建立民族品牌的重要；重视将传统与现代结合，才能使旗袍保持生命力。

在改良的探索中，一批设计师以各自对民族服装的理解。创造了一些不同风格的新作，显现出都市风光中的两点。一种是以现代审美观念和现代着装感觉为基础。引入传统服装精神，通过结构分割和服饰重新组合，突破传统服装的局限，将现代休闲风格引入中式服装之中；一种是将中国博大精深的传统文化与欧美的见解时装形式结合。为突出个性，体现都市趣味和古典韵律，选用进口面料，运用立体裁剪，满足多数消费者需求；一种是运用强烈反差产生独特效果，既选用流行面料完成民族式样，也选用古典面料体现现代服装；还有就是在保留传统服装风格的同时。渗入现代思想。注入嬉皮特征，打破原有中装布局，改变传统“老面孔”，从前卫中获取反朴归真的感觉。

多年来，各种改良尝试，渗透到各个季节、各种年龄的不同服装品种之中。取得了良好的效果。其中以女式晚装和婚嫁装最为突出、醒目。其他男女老幼的中式服装，多见于短装之中，并从城市向农村、向山区乡镇大面积推广普及。事实说明，改良适应了新生活的修要，新型的着装观念已被大接受。也说明改良唤起了民族自豪感。

“中国风”在西方劲刮，震荡了中国人了民族豪情。青年人通过服装市场，再

一次接受设计师的引导。夏季超短裙，于中式无袖紧身小褂配合；与不对称偏襟配合；与杂色小上衣配合。非常俏丽，具有无限童趣。秋冬季中式羽绒衍缝背心，与各式毛衫、牛仔裤组装，色彩缤纷，潇洒自如。一派俊男靓女新时装。一股黄土地的民族情。真正说明改良是时代的需要。