Chinese Papercuts.

There is a long tradition of finely created papercuts in China. The traditional patterns normally relate to seasonal identifications such as The year of the Horse etc, Chinese Dragon emblems and historic references such as Peking Opera. As part of the Fashion Revolution China exhibition there will be a display of extremely rare papercuts created during the Mao years of the early Communist period in China. The exquisite papercuts depict  a strong cultural identity as well as reflecting the stylistic nature of the society at the time.

Fashion In the 1930s and 1940s Section 1

The first area within the Fashion Revolution China exhibition looks at the influence of western fashions in China. The development of the Qi Pao as a garment based on traditional dress, which also reflected a new freedom for Chinese women. A strong film, and advertising culture as prosperity and foreign investments supported by the Republican government brought some drastic changes from the former Imperialist culture and a modernist vision which is reflected in the posters of the time.

The Powerhouse Museum

Fashion Revolution China is in consultation with the PowerHouse Museum in Sydney to loan some significant pieces for the exhibition in the AUCB Gallery in January 2012. These include the Mens Red Army uniform 1966-70 and the Women's Patriotic Wool Suit.1961 The curators hope that we can secure these loans which illustrate magnificently the relationship of fashion and clothing to political and social influences on a population as a whole.

Fashion Revolution China Exhibition

AUCB Gallery January 2012

Fashion by its very nature, is a language of non-verbal communication, which indicates, rank, occupation social standing and the effects of shifting political and social environments.

This stunning exhibition of garments and images explores the changes in Chinese clothing during three distinct periods of the 20^th Century.

After the demise of the Qing dynasty due to the 1911 revolution, social reform led to a change in dress codes. This was characterised by a greater freedom of expression for women, resulting in the development of the now iconic ‘qipao’ dress, which had its roots in traditional wear but became, like men’s fashion of the time, influenced by western styles of dress. Often ornate and beautifully crafted the ‘qipao’ became, by the 1930’s, the most fashionable style of female dress in China.

When the Communist party came to power in 1949 these western influences were rejected as clothing came to represent nationalism, ideology and functionality. The Cultural Revolution, limited style further, regarding care over personal appearance as a sign of spiritual corruption.

As this period ended with the death of Mao Zedong in 1976, a new economic and political policy led to an unprecedented experimentation of dress styles and a renewed interest in Western fashion styles.

Contemporary China is now the second largest economy in the world and has nurtured its own fashion industry. As well as manufacturing garments for Internationally recognised brands,local designers are creating beautiful collections and extravagant fashion events, which reflect new found wealth and global engagement.

服装革命在中国


就服装的本质而言，它是一种非语言的沟通，代表着阶级、职业、社会地位和随着政治社会环境变化而产生的影响。
这令人惊叹的服装和图片展览探讨了在20世纪三个显著时期的中国服装的变化。
在1911年革命导致清王朝灭亡之后，社会改革引导了着装的变化。“旗袍”，现今很时尚的服饰，给那个年代的女性提供了更大的自由表达空间，就像当年的男装一样，在传统的穿法上融合了西方风格服饰的影响。华丽和精美制作的“旗袍”成为20世纪30年代中国女性最时髦的着装风格。
当共产党在1949年执政后，受西方影响力的服饰被拒绝了，服装演变成代表民族、意识形态和实用功能。文革期间，风格被进一步限制，对个人形象的修饰成为了精神腐败的标志。
这一时期在毛泽东逝世的1976年结束，一个新的经济和政治政策引导了前所未有的着装风格的体验和对西方时尚风格的新兴趣。
现在的中国是世界第二大经济体已经培育了自己的时尚产业。除了制造国际知名品牌的服装，当地设计师们创造的漂亮的收藏系列和奢侈品的时尚活动，这都反映了新兴财富的产生和对全球活动的参与。