Close-Up: The Politics of Dressing. 特写:服饰政治.

Nothing today is safe from the long arm of political influence. Where conservative values act as KOLs, politics impact more than just the passing of a bill. They impact our wardrobes. Jessica Laiter lays bare the truth behind the legends.当今,没有什么是不受政治影响的。当保守价值观占据主流时,政治的影响力已不仅仅是给你寄张账单那么简单,政治已经渗透到了人们的衣橱里。Jessica Laiter将揭开这政治与时尚背后的真相

Fashion has evolved with the sociopolitical system under which we have all lived for thousands of years.“时尚是随着我们几千年的社会政治制度在演变的。”

Politics here. Politics there. Politics everywhere. Sometimes it feels like that’s all we ever talk about. Honestly, has [insert any given political capital] ever heard of “the silent game?” Let’s first dig a little deeper into that establishment telling us what to wear… In places where conservative values act as key influencers, such as China or even the United States, politics affect more than the obvious passing of a bill or politically correct rhetoric and behavior. How that is possible, stretches even further beyond the imagination than the reality of it. Who are “they” – or anyone for that matter — to tell us we cannot wear pink on Wednesdays or don a vintage kimono to a Jason Aldean concert?

政治无所不在,政治是人们口头经常谈论的话题。但是,老实讲,到底哪种政治资本真的有参加过那“无声的游戏”呢?在此让我们去深入探究那个影响着人们着装的政治势力。当保守价值观占据主流时,像在中国甚至是美国,政治的影响力早已超出了我们的想象范围,政治的影响力已不仅仅是给你寄张账单或是纠正言辞行为那样简单。那么,到底是谁在告诉我们星期三不能穿粉色,不能穿复古和服去参加美国乡村歌手Jason Aldean的演唱会呢?

One definitely, absolutely, 100 percent can wear those things; whenever and however one would see fit. All you need to do is acknowledge that our forefathers have predetermined these style selections and these are not decisions made completely on our own. It takes more than just the powers-that-be at Vogue [insert any given country] to determine “style” tout court. Fashion has evolved with the sociopolitical system under which we have all lived for thousands of years.

当然了,要是你能找到证据证明你的着装风格是有出处的,而非你个人的随意创造,那么你想在什么场合穿什么衣服就都变得合乎情理了。然而,这着装的学问并不是单纯地借鉴Vogue里的潮流那么简单,时尚是随着我们几千年的社会政治制度在慢慢演变的。

 

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Du Juan through the revolutionary lens of Photographer Quentin Shih. Copyright@VogueChina.杜鹃在摄影师时晓凡(Quentin Shih)镜头前的“革命”时尚大片。版权所有Vogue中国版。

 

About Fashionable And Political Contradictions

有关时尚和政治的矛盾

What is the politics of dressing exactly? It at times may come across like an oxymoron at best. Fashion and style have always been a form of self-expression and identification; it’s how individuals show the outside world what they would look like if they were a color, a fabric, a pattern. It’s about exposing to the world a glimpse of their innermost selves. When I think of politics, I think of structure, rules and dictation. So by abstract definition, politics and fashion are contradictory. However, we cannot run from the fact that ideology, religion and social nuances influence our decision-making process. For one moment, just forget about government dictating fashion and think about something as simple as the Pantone Color of the year or the large billboard of a Hadid leering over you on Lafayette Street wearing Stuart Weitzman sandals that you may or may have hated before the very moment you laid eyes on that ad. Speaking of footwear and the power of advertising (or “advertusing”, aka the abuse of advertising), Lord knows many of us still shudder at the sight of a pair of “comfy” backless summer slippers. Let alone the fur-trimmed winter ones we had to endure in pre-heatwave times.

到底什么是服饰政治?这个词听上去好像有些自相矛盾。时尚和风格历来是表现自我的一种方式:穿着一种颜色,一种布料,或是一种图案,是自身通过着装呈现给外界的一种效果,这同时也是在展现内心深处的自我。然而说到政治,让人首先想到的是政治结构、规则、和支配统治。从抽象的定义上来说,政治和时尚是对立的。可是,我们不能否定的是,意识形态、宗教、和社会的细微差别的确影响着我们的决策过程。让我们先忽略那些被政治影响的时尚,先想想那些简单的更直观的影响,例如像Pantone年度流行色,或是吉吉·哈迪德穿着Stuart Weitzman的凉鞋走在Lafayette大街上向你抛媚眼的广告牌。或许以前你对这些一直很鄙视,但是在这一刻你发现你其实正在专注地看着这个广告。说到鞋履和广告的影响力(我这里指的是广告滥用),上帝是知道的,我们中的很多人看到写着“舒适”的露脚背凉鞋广告都在发抖,更不用说是在炎热的夏季里看到带毛的棉鞋时的难受了。

Note to all victims: Echoing a trend or slipping on a pair of pre-season freebies does not necessarily denote having style.给所有的受害者一个忠告:重复流行时尚,穿上一双上一季的免费赠品鞋,并不代表你就有个人风格。

The sum of the aforementioned dictates how we feel about fashion, what items we decide to consume and which trends we choose to accept as fact. Ergo, at the root of it all, we’re all minions to the man.

我们对时尚的感觉决定了我们去购买什么物品,去追随什么样的潮流。归根结底,我们都是时尚的奴隶。

Fashion Rookies And Rulers

时尚新手和统治者

China is “somewhat” of a rookie to the modern fashion world; one harboring grand ambitions, but a beginner nonetheless. That’s not to say they aren’t playing well, but they still have a few bases to cover.

中国是现代时尚界的新秀,野心勃勃,即便如此中国在时尚界的地位仍是新手一枚。这并不是说中国没有在努力,只是他们要先把基础打好。

China is notorious for the semi-instability of its governing bodies prior to current day. It is reveling in this spotlight, much to our trending convenience, that clothing can act as an optimal method for retracing cultural and political developments achieved throughout the centuries and deducing how China’s reigning forefathers reflected their social mores, religious notions and cultural preferences through choice of style.

从古到今,中国半稳定的政局情况是众所周知的。在聚光灯前,服装作为追溯文化和政治发展的最佳表现方法,千百年来不断演绎了中国的先祖们是如何通过服装风格来反映他们的社会习俗、宗教观念、以及文化喜好的。

The Chinese wardrobe has long been a marker of change. In yesteryear, when one dynasty overlapped another and emperors ripped the much-coveted robes off one another – so to speak, fashions changed with each rolling tide. Never fully satisfied with the current style of choice, modesty and simplicity became interchangeable with styles of sex appeal and luxury — depending on the dynasty in control at that point in time.

长期以来,中国的服装风格一直在变化。朝代易主,龙袍变换,时尚也随着朝代的变更在变化着。由于不满足于当前的流行风格,在不同的朝代里,朴实简洁风格与情趣奢华风格交叉出现。

Note to all emperors of the past: Did you not grow tired of going back and forth time and time again? Anyway.我真想问一下历代的帝王们:您这样反反复复的累不累啊?

Although objectively it may appear that traditional modes of dress in China were all essentially the same, you might wanna think again. As major believers in symbolism and “fantastical” tales, fashion throughout the centuries proved a very significant contributor to the organization and identification of the Chinese people. Wardrobe styles were dependent on social rank and gender and thus were bound to a plethora of rules and regulations, do’s and don’ts; one fashion faux-pas and you might find yourself persona non grata at the imperial court. So… Yep. Imagine living your entire life clad in uniform. Yep.

虽然主观上来看,历代中国服饰的样式都是一样的,但是再想想,在这个充满象征主义和神话信仰的国家,千百年来的历史证明了,时尚对中国人民的组织管理和身份识别贡献了巨大的力量。性别和社会地位决定了服饰的样式,什么该穿什么不该穿,古代对服饰的要求有着太多的繁文缛节。一个时尚的失礼,在朝廷中你可能已经变成了一个不受欢迎的人。试想一下,你的一生都穿着制服在过是个什么样的感觉。

Finds such as the Terra Cotta Warriors showed off the basic theme of long gowns for the elites, as well as a restricted use of certain textiles, like silk, for certain members of the upper-class.从出土的兵马俑的着装可以看出长袍是统治阶级的基本服装样式,某些织物,如丝绸等只有特定的一些上层阶级的人才能使用。

Laying The Fashion Foundations

奠定时尚基础

The first traces of fashion in China were found during the Xia (2205-1766 BC) and Shang (1600-1046 BC) Dynasties, where the foundations for China Fashion were laid. During this time, social hierarchies had not yet officially been established and so the designation of fashion was subjected to somewhat “looser” interpretation. Basic features included a cross-collar robe, wrapped from right to left, tied with a sash. Lo and behold, the colors you wore, were entirely yours to pick; no instructions there. Go nuts, they said.

中国时尚的产生最早可以追溯到夏朝(公元前2205年-公元前1766年)和商朝(公元前1600年-公元前1046年),这两个朝代奠定了中国时尚的基础。在这个时期,社会等级制度尚未正式建立,服装样式多以宽松式为主。交叉领长袍,右襟压左襟,腰部系以腰带是其基本特征。在那时的服装颜色可以自行选择,并没有限制要求。

As the Zhou (1046-256 BC) Dynasty rose to power, a division of the peoples occurred. A strict hierarchical society was formed and the length of a skirt, the width of a sleeve and the degree of ornamentation symbolized your rank in society — social suicide, if you ask me. People got ueber-picky and -sensitive about what they wore for the fiercely feared accusation of dissent. For example, the color yellow was reserved solely for the emperor. If anyone dared to wear the imperial color of Earth, neutrality and good fortune — let alone get caught yellow-handed, cheesy indeed — well, to the grave they were sent. Then, in marched the Qin (221-206 BC) .

到周朝的时候(公元前1046年-公元前256年),社会等级制度开始出现,对裙子的长度、衣袖的宽度、象征等级的装饰等都有了严格的要求。人们开始对穿着变得敏感,生怕由于着装的错误担上什么罪名。例如,黄色是只有皇家才能使用的颜色。如果其他任何人敢去穿这象征统治和荣华的黄色,那么他们离自己的坟墓就已经不远了。这种服饰制度一直延续到秦代(公元前221年-公元前206年)。

Note to my fellow New York ladies: You will love this one.写给我在纽约的女性朋友们:结下来的这段你们一定会喜欢。

The color of choice was…drumroll please…. Black. Based on the theory of Yin and Yang, black symbolizes water and red symbolizes fire (the color of the abovementioned Zhou dynasty). Water beats fire. Et voila, symbolic success attained.

在秦代,服装以黑色为主。根据易经,黑色象征水,红色象征火(上面提到的周朝的象征色是红色),水灭火,象征成功。

Quentin Shih Vogue China Du Juan 4
Du Juan captured by Photographer Quentin Shih in his 2011 “Revolution” Vogue China editorial shoot. Copyright@Vogue China.摄影师时晓凡(Quentin Shih)在2011年以杜鹃为模特拍摄的名为“革命”的时尚大片,Vogue中国版编辑摄影,版权所有@Vogue China

 

Known as China’s first golden age, the Han Dynasty (206 BC-221 AD ) was the real start of true fashion in China. A little history 101 is perhaps in order, so here we go: China has at least 55 minorities, but the majority of ethnic Chinese today are recognized as descendants of the Han. You can only imagine the influence they’ve had over the centuries. Styles consisted of a narrow-cuffed, knee-length tunic tied with a sash and a narrow, ankle-length skirt with an additional piece of fabric reaching to the knees.

汉代(公元前206年-公元221年)被誉为中国历史上的第一个黄金时代,也是中国时尚的真正起点。在这里补充一点小知识:中国有55个少数民族,直到今天中国人仍被认为是汉族人的后裔。由此可见,汉代的影响已经穿越了几个世纪。汉代的服饰样式——汉服,上身是窄袖口的及膝宽松上衣,下身是长度到脚踝的长裙,前面加一条长度及膝的织物。

Confessional note from this feature’s author: At this very point, the styles have all started to sound the same. If you’re lost or bored, just hang in there! 作者给读者的话:从这里开始,汉代以后的服装样式都很相似。如果你读得累了,请再坚持一下!

Finds such as the Terra Cotta Warriors showed off the basic theme of long gowns for the elites, shorter jackets for the common people and fashion laymen, as well as a restricted use of certain textiles, like silk, for certain members of the upper-class.

从出土的兵马俑的着装可以看出长袍是统治阶级的基本服装样式,而短上衣是给平民百姓的,某些织物,如丝绸等只有特定的一些上层阶级人士才能使用。

The Tang Dynasty (618-907) however, I believe, is the fairest of ‘em all. It was a time of romance, poetry, music, art, culture and, especially, women’s fashion. Styles were more luxuriant and revealing than ever before, with many of them adapted through trendspotting in the Western look book. Trade along the Silk Route flourished and influences from Turkey and Persia impacted the fashions of China’s elite – from head to toe; even their shoes were woven from silk. Given the romantic vibes of the era, women, commoners and elites alike were encouraged to wear form-fitting garb, showing off their natural curves.

唐代(公元618年-公元907年)是一个以浪漫、诗意、音乐、艺术、文化、尤其是以女性服饰闻名的朝代。服饰样式更加华丽,也更加暴露,很多唐服成为现代西方时尚的灵感来源。沿着丝绸之路经由土耳其和波斯传来的中国上层阶级的穿戴,从头到脚,即使是鞋子也是丝绸做成的。在浪漫主义氛围的影响下,无论平民女子或是上层阶级女士都穿着展现身体自然曲线的合身服装。

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Out With Curves, In With Confucian

外在的曲线美,内在的儒家思想

With the rise of the Song Dynasty (960-1279), Confucian values made their return to the stage and the opulence of fashion as seen during the Tang Dynasty took a conservative turn towards a sense of simplicity. Higher necklines, flowing robes and extended hemlines formed the editorial of the day. Once again there was variance in sleeve length and accessories based on social rank. Until one day in 1279… When the Mongolians took over, bringing with them an entirely different culture, including new fashion statements. The outside made its way back in once again.

随着宋朝(960年-1279年)的兴盛,儒家思想成为主流思想,服饰风格也发生了变化,宋代相对保守的质朴风格取代了唐代的奢华风格。高领口、低垂的长袍是主流的服装样式。同样的,根据社会等级,袖子的长度和配饰也都有不同的规定。直到1279年的某一天,蒙古人入侵中原,才带入了完全不同的文化,这其中也包括服饰。

The Ming Dynasty (1368-1644), the most OCD fashionistas of them all, assigned outfits per social rank and occasion, a system which took more than 20 years to come into full fashion fruition. This is the era in which we see a serious emphasis on the yellow Dragon Robe, only to be worn by the Emperor himself. Those lower in rank wore simple Taoist robes without any embroidery or ornamentation, however they could choose from a variety of headdress styles. Women of the court wore gowns with big sleeves, short tops (crop tops in imperial China, who would’ve thought), decorated crown and long shawls with phoenix (a symbol of high virtue and grace) and flowers, in addition to gold or jade ornaments.

明代(1368年-1644年)生活着最具强迫症的时尚达人,他们给每个社会等级,在不同的场合都规定了服装样式,整个服饰体系经过了二十多年才最终完善起来。在这个朝代,只有皇帝才能穿的黄色龙袍开始被重视起来。等级低的官员只能穿朴素的没有刺绣图案或装饰的道教长袍,但是他们可以选择佩戴不同种类的头饰。宫廷里的女人们穿着长袖长袍和短上衣(谁能想到在中国古代就已经有这种短上衣了呢),除黄金和玉器饰物外,她们还佩戴头饰、鲜花、以及绣有凤凰图案的长披肩(凤凰在古代中国象征着高德和优雅)。

And so we arrive at the Last Emperor. The Qing Dynasty (1644-1912) is when the Manchurians took over China and introduced the well-known cheongsam – known in Mandarin Chinese as qipao, an oversized robe that later turned into a slender cut dress and one of the most quintessential China styles of all time to boot. It became a staple wardrobe item and an accurate, yet overused, reflection of chinoiserie.

最后我们来看看中国最后的一个朝代。清代(1644年-1912年)由满清人建立,是他们把旗袍的原型带入了中国。旗袍是由宽松的长袍演变而来的,后来逐渐变成了修身的连衣裙。旗袍是长期以来最典型的、被穿着最多的中国风格服装之一。

Chinese women were often depicted in Western films wearing the cheongsam and were referred to as “dragon ladies”. This is beyond any doubt a politically charged stereotype, promulgated by a higher authority. China did not open its doors to the West too commonly for fear of being fully immersed, drowned even, in foreign influence and power. The ensuing perceptions of Chinese fashion were too often left to mere objective insights. The cheongsam, despite its controversial status as a sex symbol, nonetheless was and is still a firm fan favorite. Look up “cheongsam” or “qipao” in the dictionary and you’ll find: “Feminism”.

在西方的电影中,中国女性时常穿着旗袍,因此她们经常被称为“龙夫人”。毫无疑问,这是由中国政府渲染的带有政治色彩的表达方式。中国政府由于担心外国思想和势力的入侵,并没有完全向西方敞开大门。于是随之而来的,人们对中国时尚的感知往往也只剩下客观的见解。被认为是性感的象征,旗袍尽管是一个有争议性的存在,热爱旗袍的人仍然热情不减。如果在字典中查寻“旗袍”,你会发现与其相关联的另一个词汇是“女权主义”(Feminism)。

Representing all that is the progression of modernism, the cheongsam became an iconic part of China Fashion as a symbol of women’s liberation. Yet I shamefully admit that every time I see a woman wearing the dress, I immediately think to myself: How stereotypical; how antiquated. Whereas in fact, it is no different than someone wearing, let’s say, a Chanel Suit worn by Jackie O or a classic sundress worn by Michelle Obama. Cultural garment stereotyping is omnipresent, it appears.

在现代化的进程中,在中国时尚界,旗袍成为中国妇女自由解放的标志性象征。但我不得不承认,每次在街上看到有人穿旗袍时,我的第一反应是:这是多么的老套,多么的过时。然而事实却是,穿旗袍跟穿其他服装并没有什么不同,比方说,Jackie O穿的香奈儿套装,或是Michelle Obama穿的经典背心裙。看来,对传统文化服饰的思维定式无所不在。

The little Mao-playsuit was enforced upon all and reflected the Chairman’s initiative to streamline all of society and eradicate culture, religion and social class. 文革制服反映了毛主席所倡导的简化社会、消除宗教和社会阶级的思想。

About Tradition And Transition

传统与转型

The transition from the Old (Imperial, until 1912) to the New (Republican, 1912-1949) China turned out a tricky one. The process to eliminate traditional styles and to adopt new ones from the Western world proved toilsome. Western-styled suits were designed for men and women continued to wear the cheongsam, which slimmed down and sexed up by the day. Eventually it became mainstream womenswear and the well-known “Calendar Girls” as seen across Shanghai’s cigarette advertisements and, well, calendars everywhere — I like to equate them to the women of Playboy, only dressed in cheongsam — were the women to beat.

从古代中国(从古代到1912年)到中华民国(1912年-1949年),中国社会经历了一个复杂的社会变化。摆脱传统风格,接纳西方新事物的过程进展地并不那么顺利。男士穿着具有西方风格的正装,而女士仍然继续穿着简洁性感的旗袍。最终旗袍变成女性的主流服装,从上海的香烟广告到日历,穿着旗袍的女性随处可见。我喜欢拿日历旗袍女郎来跟花花公子杂志里的旗袍女郎做比较,这些女人所向披靡。

 

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“Revolution,” a 2011 editorial shoot by Photographer Quentin Shih for Vogue China. Copyright@Vogue China. 摄影师时晓凡(Quentin Shih)在2011年为Vogue中国拍摄的名为“革命”的时尚大片。版权所有@Vogue China。

 

In much regrettable, Mao-called for fashion, during the Cultural Revolution (1966-1976) a few decades later, these newly-discovered and -adopted styles were banned entirely and back the Kingdom turned to a time of conformity and uniform. The little Mao-playsuit was enforced upon all and conveyed, in true transgender fashion, a reflection of Mao Zedong’s initiative to streamline all of society and eradicate culture, religion and social class. Not until the 1980s, did the fashion scene resume.

非常令人遗憾的是,毛主席在文革(1966年-1976年)及接下来的几十年里,对时尚也进行了改革。那些刚流行起来的服饰完全被禁止,时代再次回到了穿着清一色制服的朝代。文革制服代表了一种中性时尚,反映了毛主席所倡导的简化社会、消除宗教和社会阶级的思想。直到1980年的时候,中国时尚才慢慢开始复苏。

Fashion as we know it today is an identifier, but in societies that vacillate between collectivist and individualist mentalities, fashion can be both a form of unification and rebellion. China may be a lot of things, but today, fashion moves to the beat of its own drum. Those who survived the Cultural Revolution are forever stuck in their ways and the nation’s first post-Revolution generation still believes in buying foreign brands and label-heavy goods.

我们今天所熟知的时尚是一种自我标识,但是在摇摆在集体主义和个人主义的社会里,时尚既是形式的统一,也是反抗的标志。中国变化很大,但是在今天,时尚才开始显露出来。那些经历了文革幸存下来的一代被困在了文革的阴影里,而文革之后的第一代人却只相信去购买国外品牌和名牌产品。

Survival Of The Fittest — Street Style

适者生存——街头风格

China’s youngest generation, on the other hand, is now making its way into the modern-day fashionsphere. If you think about it, it’s pretty incredible how quickly they’ve caught up – given the obvious historical setbacks.

另一方面,中国的年轻一代正在探索着进入现代时尚界的路径。如果仔细想一下,在经历了重大的历史挫折后,中国的年轻一代能追赶地这么快是多么地不可思议。

They are now the focal points of street style and fashion week photographers across the globe. They are the influencers, designers, style icons. i.e. the movers and shakers of Chinese society. Many Chinese politicians have been spotted wearing certain Chinese brands out of support and respect for domestic talent and so today, instead of the government dictating fashion, the tables have turned. First Ladies of the United States have always been style icons for the people, from the classic style of Jackie O, to the affordable style of Michelle Obama, to the elitist styling of Melania Trump. These are the “dynasties” of political figures with a hand in the evolution of fashion. Each woman has attempted to communicate with the people through their choice of style.

现在他们是街头风格的焦点,走遍全球的时装周摄影师;他们是时尚影响者、设计师、时尚偶像,是改变中国时尚的新势力。很多中国的政客通过穿着中国本土设计品牌,来支持本土有才华的设计师。如今,那个政治控制时尚的时代已经过去了。美国第一夫人一直是美国人民的时尚偶像,从Jackie O的经典风格,到Michelle Obama的经济适用风格,再到Melania Trump的高贵风格,政治人物在影响着时尚的变迁。每一位第一夫人都试图通过自己的时尚风格来与民众交流。

In whichever way it manifests, China’s fashionistas are coming into their own, with minimal interference from the ruling Party — aside from the recently enforced ban on opulent displays of wealth and the high taxes on incoming foreign brands as a way to elevate consumption of domestic labels. (No biggie there, right?) This may or may not have an effect on style preference, but because China is no longer a country hermetically sealed off to the outside, designs will still be internationally-inspired.
Nevertheless…

无论以任何方式,中国的时尚达人们都在通过自己的方式来表现自我,同时尽量减小与执政党的正面交涉,除了对最近禁止炫富,以及抬高进口税来保护本土品牌的政策的干涉。(但这也没什么大不了的,对吧?)可能这些不会对人们潮流风格的喜好产生什么影响。中国已经不再是与外界隔绝的国家了,虽然其设计仍然受到很多的外界影响。尽管如此…

The lights are on and there’s someone home – no derogatory snipe intended. After decades of lusting for foreign styles and brands, nationalism is back on the rise and Chinese designers are embracing their heritage, their native culture. This new crop of fashion pioneers is exploring design ideas other than the European styles that have been mirrored for the past number of years. European designers have always looked to the past to inspire new collections; so why wouldn’t the same apply to China? The truth is we may see a return of the legendary Chinese robes in our near future. Stay tuned!

传统精髓还在继续,在追逐了国外品牌潮流的几十年之后,民族主义重新崛起,中国的设计师们开始珍视传统文化。在复制了几年的欧洲潮流之后,年轻的时尚先驱者们正在探索着欧洲风格以外的新设计风格。欧洲的设计师总是从过去的文化遗产中寻找新系列的灵感,中国的设计师也同样可以。可能在不久的将来我们将会看到中国设计师对传统再诠释的设计作品。敬请关注!

 

 

 

 

 

 

 

 

 

 

Written by Jessica Laiter of Chinese Graffiti for Temper Magazine
Edited by Elsbeth van Paridon
Chinese translation by Li “Lily” Dan of Kitayama Studio.
Featured Image: Copyright@Quentin Shih; Editorial for Vogue China; Model: Du Juan
Photos: All pictures in this feature belong to Photographer Quentin Shih, who shot these images as part of his “revolutionary in fabulousness” 2011 “Revolution” editorial spread for Vogue China.
Imperial Dress Drawings: Copyright@Chang An Moon.
撰稿人:Jessica Laiter
编辑:Elsbeth van Paridon
图片提供:版权所有@时晓凡,Vogue中国版,模特:杜鹃
文中图片版权归摄影师时晓凡所有,图片取材于时晓凡于2011年为Vogue中国拍摄的“革命”时尚大片。
宫廷服饰图:版权所有@Chang An Moon.
Copyright@Temper Magazine 2017 All Rights Reserved 版权所有@Temper Magazine 2017