That roaring Shanghai of the pre-PRC 20th Century (Part I) was undeniably a fashion hard hitter, but the 21st Century also proves a strong contender in the Pearl’s fashion race. With Shanghai Fashion Week in full swing until April 2, 2018, we once more step through the mirror to explore this city’s fashionable brawn, bravado and bravery.
As Marxist Leninist Mao Zedong one-size-and-style-fits-all playsuits (traditionally known as the male 中山装 – yep, after Sun Yat-Sen — for those interested in getting one) in 1949 unified the fashion stakes across the Middle Kingdom. The fact that its jacket was made out of one piece, contrary to the usual two layers of fabric or something, symbolized China’s unity and peace. Its three cuff-buttons stood for the Three Principles of The People: Nationalism, Democracy and People’s Livelihood. As it turned out, the PRC standard suit became a hit with western “intellectuals” (aka the communist-thought-liking hipsters-du-jour) throughout the 1960s and 70s. They apparently tended to pair it with a nice comfy turtleneck. Mao-PC lovely. So, I do beg your pardon, but instead of going through 30 unavailing years of joyless démodé bootcamp, I’d rather pick up not where I left off, but where the thrill really came back for Shanghai’s fashionista: The 21st Century.
The PRC standard suit became a hit with western “intellectuals” throughout the 1960s and 70s. They apparently tended to pair it with a nice comfy turtleneck. Mao-PC lovely.
Vogueing Out the Nation
The opening of the 21s Century saw the arrival of many Western fashion media staples on China Mainland. People were already aware of the Marnis and Pradas being status symbols, but flipping through pages and pages of luxury brand advertisements as presented in the Vogues, Elles and Harper’s Bazaars of this universe, certainly spurred on the rush for the gold CC signs. Hey, what can I say, those fashion media moguls are some bright cookies for sure. Pushing Eurocentric notions in Asia? Yep. Anyone care? Nope. Either way, the 2000s saw the Mainland masses heading to Hong Kong’s (cheaper) top-level brand flagship stores like it was Black Friday every day. And bringing home the same bag. Every single one of them.
Yet then… drumroll, please. We entered the 2010s and arrived at a crossroads where many a China-born dressmaker was braising up their own designs, mixing their personal heritage and China’s history with Western-studied techniques. The new China fashion design(er) went from being more underground or small-atelier-audience-bound to upping the public streetstyle; breaking with all bombastic bag-du-must-have-brand conventions (of course these have not been eradicated, why should they be; each to their own). A new Chinese clientele since leans towards individualizing what’s on their wooden hangers and thus exuding their individuality towards their peers and wider surroundings. The “M’as-tu-vu?” thought in a new layered jacket.
A fast and furious MIKUMKUM SS17 via China Fashion Bloggers.[/caption]
The Shanghai fashion design scene in the 21st Century has burst back into its former frisky innovative creativity and gained back the reputation that strides with it.
Shanghai is primed to become the Fifth Fashion Capital on the global mode map — in addition to the Big Four aka New York, Paris, London and Milan. The 2010s have come with a shift in desirable goods, moving from the omnipresent Louis Vuitton bag to a more individual expression through fashion. Great Style Leap Exhibition Director Xu Haiyun in 2014 told Jing Daily the following in regards to the development of Shanghai’s streetstyle settings:
“When social media and street style came around, they gave people a new type of fashion influence that was closer to them, that was graspable and more affordable. […] I think because of Beijing’s history as a center for art and culture, people therefore dress a little differently—more complex, maybe. Shanghai is a little more Western, whereas Guangzhou and Shenzhen feel more original and Asian.”
The man has a point. And this point aligns with this year’s participants’ viewpoints on Shanghai as a Fashion Capital on the rise, think Gemma Hoi or Eva Xu of All Comes From Nothing — among others.
Beijing is the rougher diamond; Shanghai is, by now, overflowing with more than 100 years in fashion do’s and don’ts, a polished one; but it would be unfair to cast aside the simply innate Chinese or Asian inspirations found with Shanghai’s fashion design. It may have a polished – Western, if you will – coating, but it sure is pure and unadulterated China-born-and-bred Fashion. I mean, even the Mao Zedong thought elixir was first served with a few Marxist and Leninist drops, right?
We shall conclude this look at a tried ‘n true China Fashion pivot with a style-advisory twist on Chairman Mao:
“One cannot advance without mistakes… It is necessary to make mistakes. The wardrobe cannot be updated without learning from mistakes.”
Featured Image: Atelier Rouge Pekin x Meihua Sports AW18 “WE ARE THE CHAMPIONS” Collection
Photography: Mathilde Agius
Female model：李芙瑶 (with 华谊时尚)
Male model：Denys ( with M2)
Images: China Fashion Bloggers and Women’s Wear Daily.
Copyright@Temper Magazine 2018. All rights reserved
After tackling Beijing for some six years where she worked for China International Publishing Group, she spent a moment in time moseying down steep alleyways and writing about their fashionable and underground features in Hong Kong.
Van Paridon most recently managed to claw her way through a Europe-based academic endeavor called "Journalism". 'Tis in such fashion that she has now turned her lust for China Fashion/ Lifestyle and Underground into a full time occupation.
Van Paridon hunts down the latest in Chinese menswear, women’s clothing, designer newbies, established names, changes in the nation’s street scenery, close-ups of particular trends presently at play or of historical socio-cultural value in Chinaplus a selection of budding photographers.
Paired with a deep devotion to China’s urban underground scene, van Paridon holds a particular interest in the topics of androgyny, the exploration of individuality and the power that is the Key Opinion Leader (the local term for “influencers”) in contemporary China.
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