| Cheongsam derived from the Manchu women’s clothing, Cheongsam wasimproved by the Republic of China’s women since the1920s, Cheongsam was one ofnational dresses in1929. Since the peak of the thirties, the cheongsam was calledChinese dress. In the new century, in the selection of100Chinese elements, thecheongsam ranked62. The cheongsam has become the most distinctive Chinesecostume beyond tunic dress, she crossed extravagant palaces, walked sexy Lights,after three hundred years of ups and downs, today Cheongsam is already therepresentative of traditional costumes of Chinese women. Pour breeze Yulu, Nuebudark aroma. As an important part of Chinese clothing culture, the cheongsam notonly has a long history, is a symbol of Chinese civilization, set off with the Orientalfemale elegance, contains a profound traditional Chinese culture, but also placed astrong Chinese emotion. The cheongsam as the Chinese element has been greatlyapplicated in various fields, but as a dress itself, the cheongsam did not achieve thedesired effect of the spread and prevalence in the field of domestic consumption,from the perspective of semiotics, the paper intends to recommend reasonableproposal for the cheongsam in the country mainly in daily life’s “popular”.The paper mainly consists of five parts. The first part of the introductiondescribes the background, theoretical support, research review and researchmethods, identifies problems and direction, the theoretical and significance. Thesecond part of “the signifier and signified of the cheongsam symbol” cuts mainlyfrom the perspective of semiotics, to interpretive the cheongsam symbols bySaussure and Roland Barthes’s theory. The third part of “the cheongsam culture andcultural cheongsam” mainly combs the cheongsam cultural history since the1920s sofar from a cultural perspective, the cheongsam varies from the twenties to the fifties,the cheongsam gets a short glory in Hong Kong and Taiwan before reform andopening up, during this time the cheongsam gradually draw Western fashion sense,becomes more aptamer and fashion improved cheongsam. From the late twenties tothe forties, in addition to physical advertising, celebrity effect and tabloid publicity, there was little other form of publicity, but the cheongsam was popular. After thereform and opening up, the cheongsam returns to the fashion arena again, from thecheongsam to Chinese dress, the cheongsam has entirely been different from thetraditional cheongsam, with China’s traditional culture, represents a Chinese symboland fashion symbol, is a cultural dress. Oranges grown in different places hasdifferent names, different environments grow different fruits, but they are the sameseeds, the cheongsam spirit has not changed, still represents the traditional Chineseculture. Part IV “the cheongsam in China ‘pop’ current situation” mainly expandsresearch from Roland Barthes’s another point of view “clothing=pop”, which isdivided into two parts, domestic cheongsam brand’s current situation and audienceanalysis in the domestic market. In the first section, which mainly analyzes30different grades of cheongsam brand and gets a glimpse of the status quo fromdomestic cheongsam brands, the second part analyzes the reasons that target groupsbuy and like but not to buy the cheongsam and spending trends under consumersociety, and then finds the reasons why the cheongsam is not “popular” in domesticdaily life. The fifth part “From characterization symbol to fashion consumption”,under semiotic perspective, which part proposes some suggestions for cheongsamand cheongsam brands how to “pop”, popular here is not required to achieve alarge-scale epidemic in the country, after all, the cheongsam has lost universalconditions in China, but we hope through the cheongsam symbol coders, symbolcreators, decoders and inheritors’ joint efforts, to let these women who like thecheongsam but don’t dare to wear in everyday life for some reasons truly identity thecheongsam’s cultural values and symbolic values, and then to consume thecheongsam. |
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