The Cheongsam: Elegant and Modern

I've been wanting to do a post about cheongsam dresses for awhile now, and have just now found the time!  So, here are some photos of the beautifully designed cheongsam (or qi-pao) in modern times.

The cheongsam, a common staple of dress for years, began to be distinctly altered in the 1920's.  It became something sleeker, tighter, and more elaborate.  The garment had its heyday in the 1930's.  Cheongsams were often featured Shanghai advertisements at the time, using the 'beautiful girls' images to sell cigarettes and other items.

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The dress, while still a common style in China and Shanghai, became a symbol to the Western world of something exotic and mysterious, and oftentimes was used to play to negative Asian stereotypes.  Anna May Wong was sometimes cast as the deadly 'Dragon Lady' type, wearing a form-fitting, slinky cheongsam.  Her dress here is a fine example of the beauty of 1930's design.

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The cheongsam recently saw a resurgence in popularity thanks to director Wong Kar-Wai, in films such as In the Mood for Love and 2046.  The cheongsams used here are elegant, sophisticated, and alluring allusions to an age of dignified dress.  Even more recently, the film The Flowers of War featured many lovely vintage-styled cheongsams, all uniquely elaborate.

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The cheongsam has a rich history of both design and functionality, and while not as commonly worn today, it still remains a modern, classic style.

Lovely Ladies: Anna May Wong

I don't usually write anything to accompany this series, but this particular actress deserves some extra words.
Anna May Wong was born in Los Angeles in 1905, and gradually became a fine actress in 1920s cinema.  She was held back at every turn, for being a woman and for being Chinese-American.  Disappointed and frustrated with the Hollywood system--which wouldn't permit her to have an onscreen romance with any non-Chinese man-- she went to Europe, where she starred in several films, and even performed the lead role in a German operetta!

Her most famous role was with Marlene Dietrich in 1932's Shanghai Express.  While back in Hollywood, the studios frequently relegated her to 'Dragon Lady' roles, which were devious Chinese stereotypes.  She was extremely hurt by losing the lead female role in 'The Good Earth' and instead only being offered the role of the film's antagonist.
She filmed her favorite role in Daughter of Shanghai, and also spent much of her time working on propaganda films to benefit United China Relief.  In 1951, she starred in her own network TV series, The Gallery of Madame Liu-Tsong, a detective show that has since been lost.

While many think of Clara Bow or Louise Brooks epitomizing the flapper, Anna May Wong worked hard to cultivate an image for herself.  She had a fascinating story, and I recommend checking out her Wikipedia entry for more information.