Shanghai's Fashion During Republic Period

The goal of this research is to describe and analyze Shanghai’s fashion during Republic Period. Shanghai’s fashion during Republic Period plays a special role in fashion history of China and Shanghai history. In the paper, three aspects including the fashion centre of China as well as Far East, men’s fashion and women’s fashion in Shanghai are discussed. The style, textiles, color, decoration and combination of clothing are described. Many costumes from the Clothing Museum at Donghua University and private collections as well as some historical writings, photographs and publications are elucidated and corroborated to give a more detailed description about Shanghai’s fashion during that period.Here are some tentative conclusions. Firstly, Shanghai had always been the fashion center in China even Far East during Republic Period. Modeng was the main reflection of Shanghai fashion. Secondly, the traditional clothing exerted less influence and was less widely used, some kinds and combinations were out of fashion gradually. The fashion was described to be highly stylized, exquisite and concise. Thirdly, the influence of Western Style was further greater. The fashion in Shanghai was almost synchronous with fashion of Paris. Some western clothing was directly used in daily life and the elements of Western Style had an increasingly wide utilization. Fourthly, the New Chinese Style whose representatives were Qipao and Zhongshan Zhuang appeared and popularized in Shanghai. The fashion of Qipao changed frequently. Finally, the fashion in Shanghai called Shanghai Style could be summarized fashionable, exquisite, rapidly changeable, which is harmonious of both ancient and modern, Chinese and foreign.

SHANGHAI'S FASHION DURING THE LATE QING DYNASTY PERIOD

The goal of this research is to describe and analyse Shanghai’s fashion in Late Qing Dynasty (the 1840’s-1911), with an emphasis on the fashionable clothing worn by adult. Three aspects is discussed: the development of as a fashion center, the men’s fashion in Shanghai and the women’s fashion in Shanghai. In these parts, the style, textiles, colour, decoration and combination of clothing are described. Many costumes from museums and private collections as well as some historical writings, paintings and photographs are elucidated to give a description about Shanghai’s fashion looks during that period.Here are some tentative conclusions. Firstly, Shanghai has always been a fashion center in China since 1860’s. Shimao was the most important characteristic of clothing. Secondly, fashion of traditional clothing was described as highly stylized, gorgeous, exquisite, miscellaneous, detailed and multicolored. Thirdly, the influence of Western clothing was upwards. It was more obvious in Shanghai than in

Green Life, Green Fibers-Green Fibers Theme Fashion Show held in Shanghai

On March 12th, on the third anniversary of the start of green fi-ber logo certification, China Chemical Fibers Association held the first "Green Life, Green Fibers-Green Fibers Theme Fashion Show" to fur-ther strengthen the promotion of green fibers logo certification, further integrate the scientific and technological achievements of green develop- ment with industrial channels, and promote the green process of chemical fibers industry.

Retrospect and Prospect of International Garments Exhibition of Shanghai International Fashion Culture Festival

The goal of this research is to discuss International Gar-ments Exhibition of Shanghai International Fashion Cul-ture Festival which was held once a year since 1995.As amajor economic activity of Shanghai International Fash-ion Culture Festival(SIFCF),it is an important eventfor fashion industry in Shanghai and even in China.There are three parts in the paper:1)survey,the re-view of the exhibition held in the past is described brief-ly;2)Analysis,the materials and phenomena of exhibi-tions of SIFCF are analyzed to find the successful experi-ences and deficiencies,which are compared with eachother and with same events in the world;3)suggestion,some proposals of the exhibition of SIFCF in the futureare given.It would be hoped that this study will find the way for International Garments Exhibition of SIFCF toshow the features of Chinese and Shanghai’s fashion in-dustry as well as to develop itself as a professional fashionexhibition conforming with international practice.

Fashion Shanghai 2005

Fashion Shanghai 2005 was held from April 12 to 14 in Shanghai New International Expo Center, when interviewed, some exhibitors showed their opinions on the expo. As Huang Zhenliang from Fuzhou Xinyi Gifts Co., Ltd reveals, only 200 persons are really interested in us though

近代上海西式女鞋流行类别与本土化改良

通过对近代上海流行的西方女鞋类别进行梳理,阐述了每种款式类别的造型特征与艺术特色。整体而言,这一时期的上海女鞋在遵循西方流行的基础上,呈现出本土化改良的发展趋势,分为以中为主的材料改良、以西为主的鞋楦改良和中西合璧的帮样改良三种类别,针对这三类改良展开设计分析,得出近代上海西式女鞋本土化的发展路径。研究成果可补充中国近代女鞋发展史,为探求当代中国女鞋设计的本土化之路提供思路。

上海服装市场零售卖场演变规律研究

零售卖场是服装营销管理的核心内容之一。上海作为中国最重要服装市场 ,其卖场演变对国内服装业的影响举足轻重。从卖场三大空间理论出发 ,研究并探讨上海服装零售卖场类型、转型规律及相关因素 ,分析卖场质量与品牌定位的一致性等问题 ,得出五大基本结论 :卖场类型演变同步于服装市场发展 ;卖场发展速度客观上受到区域经济制约 ;提升服装品牌营销水平的有效手段是以改善卖场整体质量为前提 ;卖场模式是反映服装品牌竞争能力的指标 ;国内服装卖场与国际重要地区的服装卖场仍存在着明显的差距。

论晚清上海服饰时尚

晚清上海服饰时尚在中国服饰史上具有特殊地位。通过对文献、画报和照片以及来自博物馆和私人收藏的实物的分析及相互印证 ,对时尚中心的形成和发展、男装服饰时尚和女装服饰时尚等主题 ,就流行风貌、款式、面料、色彩、装饰和服饰配伍等展开研究 ,有关服饰流行心理以及时尚领袖等也一并加以讨论 ,并得到如下结论 :(1)从 186 0年代起 ,上海逐渐居于晚清中国的时尚中心地位 ,“时髦”是当时上海服饰流行的集中写照。追求时髦成了上海的城市特性。(2 )传统服饰时尚可以概括为高度风格化、精致化、多主题、多色彩 ,追求华丽 ,讲究细节 ,强调新奇。(3)西式服饰体系的影响逐步上升 ,这种趋势在上海远较中国其他地区明显 ,对西式因素的运用在男装中远较女装普遍。(4)上海服饰时尚开始形成所谓“海派”的包容古今兼蓄中外、讲究炫耀追逐时髦、标新立异变化迅速的独有风格 ,并拉开了中国服饰流行逐步与西方服饰体系并轨的序幕。

为怀旧与时尚所隐喻的影像上海及其文化悖论

近年来,银幕上涌现出一批以上海为背景的电影,在这类影片中,上海往往以怀旧或时尚的形式展现出来,这是适应文化全球化、消费化浪潮而产生的现象。上海怀旧与时尚影像事实上可以作为上海乃至中国现代文化建构的重要参照而存在,但在当前出现的此类影像文本中,还存在着诸多文化上的悖论。如上海本土力量参与不足而导致影片不能有效地传达出地道的上海文化;底层群体在片中的缺席影响到上海文化的整体呈现;城市外部空间的过多展现对作为文化主体的人的挤压;影片氛围营造中对光、色等人为技术手段的过分依赖导致作品的肤浅、做作。本文认为,导致以上悖论产生的原因主要是:第一,影像创作者们对城市现代性理解的偏差;第二,上海电影创作力量在近年来的急剧衰退,以及对其有效扶持的不够;第三,国家文化政策宽容度不足致使上海题材电影不能深入干预现实。

民国时期上海时装表演构成和特点分析

以民国时期上海时装表演史作为研究对象,借助1912-1949年的历史文献资料,提炼民国时期上海时装表演6个构成因素,归纳3个特点,总结3个民国上海都市现代性特征,以期填补民国时期上海时装表演历史的空白,达到启示现今时装表演行业发展的作用。研究表明:民国时期上海时装表演的时装品类多样,模特类型丰富,演出场地豪华,舞台设计初见雏形,表演形式动静皆有,宣传力度强。民国时期上海时装表演构成框架已经形成,为此后时装表演行业的发展奠定了基础。

近代绒线编结时装所蕴含海派文化内涵探析

在中西交融的海派文化背景下,绒线编结时装发展成为近代上海服饰文化的代表。文章以海派文化的一般特征为研究基础,通过对绒线编结时装流行特征、造型结构和编结技艺的分析,概括出海派文化摩登、精致、融汇、爱国的精神内涵,且认为这些内涵是海派文化一般特征的延伸,再由此追溯出海派绒线编结时装中西交织的文化与历史渊源。研究认为:绒线编结时装是西洋工具、材料、技术与中国传统女红匠心精神共同蕴育的产物,在中国近代上海服饰发展文明中留下了不可磨灭的时代印记,对当前中国海派绒线编结的传播具有积极的文化意义。

二十世纪二三十年代上海电影的时尚表征与精神内涵

电影是城市消费文化崛起与社会现代性追求的产物,时尚是其重要的特质之一。上世纪二三十年代以上海电影为代表的中国电影,在物质层面上反映出当时人们衣食住行方面的前卫与时尚,在精神层面则折射出具有时代性的全新思想和理念,即女性解放、自由平等的思想,商业社会的时尚消费观念以及文化精英的理性社会批判,二者互为表里构成这一时期电影时尚的核心内容。其反映出的电影作为文化消费产品的市场特征与规律,对当今电影产业的发展有着重要的启示作用和借鉴意义。

时尚体育:上海市高校体育教学改革的新元素

采用问卷调查、文献资料及访谈等方法,分析上海市高校时尚体育开展的现状,明确时尚体育在上海市高校体育教学改革中的地位和作用,在探讨上海市高校时尚体育开展中存在的问题和不足的基础上,提出解决问题的对策和建议。

“海派”视阈下民国时期桑弧电影的文化坐标与价值重估

置身于当下中国的泛都市文化生产与传播语境,民国导演桑弧及其海派电影作为历史的对照性文本重获关注。其电影一方面承传旧海派的鸳蝴传统,自觉聚焦市民题材,迎合市民趣味,呈现出显在的商业形态和俗文化特征。另一方面,电影的浮世关怀和日常现代性书写从市民文化内部参与建构了俗文化的人文精神,从而提升了海派电影的文化品格。桑弧海派电影的文化维度为当下华语都市电影的文化生产与建构提供启示。

旅游管理专业学生酒店实习消极心理研究——以上海华纳时尚酒店为例

近年来,旅游管理专业化的酒店行业的就业率每年都有下降的趋势,这与旅游管理专业酒店服务实习过程中学生产生的消极心理有着重要的关系。为了探讨其缘由,以上海华纳时尚酒店为调查样本,分析研究了学校、酒店、社会环境与个人主观态度对实习生产生的消极心理影响,并就此从学生自身、学校、酒店三方面提出相关建议。

上海服装文化的全新解读与历史建构——读徐华龙的新著《上海服装文化史》

近代上海服饰文化最显著的特点是中西合璧、趋新求变、个性鲜明、意识超前。徐华龙的《上海服饰文化史》对上海服装文化进行了全新解读和历史建构,成为认识上海民俗和上海文化的一把钥匙。在作者看来,旗袍无疑是最能体现上海服饰文化特点的代表性服饰。因此,在徐华龙先生新著的开头部分,首先对旗袍的文化元素进行解读,勾画出上海服饰文化变迁的基本轨迹;在对上海服装文化史的历史建构中,以上海开埠为起点,将近代上海服饰文化史分为四个重要阶段,概括其特色,阐述其相互之间的逻辑联系,初步建构起了上海服饰文化的发展历史。

从《上海漫画》广告中窥探上海服饰时尚之变迁(1928—1930)

以具有典型意义的部分广告及文字说明为依据,结合相关历史文献资料,对云裳公司的成立背景,经营观念,设计特点等进行了全面的梳理研究;并就不同特色的鸿翔时装公司、外资惠罗公司等构成的上海时尚业发展历程、服装及面料经营特点等进行了深入、详实地梳理和探讨,以独特的视角展示了近代上海服饰时尚的变迁之细节。

深入贯彻科技与时尚战略 促进都市纺织转型发展(续)

对2006～2012年上海纺织集团科技创新工作进行了回顾：具有自主知识产权的高新技术纤维研发和产业化取得重大进展；产业用纺织品取得长足发展；培育、整合和提升产业链，形成集团褴体优势和对产业升级的科技支撑；深化指导和考核，提升集团科技创新体系建设水平；加强中央研究院建设，努力构建现代纺织科技服务业。指出了当前集团科技创新工作中存在的薄弱环节和问题，并针对这些问题提出了具体的措施和方法。指出要贯彻科技创新大会精神，进一步深化集团科技创新体系建设。

深入贯彻科技与时尚战略 促进都市纺织转型发展

对2006～2012年上海纺织集团科技创新工作进行了回顾：具有自主知识产权的高新技术纤维研发和产业化取得重大进展；产业用纺织品取得长足发展；培育、整合和提升产业链，形成集团整体优势和对产业升级的科技支撑；深化指导和考核，提升集团科技创新体系建设水平；加强中央研究院建设，努力构建纺织现代科技服务业。指出了当前集团科技创新工作中存在的薄弱环节和问题，并针对这些问题提出了具体的措施和方法。指出要贯彻科技创新大会精神，进一步深化集团科技创新体系建设。