Chinoiserie in fashion - Knowledge (XXG)

309: 2213: 1100: 2185: 2245: 2324: 2054: 1976: 2276: 2108: 586:(1899–1901) also made its way to Britain. During the suppression of the Boxer Uprising, many places were looted including many pawnshops in Beijing were looted. Clothing items by far were the largest-volume trade in these pawnshops, but they also had other items of value, such as jewellery, watches, furniture, rickshaws, and musical instrument; these items were personal items of Beijing commoners who had exchanged their personal items for a small sum of money and intended to redeem their items later when they would be in better financial times. Wearing Chinese clothing at home in the West was not deemed as being done out of frivolity or fancy, but was itself an imperial act which signified having worldly knowledge. 29: 1116: 289: 2304: 2229: 602: 436: 517: 727: 1994: 1704:, China and were then introduced in Mexico and Spain from the seaport of Manila, which was where goods from Asia (including various forms of items manufactured in Guangdong) could be exported to Mexico and Europe. These shawls became a popular fashion accessory for women in Spain and Latin America after the year 1821. The demand for these Chinese shawls grew so much that it led to an increase in production from Chinese factories; and simultaneously, local embroiderers from Spain started to embroider their own. Despite the emerging local production in Spain, a large amount of 2066: 1718: 1670: 2030: 1203: 672: 4989: 2166: 1338: 308: 621: 1812:, in particular, fuelled the imaginations of the Europeans and the Americans who perceived China as being "a mysterious, exotic, and barbaric Orient" where bound feet of the Chinese women became a representative of the "Chinese barbarity" and as signs of female oppression. Similar ideas were also applied to other countries in the East Asia, in India, and Middle East, where the perceived lack of fashion were associated with offensive remarks on the Asian social and political systems: 2201: 2008: 2292: 2212: 1985: 1448: 2261: 322:

clothing was worn in China while Imported Chinese textiles led to fascination in Europe due to the technical skills found in the weaving, hand-painting, and needlework of Chinese silk. Chinese textiles were readily tailored into Western-style garments. The large amounts of imported Chinese patterned silk textiles in the Western-sphere also influenced the Europeans' perception of Chinese designs; this became known as

1654: 5843: 1792:, and European imperialism was especially at its highest in the 19th century. In the 19th century time, Europeans described China in binary opposition to Europe, describing China as "lacking in fashion" among many other things, while Europeans deliberately placed themselves in a superior position when they would compare themselves to the Chinese as well as to other countries in Asia: 493:, the French not only looted the imperial treasures, but also forced open the imperial warehouses stealing shiploads of clothing, jewellery, hats, and rolls of fabrics, amongst many other items. Looted items from the Old Summer Palace also flooded the markets of Britain; a cap which was said to have belonged to the Chinese emperor was presented to Queen Victoria, along with a 2092: 2150: 2042: 2131: 1732:, which were manufactured in China for American trade, were exported and sold in American stores; however, the fine grade Chinese slippers were never sold to Chinese people in America instead they were sold to American women as boudoir shoes.On the other hand, local Chinese shoe companies in America would mainly sell shoes to Chinese people. 1168:) were at times cut and converted into Western-style attire, such as banyan and waistcoat; however, the direct alterations of Chinese garments for the use of Westerners are sometimes regarded as "imperialistic appropriation". Some of these adapted dragon robe clothing were possibly fabric rolls and/or clothing looted from the 2053: 2184: 1587:

been influenced by the loose lines and roomy armholes of the traditional Chinese robes and jackets along with other factors, such as the experience of freedoms of elite women at that time, the sportswear-designs of Chanel, and the garment designs by Paul Poiret who designed Middle-Eastern inspired garments.

202:, which then became an important component of the Byzantine industry and allowed the Byzantine empire to gain monopoly of silk in Europe. From the eleventh century, the art of sericulture was spread to Italy and to Southern France. However, the import of raw silk from China continued to remain significant. 321:

In the 17th century, Chinese luxury items, such as Chinese textiles and porcelain, were introduced in Italian port cities, Portugal, England, and Holland; these items were what Europeans used to informed themselves about the customs and cultures of the East. Imported porcelain from China depicted how

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Interest in the political and civic activities of the new China, which is more or less world-wide at this time, led the designers of this page and the succeeding one to look to that country for inspiration for clothes that would be unique and new and yet fit in with present-day modes and the needs

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The imagining of China was always more fanciful than real. Trade provided products, but even more importantly, the West copied the Oriental land that it had never conquered. It never possessed the dragons, butterflies, or pagodas that it admired and emulated. If it was an unrequited colonialism, the

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Du Halde's claims of the static fashion of China was later circulated along with his publications and consolidated the belief that Chinese people dressed in fashion-less robes in the imagination of the Europeans. Ironically, Du Halde actually never went to Imperial China; however, to strengthen the

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also acknowledged that China had contributed to the aesthetic inspiration to global fashion. Chinese motifs regrew popular in European fashion during this period. China and the Chinese people also supplied the materials and aesthetics to American fashion and influenced global fashion; however, they

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with frills, was also introduced in England where it became fashionable among British women; it is however unknown if British women were aware that they were wearing French Chinese fashion. This craze for China was also shared by England which also showed an obsession for Chinese culture objects in

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records dating to the late 19th century, gold foil was the ordinary form of precious metal which was used in embroidery and was a Chinese invention wherein Chinese people invented the process of laying a thin gold leaf on paper before rolling it around a silk thread. Chinese gold thread technology

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continued to be manufactured in China for the sole purpose of the export market. The popularity of these shawls (which were actually still being produced in China) in the 19th century Europe eventually resulted in the adoption of the Chinese shawls in the traditional Spanish clothing attire. With

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were popular among European elite style leaders in the early 20th century. However, in a report dating to 1921 written by Vogue, it was referred as Spanish shawls, and readers were informed that these shawls were imported from Venice, Spain, Persia, and the Philippines, while omitting the initial

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There are also photographic evidences of Chinese robes being used outside its wearer's home as fashion items with little or no adaption from the 1920s. The loosening of women's fashion found in the 1920s loose-fitting fashion, especially the disappearance of nipped-in corset, appears to have also

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Works by Europeans writers which were influenced by Orientalist ideas would depict China as lacking fashion and by extension construct China as a static and unchanging nation. Compared to the Chinese, the Europeans would therefore describe themselves as "not superstitious, backwards, unhygienic,

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Latent orientalism is an unconscious, untouchable certainty about what the Orient is, static and unanimous, separate, eccentric, backward, silently different, sensual, and passive. It has a tendency towards despotism and away from progress. Its progress and value are judged in comparison to the

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and the difference of fashion was one of the first thing that they noticed. "Clothing never changed in China" became a myth constructed by early European writers and foreign sojourners who visited Imperial China but lacked knowledge on Chinese fashion of the previous decades. European writers at

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was greatly enriched by the various items which were imported from the East which led to the introduction of new patterns and new possibilities in Western dress and was immediately imitated by mills found in England and France. As China was considered as the greatest empire in the 17th and 18th

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elements in fashion, especially in American and European fashion. Since the 17th century, Chinese arts and aesthetic were sources of inspiration to European artists, creators, and fashion designers when goods from oriental countries were widely seen for the first time in Western Europe. Western

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period (14th to 17th century), imperial China was seen as a refined civilization which was equal to Europe except for religion and as very advanced in terms of science, technology, architecture, and culture; as such, Italian elites would dress in Chinese fashion to show off their wealth. These

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Beijing, however, remains a dazzling memory. The China that I had so often interpreted in my designs was exactly as I had imagined it. All I need for my imagine to blend into a place or a landscape is a picture book. … I don't feel any need to go there. I have already dreamt about it so

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Fall/Winter 2015–2016 depicted the use of colourful Chinese motifs, such as lion's heads, flowers, plants, in the embroidery work on their clothing and handbags, which were described as "reinterpretations of symbols representing human qualities and spiritual values" by the Magazine

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had been entering European countries from China since the ancient times. The early contacts of Europeans with China had also directly influenced their fashion. Silk from China, as well as textiles from India and Turkey were extremely popular among the European royalty. The art of

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fashion had incorporated key elements from the construction design of Chinese clothing, including the use of wide sleeves and side closure; these designs were then adapted to meet the aesthetic tastes of Europeans. Chinese fashion also influenced various designs and styles of

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Chinese silk which was manufactured in China to fit European taste continued to be imported in Europe; this import increased even more in the late 17th century as direct maritime trade was established between China and Europe. The introduction of items, such as painted silk,

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contrary to what museum donors sometimes wish explain about their origins. During the Opium wars, the use of Chinese dragons robes by Europeans in the late Victorian Europe were sometimes used to mock Chinese masculinity; for example, George Smith in the painting

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e fashion; following their independence from Britain, they eventually ventured to China where they directly imported Chinese items. The late 1800s was thus marked with Westerner's fascination to the Far East, especially China and Japan, including in Canada.

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veracity of his claims, Du Halde paired these images of engravings of Chinese with exhaustive descriptions of Chinese customs and relied on the accounts of other Jesuit missionaries. Similar accounts continued to appear at different point of time.

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Though Chinese fashions had a global influence, the Chinese themselves were still perceived as being fashion-less when they did not fit the criteria of fashionable modernity. Europeans had visited imperial China since the 1500s at the times of the

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and court and the workshops and storehouses were managed by the Qing Imperial Household Department. They were also typically bestowed by the Qing dynasty court to important people within the Qing Empire boundaries, such as Mongolia and

28: 1177:, exhibited in 1874 in the Royal Academy, would paint the villain found in the painting wearing a Chinese dragon robe tied with a belt around the waist with slippers on his feet. In similar instances, Liberty in 1898 offered evening 2029: 1451:

Chinese-style garments, inspired diverse Chinese-style and Manchu-style garments, designed by US designers in the 1910s, published from the Chinese Summer dress from Ladies’ Home Journal of June 1913: Vol 30 Issue 6, page 26 and

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From the 1910s in the United Kingdoms, Chinese robes, which were perceived as being only suitable as a fancy or luxurious dress or a source of embroidery pieces, started to be worn by British women as a form of loose coats.

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gained popularity and inspired fashion designers to use the blue and white as a prominent colour palette in the coming year. It was thus adopted in fashion designs of garments and shoes of famous fashion designers, such as

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In the 1910s, Euro-American women showed women in Chinese robes used as loose evening coats over dresses. Among the items which were advertised by Vogue in its 15 December 1911 publication, there was the

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Chinese importation of these shawls when earlier importers of Chinese goods and other travellers to China were key sources for these shawls twenty years prior to the publication of the report.

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in China) which closes with satin ribbon ties; it also featured deep side vents, which was considered as being a "novel effect", and was trimmed with a single band creating a fancy outline. The

2228: 1424:, a traditional skirt of the Han Chinese. There was also a fashion trend for day-wear jackets and coats to be cut in styles which would suggest various Chinese items as was published the 701:

was created in the 1920s and was turned into a high-style evening wear when it was appropriated by the West. By the 1930s, the cheongsam was associated with Chinese dress and was used in

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in the late 17th and early 18th centuries influenced European designs creating a "bizarre style" as designs and motifs were blended into strange and familiar motifs and was influenced by

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in their textiles which were then used in fashionable dressmaking for the wealthy Italian social class. Chinese motifs also grew in popularity in European fashion in the 20th century.

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time and through various form cultural exchanges with other cultures, the Spanish shawls developed into its current style through the exposure and interaction of different cultures.

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fashion had incorporated key elements from the construction design of Chinese clothing, including the use of wide sleeves and side closure. However, their passion of the British for

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of Volume 57 (#4777) reappeared in Volume 58 of The Delineator along with another Chinese-style inspired wrap top (#3920), one of which closed on the right side (known as

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was especially celebrated in France, and the origin of most Chinese-inspired fashion was French during this period. French Chinese fashion, which involved the wearing of

1372:, in 1901. In volume 57, The Delineator described it as being "Ladies' Chinese dressing" or as a "Lounging sack", and as having "a strong suggestion of the Orient". The 1219:

The combination of blue and white colour is one of the most popular colour palette combination in history and originated from Asian ceramics of the 9th century. Chinese

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I confess that the unchanging fashions of the Turks and other Eastern peoples do not attract me. It seems that their fashions tend to preserve their stupid despotism.

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in China) with a single ribbon. The Ladies' Chinese dressing sac #3920 appeared at least a year earlier and was published in Volume 56 of The Delineator of 1900.

2165: 1766:, for example, had identified fashion as being a key difference between Europe and ancient China is the lack of changing fashion in China in his publications: 5020: 2091: 633:

In the early 20th century, European and fashion designers would use China and other countries outside of the Eurocentric-fashion world to seek inspiration;

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As a result of Europe being at the wake of industrialization, and due to Europeans' perception that Chinese civilization was almost outdated following the

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Inaccurate depiction of a lady in China, from the book "A collection of the dresses of different nations, ancient and modern", 1700, Qing dynasty period

1975: 3849: 1876:'bird-and-flower painting'), into its 2022 autumn and winter ready-to-wear collection and has been introduced as being Dior's signature motif 2260: 1770:

As for what is here called Fashion, it has nothing at all in it like what we call so in Europe, where the manner of Dress is subject to many changes

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In the 16th century, Chinese brocades were exported from China to Europe to make the vestments of priests in Roman Catholic cathedrals.According to

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popularity in Europe. However, this period was marked by an era of universal colonial exchanges and exposure to various categories found in

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West, so it is the Other. Many rigorous scholars saw the Orient as a locale requiring Western attention, reconstruction, even redemption.

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created by British manufacturers in the later 18th century; the 18th century was also the era when printed fabrics such as blue and white

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fashion continues to appears in the work of fashion designers and directive creators of luxury brands in the 21st century. For instances,

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Laura Fantone quoted Said (1979), Local Invisibility, Postcolonial Feminisms Asian American Contemporary Artists in California, page 166

3828:"40 years ago, Diana wore a Chinese horse-faced skirt to the dinner party, but she didn't wear the right one, hiding the ominous signs" 2291: 402:

however started to wane in England in the second half of the eighteenth century and further receded in Europe during the 19th century.

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Not only did Europe imported Chinese textiles, but they also imitated Chinese textiles. Moreover, import of textiles from Asia by the

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Dior was accused of cultural appropriation for a second time in July 2022 for due to its usage of pattern print which looks like the

5475: 4905: 4813: 4568: 4452: 3756: 3639:. Sandy Black, Amy De la Haye, Joanne Entwistle, Regina A. Root, Helen Thomas, Agnes Rocamora. London: Bloomsbury Publishing. 2014. 3392: 2924: 2686: 2538: 1181:

which were advertised as being made of "Mandarin robes" (i.e. Qing dynasty court dress); however, these capes were actually made of

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with white waistband was usually worn by Chinese bride to symbolize: "to grow old together", which Princess Diana lacked; and thus,

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was even dressed in Chinese robes by the Swedish royal family at some point in his lifetime when they were at the summer palace in

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in this period, however, was the result of a conscious attempt in making "oriental culture" acceptable to the taste of Europeans.

5005: 2363: 2355: 485:'Gardens of Perfect Brightness') in Chinese, in particular, which was sacked by Anglo-French forces in 1860s gained the " 4235:. Vol. 58. Charles Dwyer, H. F. Montgomery, R. S. O'Loughlin (editors). United Kingdom: Butterick Publishing Company. 1901. 5893: 5888: 4938: 2007: 1725:

Chinese shoes have influenced the design of European slippers with turned-up toes and with small low heels of the late 1880s.

1843:: In July 2022, Dior first was accused of cultural appropriation and design plagiarism of the traditional Han Chinese skirt, 454: 363:

In the 18th century, China was tremendously popular in France, leading to what was referred as the "Oriental Renaissance" by

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embellished with fringes as part of the traditional Chinese wedding of the 19th century, Folk Customs Museum, Luoyang, China

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appeared have been a key seasonal influence to Louis Vuitton Spring/ Summer 2011 collections; for example, with the use of

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remained perceived as being fashion-less and did not fit the criteria of modern status. For example, in the early 1900s,

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In the 1850s, there was a deliberate and self-conscious usage of Chinese materials and symbols in the design of dresses.

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was very inspired by Chinese culture although he never visited China; this is also reflected in his 1977's collection "

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Richard Harrison Martin & Harold Koda, Orientalism: Visions of the East in Western Dress (1994), published by the

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Beyond chinoiserie : artistic exchange between China and the West during the late Qing dynasty (1796–1911)

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Beyond chinoiserie : artistic exchange between China and the West during the late Qing dynasty (1796–1911)

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Silk and tea in the north : Scandinavian trade and the market for Asian goods in eighteenth-century Europe

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A bufu, a mandarin court robe, with piling over the shoulders, Civil official of Qing dynasty, mid-18th century

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influenced the designs of great designers and/or couturiers, such as Christian Dior and Yves Saint-Laurent.

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with wrap closure also influenced American fashion in the early 1900s; an example of such jacket is the

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and fantasy, perceiving it as "a fantastic, uncivilized nation"; the upper classes, especially those in

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Chinese influences in fashion were illusions created by Italian craftsmen who had started to produce in

4292:"The Costume Institute's Chinese Exhibit Imagines an Impossible Conversation Between the East and West" 895:

Some famous fashion designers and/or creative directors, who are known to have adopted or incorporated

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Looting of the Old Summer palace by Anglo-French forces in 1860, illustration dated to 22 December 1860

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Asia before Europe : economy and civilisation of the Indian Ocean from the rise of Islam to 1750

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West's passion for China abides today in the continuing aesthetic fascination for that Far East land

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Local invisibility, postcolonial feminisms : Asian American contemporary artists in California

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is through the appropriation of Chinese decorative (and auspicious) motifs and styles. During the

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encouraged people to buy beautifully embroidered Chinese garments made of high quality silk in

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in China; when it was appropriated by the West, it was turned into a high-style evening wear.

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Ladies’ Home Journal: The Chinese Summer Dress, published in June 1913: Vol 30, issue 6, p. 26

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embroidery motifs. and had a red waistband. The use of auspicious red colour was in line with

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Modern Chinese literary and cultural studies in the age of theory : reimagining a field

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is a traditional Chinese painting theme which belong to the Chinese scholar-artist style in

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prior to their official engagement announcement. This Chinese skirt was in the Qing dynasty

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World Clothing and Fashion : an Encyclopedia of History, Culture, and Social Influence

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as the identifying clothing of Chinese women. When worn by Asian Hollywood stars, such as

651: 583: 559: 411: 385: 4839:"In less than a month, French fashion brand Dior accused of cultural appropriation again" 951:

continues to appears in fashion creation in present-days. Luxury fashion brands such as,

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Eighteenth-century English porcelain in the collection of the Indianapolis Museum of Art

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was also often mixed with other exotic elements which were not all indigenous to China.

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This house is not a home : European everyday life in Canton and Macao, 1730–1830

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An exported white silk Chinese shawl, made for the Western market, early 20th century

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Many items were looted from China and brought back to Europe during this period. The

393: 3495:"From Costume to Fashion: Visions of Chinese Modernity in Vogue Magazine, 1892–1943" 5815: 5769: 5749: 5612: 5387: 5307: 5252: 5146: 5091: 5053: 5048: 1897: 1809: 1747: 1678: 1232: 1228: 1224: 1209: 989: 576:

medallions, for example, were used on dresses as they were characteristics of China

364: 182: 3511: 3494: 3357: 2753:"The Chinoiserie Paradox: Fashion Creating the Self Through the "Other" – Compass" 1235:. This colour palette found in ceramics later spread in Europe and influenced the 3066: 2533:. Harold Koda, Metropolitan Museum of Art. New York: Metropolitan Museum of Art. 1151:

as diplomatic gifts, who were allowed to cut and adapt to fit their own customs.

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Qing dynasty-style aoqun, consisting of ao and mamianqun with gore, traditional

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The China collectors : America's century-long hunt for Asian art treasures

1351:, the Ladies' Chinese dressing or lounging sack, a design published in 1901 in 1231:, and are one of the most nationalistic arts of China, often appears in modern 73:

Europe (Italy, France, United Kingdom), America (United States, Canada, Mexico)

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Gods and Kings : the rise and fall of Alexander McQueen and John Galliano

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European perceptions of China and perspectives on the Belt and Road Initiative

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in terms of use of colour (e.g. imperial yellow) and Chinese motifs (such as

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was designed to be loose-fitting, a wrap closure on the left side (known as

1236: 1079: 985: 793: 759: 739: 698: 643: 551: 494: 429: 374: 350: 195: 136: 116: 4754: 4705: 4614: 4316: 4029: 3927: 3438: 3194: 3141: 3013: 2960: 2450: 2140: 1566: 4502: 4442: 4404: 4163: 4114: 3976: 3634: 3581: 3305: 3246: 3086: 2919:. Catherine Beth Lippert. Indianapolis, Ind.: Indianapolis Museum of Art. 2809: 2774: 2711: 2624: 2568: 2399: 5774: 5572: 5500: 5490: 5329: 4803: 4670: 4558: 3746: 3382: 2914: 2676: 2528: 2235: 2219: 2156: 2098: 1954: 1944: 1694: 1686: 1642: 1607: 1492: 1465: 1300: 938: 871: 529: 525: 235: 626:

Evening dress with Chinese-style floral embroidery by the Callot sisters

4914: 2359: 2282: 2266: 2251: 2121: 1508: 1265: 647: 533: 246:

were later introduced the West and adopted by Italian weavers in their

2847: 2354:

in 2005 by Roberto Cavalli dress with printed designs was inspired by

1464:

of June 1913, volume 30, issue 6, show influences of the Qing dynasty

5470: 5415: 4507:. Keith Eubank (5th ed.). New York, NY: Fairchild Publications. 3387:. Jonathan Goldstein, Jerry Israel, Hilary Conroy. Bethlehem . 1991. 2124:, a popular style of Hanfu in the Ming to Qing dynasty, 18th century. 1921: 1917: 1516: 1165: 1139: 960: 836: 573: 470: 425: 4168:. Elizabeth M. Sheehan. Hanover: University of New Hampshire Press. 238:, from China were also sped up in the 1400s through the sea routes. 4883: 1268:, were also directly inspired by Chinese blue and white porcelain. 2908: 2906: 2191: 2175: 2171: 2136: 1940: 1716: 1668: 1662: 1652: 1484: 1446: 1403: 1336: 1244: 1148: 1142:) of the Qing dynasty were highly regulated by the Qing dynasty's 1071: 521: 434: 231: 223: 211: 33: 2852:. London: Committee of Council on Education by Chapman and Hall. 1272:

Adoption of Chinese garments, clothing elements, and construction

190:

itself originated in China and was introduced in the West to the

5405: 5319: 3440:

Remains of the everyday : a century of recycling in Beijing

3384:

America views China : American images of China then and now

1178: 956: 4887: 4321:. Sarah Cheang, Erica de Greef, Yōko Takagi. London, UK. 2021. 4034:. Petra ten-Doesschate Chu, Jennifer Dawn Milam. Leiden. 2019. 3196:

The singularity of western innovation : the language nexus

3146:. Petra ten-Doesschate Chu, Jennifer Dawn Milam. Leiden. 2019. 1282:

Influence of Chinese fastening on American and European fashion

5547: 2713:

The roots of Balkanization : Eastern Europe C.E. 500–1500

1186: 901:

aesthetics at some point in their fashion collection, include

753: 4504:

Survey of historic costume : a history of Western dress

3583:

Vintage fashion & couture : from Poiret to McQueen

2024:

Sources of inspiration and materials in chinoiserie fashion

367:

in 1848. From this period and throughout the 19th century,

214:

and had appropriated Chinese cultural symbols, such as the

1741:

Lack of fashion myth, Western Imperialism, and Orientalism

582:

A second wave of looted items from the suppression of the

487:

mythical status as a source of Chinese objects in the West

40:

print by Tom Ford for Yves Saint Laurent Rive Gauche, 2004

4672:

Changing clothes in China : fashion, history, nation

2206:

Example of gua jacket worn by Chinese women, Qing dynasty

2047:

Piling collar, worn in the court robe of the Qing dynasty

913:, had Orientalism as their favourite theme, Jean Paquin, 1599:

was created in the 1920s and was originally a symbol of

821:'established rules') and was instead considered 688:

The 1920s was marked by the return of a great craze for

4563:. Rey Chow. Durham, N.C.: Duke University Press. 2000. 4477:"Silk hand embroidered shawl with long fringes – China" 4444:

Seville, Córdoba, and Granada : a cultural history

2530:

Orientalism : visions of the East in western dress

2401:

Luxury the Chinese way : new competitive scenarios

2254:

appliqué at the collar, Qing dynasty, late 19th century

2159:/ majia, a traditional vest, Qing dynasty, 19th century 2101:/ majia, a traditional vest, Qing dynasty, 19th century 1308:

The design of wrap-style closure or neckline, known as

546:

was fully developed in America as a kind of "aesthetic

49:

Textiles patterns and motifs, garments, and accessories

1841:

Mamianqun and new Dior skirt from fall 2022 collection

1606:

In the 21st century, some evening dresses designed by

1416:

a type of Chinese jackets, and the Qing dynasty-style

1368:(#4777), which appeared in American women's magazine, 4616:

Empire of style : silk and fashion in Tang China

1887: 1855: 1844: 1630: 1622: 1572: 1564: 1552: 1544: 1538: 1532: 1526: 1514: 1506: 1498: 1490: 1479: 1469: 1417: 1409: 1401: 1391: 1385: 1379: 1373: 1363: 1346: 1309: 1109:

worn by the emperor of the Qing dynasty, 18th century

822: 802: 795: 787: 773: 757: 737: 731: 448: 1953:

Major historical events in Chinese fashion history:

1090:

Textile obtained through imperialistic appropriation

1040:

Chinese auspicious ornaments in textile and clothing

170:

Chinese auspicious ornaments in textile and clothing

18:

Chinoiserie fashion in American and European fashion

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Global trade and visual arts in federal new england

3906:

Victoria and Albert Museum: Explore the Collections

3797:"Lady Diana: Die Stationen ihres Lebens in Bildern" 2962:

Cultural appropriation in fashion and entertainment

2886:"Orientalism: Visions of the East in Western Dress" 1830:

Accusation of cultural appropriation and plagiarism

1023:

Yves Saint Laurent, in Elle, December 25, 1995.

69: 61: 53: 45: 2317:, woshui, floral medaillon, and hongfu (red bats). 2269:, a collar used by Han Chinese women, Qing dynasty 851:'inauspicious omen'), a sign of bad omen. 3902:"Evening Dress | V&A Explore The Collections" 909:who were known for their usage of Chinese silks, 650:items from Beijing during the suppression of the 532:in their hands; photograph taken in Spring 1886, 314:Russian actress wearing chinoiserie fashion, 1838 1610:showed the influences of the sexualized version 677:Cape in chinoiserie fashion, likely designed by 1814: 1794: 1768: 1434: 1015: 141: 2678:The Emperor Justinian and the Byzantine Empire 2573:. Joanne Arbuckle (Second ed.). Landham. 4899: 4544:. Vol. 56. Boot and Shoe Recorder. 1909. 2570:Historical dictionary of the fashion industry 2375:Such as British tea gowns of the 19th century 540:On the other hand, the 19th century was when 8: 5021:Timeline of clothing and textiles technology 2716:. Lanham, Md.: University Press of America. 2013: 1877: 1721:Example of a Chinese slippers, Qing dynasty. 1298: 1291: 1155: 1053: 1008: 975: 946: 896: 865: 859: 718: 689: 563: 541: 508: 502: 419: 397: 379: 368: 348: 342: 329: 323: 270: 264: 115:; but at times, it was also associated with 106: 97: 88: 80: 21: 4409:. Durham, NH: University of New Hampshire. 1871: 1325: 846: 816: 480: 194:. The secret of sericulture was eventually 5383: 5258: 4906: 4892: 4884: 4808:. Cambridge : Cambridge University Press. 4787:: CS1 maint: location missing publisher ( 4738:: CS1 maint: location missing publisher ( 4647:: CS1 maint: location missing publisher ( 4349:: CS1 maint: location missing publisher ( 4062:: CS1 maint: location missing publisher ( 4009:: CS1 maint: location missing publisher ( 3960:: CS1 maint: location missing publisher ( 3929:Reading graphic design in cultural context 3614:: CS1 maint: location missing publisher ( 3471:: CS1 maint: location missing publisher ( 3415:: CS1 maint: location missing publisher ( 3279:: CS1 maint: location missing publisher ( 3227:: CS1 maint: location missing publisher ( 3174:: CS1 maint: location missing publisher ( 3046:: CS1 maint: location missing publisher ( 2993:: CS1 maint: location missing publisher ( 2657:: CS1 maint: location missing publisher ( 2601:: CS1 maint: location missing publisher ( 2483:: CS1 maint: location missing publisher ( 2432:: CS1 maint: location missing publisher ( 20: 3691:"The China List: Christian Dior, Fashion" 3689:Magazine, Wallpaper* (18 December 2019). 3510: 2309:Manchu's Horsehoofs cuffs decorated with 1260:. Some modern fashion designers, such as 4376:"The Story of the Exhibit: Manila Shawl" 4165:Cultures of Femininity in Modern Fashion 4089:"Blue and White: Fashion • V&A Blog" 3088:Fashion : a very short introduction 2849:The Art of the Saracens in Egypt: part 1 1700:The Chinese shawls were manufactured in 1334:which was popular in the 19th century. 1034:Chinese auspicious ornaments and textile 725: 515: 4675:. New York: Columbia University Press. 4119:. Honghua Tan. Berlin: Springer. 2012. 4024: 4022: 4020: 3136: 2387: 2343: 2250:Han Chinese women's ao with integrated 2022: 1968: 1160:fashion of the early 20th century, the 198:out of China in the 6th century by the 4780: 4731: 4640: 4584: 4534: 4532: 4436: 4434: 4398: 4396: 4370: 4368: 4366: 4364: 4342: 4268: 4238: 4208: 4195: 4193: 4140: 4055: 4002: 3953: 3822: 3820: 3818: 3803:(in German). 28 August 2017. p. 3 3660: 3629: 3627: 3625: 3607: 3575: 3573: 3546: 3544: 3542: 3540: 3538: 3464: 3432: 3430: 3408: 3351: 3349: 3331: 3300: 3298: 3296: 3294: 3292: 3290: 3272: 3240: 3238: 3220: 3167: 3134: 3132: 3130: 3128: 3126: 3124: 3122: 3120: 3118: 3116: 3039: 3008: 3006: 3004: 2986: 2954: 2952: 2950: 2948: 2946: 2944: 2884:Koda, Harold; Martin, Richard (2004). 2879: 2877: 2841: 2839: 2650: 2594: 2522: 2520: 2518: 2476: 2425: 2404:. Houndmills, Basingstoke, Hampshire. 1751:least since the 18th century, such as 1531:(collar in Qing dynasty court dress), 111:in fashion was sometimes a display of 4664: 4662: 4660: 4658: 4608: 4606: 4604: 4602: 4553: 4551: 4447:. New York: Oxford University Press. 4083: 4081: 4079: 4077: 3843: 3841: 3715: 3713: 3711: 3684: 3682: 3680: 3678: 3488: 3486: 3484: 3482: 2670: 2668: 2618: 2616: 2614: 2612: 2516: 2514: 2512: 2510: 2508: 2506: 2504: 2502: 2500: 2498: 2445: 2443: 2393: 2391: 1912:Chinese influences on Korean clothing 1208:White and blue printed silk dress by 7: 5164:Social media in the fashion industry 2747: 2745: 2743: 2741: 2681:. Westport, Conn.: Greenwood Press. 2562: 2560: 2558: 2362:in 2010–2011 was also influenced by 4116:Knowledge discovery and data mining 3091:. Oxford: Oxford University Press. 2913:Indianapolis Museum of Art (1987). 2297:Imperial dragon robes, Qing dynasty 1437:and environments of American women 3251:. Shareen Blair Brysac. New York. 2965:. Jung-Whan Marc De Jong. London. 1677:The Spanish shawls, also known as 226:, florets, phoenixes and dragons. 14: 3782:Princess Diana poses with Charles 3552:"Fashioning Empire: Chinese Chic" 3307:British Modernism and Chinoiserie 1614:in terms of cut and the imperial 1432:of June 1913, volume 30, issue 6: 5841: 5006:History of clothing and textiles 4987: 4318:Rethinking fashion globalization 3556:BASIS Independent Silicon Valley 3018:. Stephen Rowley. Leiden. 2021. 2455:. Valerie Steele. London. 2018. 2364:Chinese blue and white porcelain 2356:Chinese blue and white porcelain 2322: 2302: 2290: 2274: 2259: 2243: 2227: 2211: 2199: 2183: 2164: 2148: 2143:(decorative Chinese knot), Hanfu 2129: 2106: 2090: 2064: 2052: 2040: 2028: 2006: 1992: 1983: 1974: 1223:, which was developed since the 1201: 1114: 1098: 670: 619: 600: 307: 287: 27: 4939:Environmental impact of fashion 3636:The Handbook of Fashion Studies 3358:""Feast of Lanterns"" 2814:. Hoboken: Taylor and Francis. 2779:. Hoboken: Taylor and Francis. 2350:A blue and white dress worn by 1474:(a mandarin court dress with a 1428:in June 1913. According to the 995:in various of his collections. 778:style and was embroidered with 752:wore a red coloured silk, midi 524:-style clothing while men wear 4837:Looi, Sylvia (4 August 2022). 3725:Musée Yves Saint Laurent Paris 2773:Snodgrass, Mary Ellen (2015). 1029:Sources of fashion inspiration 841: 812: 475: 466: 458: 1: 3900:Museum, Victoria and Albert. 3512:10.3998/ars.13441566.0047.009 2567:Sterlacci, Francesca (2017). 2452:The Berg companion to fashion 2178:, Qing dynasty, 18th century. 2081:with pleats, Hanfu, from the 4501:Tortora, Phyllis G. (2010). 3721:""Les Chinoises" Collection" 2846:Lane-Poole, Stanley (1886). 2139:with yaoqun and traditional 1044:Chinese ornamental gold silk 713:1940s to end of 20th century 384:was also a popular theme in 258:The 17th to 18th centuries, 174:Chinese ornamental gold silk 4864:"Flower-and-Bird Paintings" 4403:Johnston, Patricia (2014). 4290:Yotka, Steff (4 May 2015). 3926:Lees-Maffei, Grace (2019). 3748:Diana, the fashion princess 1888: 1856: 1845: 1728:In the early 20th century, 1631: 1623: 1573: 1565: 1553: 1545: 1539: 1533: 1527: 1515: 1507: 1499: 1491: 1480: 1470: 1418: 1410: 1402: 1392: 1386: 1380: 1374: 1364: 1347: 1310: 823: 803: 801:was did not conform to the 796: 788: 774: 758: 738: 732: 489:". From the looting of the 449: 269:became in vogue in Europe; 5910: 5011:History of Western fashion 3881:(in French). 12 March 2015 3875:"Chinoiserie at Valentino" 3521:2027/spo.13441566.0047.009 3437:Goldstein, Joshua (2021). 1563:, and traditional Chinese 1275: 1037: 911:Chinese-style embroideries 167: 151:Metropolitan Museum of Art 5836: 5016:History of fashion design 4985: 4925:Index of fashion articles 4922: 4802:Chaudhuri, K. N. (1990). 4669:Finnane, Antonia (2008). 2959:Kawamura, Yuniya (2022). 2808:Reichwein, Adolf (2013). 1867: 1808:effeminate, or slavish". 1778:, French Jesuit Historian 1559:, as well as traditional 1321: 1052:The most visible form of 832: 784:Chinese wedding tradition 730:Princess Diana wearing a 717:In the mid-20th century, 550:" associating China with 390:King Gustav III of Sweden 294:Chinese-style fashion in 87:refers to the any use of 26: 5396:British country clothing 4954:Fashion design copyright 4441:Nash, Elizabeth (2005). 3848:kamakshi (27 May 2011). 3193:Dudley, Leonard (2017). 3085:Arnold, Rebecca (2009). 2675:Evans, J. A. S. (2005). 2527:Martin, Richard (1994). 1643:Manchu's horsehoof cuffs 1543:(Manchu women dresses), 1458:The Chinese Summer Dress 1456:Garments displayed from 1408:, which composed of the 1239:in the 16th century and 1221:blue and white porcelain 1193:Blue and white porcelain 993:blue and white porcelain 984:, the silhouette of the 608:Aleksander Augustynowicz 497:, which became known as 418:lead to the decrease of 105:Throughout its history, 5755:Anti-sweatshop movement 4710:. New York, NY, U.S.A. 4704:Fantone, Laura (2018). 3745:Hanmer, Davina (1984). 3443:. Oakland, California. 3310:. Anne Witchard. 2015. 3245:Meyer, Karl E. (2015). 2120:with pleats, sash, and 1788:also often accompanied 528:attire; they also hold 5894:Clothing controversies 5889:Cultural appropriation 5806:Chinoiserie in fashion 4753:Hellman, Lisa (2019). 4591:: CS1 maint: others ( 4541:Boot and Shoe Recorder 4275:: CS1 maint: others ( 4245:: CS1 maint: others ( 4215:: CS1 maint: others ( 4162:Parkins, Ilya (2012). 4147:: CS1 maint: others ( 3932:. Nic Maffei. London. 3667:: CS1 maint: others ( 3580:Taylor, Kerry (2017). 3493:Chan, Heather (2017). 3338:: CS1 maint: others ( 2623:Hodacs, Hanna (2016). 2398:Rovai, Serena (2016). 2281:Restoration of a blue 2014: 1896:and originated in the 1882:which was inspired by 1878: 1827: 1805: 1781: 1776:Jean-Baptiste du Halde 1764:Jean-Baptiste Du Halde 1753:Jean-Baptiste Du Halde 1722: 1674: 1658: 1521:(a short waist-length 1453: 1445: 1356: 1299: 1292: 1156: 1054: 1026: 1009: 976: 947: 897: 866: 860: 745: 719: 690: 564: 542: 537: 509: 503: 440: 420: 398: 380: 369: 349: 343: 330: 324: 271: 265: 156: 125:cultural appropriation 107: 98: 89: 81: 22:Chinoiserie in fashion 5142:Fashion merchandising 4353:) CS1 maint: others ( 4066:) CS1 maint: others ( 3975:Thomas, Dana (2015). 3419:) CS1 maint: others ( 3178:) CS1 maint: others ( 3050:) CS1 maint: others ( 2710:Grumeza, Ion (2010). 2487:) CS1 maint: others ( 2358:; some dress designs 1762:In the 18th century, 1720: 1672: 1656: 1476:mandarin square badge 1450: 1340: 1227:and fully matured in 1003:Like Christian Dior, 748:On 23 February 1981, 729: 610:in chinoiserie-style 519: 438: 113:cultural appreciation 5717:South Korean fashion 5179:Trickle-down fashion 5117:Fashion illustration 5102:Fashion entrepreneur 4979:Semiotics of fashion 4613:Chen, Buyun (2019). 3362:images.ourontario.ca 3074:. Harper & Bros. 3065:Mrs Markham (1859). 1886:'s wall murals. The 1673:Spanish shawls, 2016 1561:Chinese embroideries 1462:Ladies’ Home Journal 1430:Ladies’ Home Journal 1426:Ladies’ Home Journal 1185:women's traditional 764:when she posed with 339:East India companies 254:17th to 18th century 5879:History of clothing 5765:Sustainable fashion 5732:Vietnamese clothing 5263:Western dress codes 5137:Fashion photography 5112:Fashion forecasting 4868:en.chinaculture.org 4095:. 24 September 2015 3068:A History of France 2329:A style of Chinese 1970:Chinoiserie fashion 1786:Western Imperialism 1616:five-clawed Chinese 1466:mandarin court gown 1355:, Volume 57, p. 210 1060:Italian Renaissance 982:Chinese calligraphy 943:Maria Grazia Chiuri 455:traditional Chinese 263:century, China and 207:Italian Renaissance 129:Western imperialism 23: 5869:Fashion aesthetics 5848:Fashion portal 5796:Ballet and fashion 5780:Zero-waste fashion 5496:Sportswear fashion 5174:Trickle-up fashion 5159:Red carpet fashion 5127:Fashion journalism 5122:Fashion influencer 4481:The Zay Initiative 2018:fan, China, c.1800 1723: 1702:Guangdong province 1689:costume. The term 1675: 1659: 1641:), as well as the 1601:women emancipation 1454: 1357: 1048:Chinese embroidery 1005:Yves Saint-Laurent 999:Yves Saint-Laurent 927:Yves Saint-Laurent 746: 744:, 23 February 1981 538: 536:, Ontario, Canada. 463:simplified Chinese 441: 378:the 18th century. 178:Chinese embroidery 5856: 5855: 5823:Music and fashion 5633: 5632: 5583:Thrift store chic 5411:Cruise collection 5373: 5372: 5298:Black lounge suit 5082:Designer clothing 5077:Clothing industry 4944:Fashion accessory 4766:978-90-04-38454-5 4717:978-1-137-50670-2 4682:978-0-231-14350-9 4626:978-0-295-74531-2 4514:978-1-56367-806-6 4416:978-1-61168-586-2 4328:978-1-350-18008-6 4175:978-1-61168-233-5 4126:978-3-642-27708-5 4041:978-90-04-38783-6 3988:978-1-101-61795-3 3939:978-1-350-01558-6 3646:978-1-4725-7744-3 3593:978-1-84533-856-5 3450:978-0-520-97139-4 3317:978-0-7486-9097-8 3258:978-1-4668-7929-4 3206:978-1-137-39822-2 3153:978-90-04-38783-6 3098:978-0-19-157172-5 3025:978-90-04-46984-6 2972:978-1-350-17056-8 2890:www.metmuseum.org 2859:978-3-337-83810-2 2821:978-1-136-20462-3 2786:978-1-317-45167-9 2723:978-0-7618-5135-6 2636:978-1-137-45544-4 2580:978-1-4422-3909-8 2462:978-1-4742-6471-6 2411:978-1-137-53775-1 2236:Manchu women robe 2220:Manchu women robe 1874: 1822:Jean Baptiste Say 1468:, especially the 1460:published in the 1328: 1175:The Rightful Heir 1170:Old Summer Palace 1122:Leon Wyczółkowski 931:Alexander McQueen 849: 819: 794:Princess Diana's 491:Old Summer Palace 483: 445:Old Summer Palace 416:second Opium Wars 77: 76: 36:evening dress in 5901: 5846: 5845: 5844: 5801:Capsule wardrobe 5760:Circular fashion 5742:Fashion activism 5707:Nigerian fashion 5702:Japanese fashion 5660:Filipino fashion 5650:Canadian fashion 5645:American fashion 5384: 5259: 4991: 4908: 4901: 4894: 4885: 4879: 4878: 4876: 4874: 4860: 4854: 4853: 4851: 4849: 4834: 4828: 4827: 4799: 4793: 4792: 4786: 4778: 4750: 4744: 4743: 4737: 4729: 4701: 4695: 4694: 4666: 4653: 4652: 4646: 4638: 4610: 4597: 4596: 4590: 4582: 4555: 4546: 4545: 4536: 4527: 4526: 4498: 4492: 4491: 4489: 4487: 4473: 4467: 4466: 4438: 4429: 4428: 4400: 4391: 4390: 4388: 4386: 4372: 4359: 4358: 4348: 4340: 4313: 4307: 4306: 4304: 4302: 4287: 4281: 4280: 4274: 4266: 4257: 4251: 4250: 4244: 4236: 4227: 4221: 4220: 4214: 4206: 4197: 4188: 4187: 4159: 4153: 4152: 4146: 4138: 4111: 4105: 4104: 4102: 4100: 4085: 4072: 4071: 4061: 4053: 4026: 4015: 4014: 4008: 4000: 3972: 3966: 3965: 3959: 3951: 3923: 3917: 3916: 3914: 3912: 3897: 3891: 3890: 3888: 3886: 3871: 3865: 3864: 3862: 3860: 3845: 3836: 3835: 3824: 3813: 3812: 3810: 3808: 3793: 3787: 3786: 3777: 3771: 3770: 3742: 3736: 3735: 3733: 3731: 3717: 3706: 3705: 3703: 3701: 3686: 3673: 3672: 3666: 3658: 3631: 3620: 3619: 3613: 3605: 3577: 3568: 3567: 3565: 3563: 3548: 3533: 3532: 3514: 3490: 3477: 3476: 3470: 3462: 3434: 3425: 3424: 3414: 3406: 3379: 3373: 3372: 3370: 3368: 3353: 3344: 3343: 3337: 3329: 3302: 3285: 3284: 3278: 3270: 3242: 3233: 3232: 3226: 3218: 3190: 3184: 3183: 3173: 3165: 3138: 3111: 3110: 3082: 3076: 3075: 3073: 3062: 3056: 3055: 3045: 3037: 3010: 2999: 2998: 2992: 2984: 2956: 2939: 2938: 2910: 2901: 2900: 2898: 2896: 2881: 2872: 2871: 2843: 2834: 2833: 2811:China and Europe 2805: 2799: 2798: 2770: 2764: 2763: 2761: 2759: 2749: 2736: 2735: 2707: 2701: 2700: 2672: 2663: 2662: 2656: 2648: 2620: 2607: 2606: 2600: 2592: 2564: 2553: 2552: 2524: 2493: 2492: 2482: 2474: 2447: 2438: 2437: 2431: 2423: 2395: 2376: 2373: 2367: 2352:Victoria Beckham 2348: 2326: 2306: 2294: 2278: 2263: 2247: 2231: 2215: 2203: 2187: 2168: 2152: 2133: 2122:yunjian (collar) 2110: 2094: 2068: 2056: 2044: 2032: 2017: 2010: 1996: 1987: 1978: 1937:Chinese clothing 1894:Chinese painting 1891: 1881: 1875: 1872: 1869: 1861: 1850: 1825: 1803: 1779: 1730:Chinese slippers 1683:mantón de Manila 1639:Twelve Ornaments 1636: 1628: 1581:Mandarin collars 1578: 1570: 1558: 1550: 1542: 1536: 1530: 1520: 1512: 1504: 1496: 1488: 1473: 1443: 1423: 1415: 1407: 1395: 1389: 1383: 1377: 1367: 1350: 1329: 1326: 1323: 1315: 1304: 1295: 1205: 1159: 1118: 1102: 1057: 1024: 1012: 979: 950: 900: 869: 863: 850: 847: 843: 842:bùxiángde yùzhào 834: 826: 824:buxiangde yuzhao 820: 817: 814: 806: 799: 791: 777: 763: 743: 735: 722: 703:Hollywood movies 693: 674: 623: 604: 567: 545: 512: 506: 484: 481: 477: 468: 460: 452: 423: 401: 396:. The craze for 386:masquerade balls 383: 372: 354: 346: 333: 327: 311: 300:François Boucher 291: 274: 268: 200:Byzantine empire 192:Byzantine Empire 164:Pre-17th century 154: 110: 101: 94: 84: 31: 24: 5909: 5908: 5904: 5903: 5902: 5900: 5899: 5898: 5874:Cultural trends 5859: 5858: 5857: 5852: 5842: 5840: 5832: 5784: 5736: 5722:Swedish fashion 5712:Russian fashion 5690:Italian fashion 5685:Israeli fashion 5680:Iranian fashion 5655:Chinese fashion 5629: 5524: 5520:Vintage fashion 5508:Ghetto fabulous 5447: 5401:Business casual 5369: 5336: 5257: 5189: 5183: 5097:Fashion capital 5087:Digital fashion 5058: 5035: 4992: 4983: 4974:Fashion tourism 4927: 4918: 4912: 4882: 4872: 4870: 4862: 4861: 4857: 4847: 4845: 4836: 4835: 4831: 4816: 4801: 4800: 4796: 4779: 4767: 4752: 4751: 4747: 4730: 4718: 4703: 4702: 4698: 4683: 4668: 4667: 4656: 4639: 4627: 4612: 4611: 4600: 4583: 4571: 4557: 4556: 4549: 4538: 4537: 4530: 4515: 4500: 4499: 4495: 4485: 4483: 4475: 4474: 4470: 4455: 4440: 4439: 4432: 4417: 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Cavalli 1217: 1216: 1215: 1214: 1213: 1206: 1195: 1133: 1132: 1131: 1130: 1129: 1119: 1111: 1110: 1103: 1092: 1050: 1038:Main articles: 1036: 1031: 1025: 1022: 1001: 969: 903:Mariano Fortuny 893: 857: 715: 686: 685: 684: 683: 682: 675: 664: 631: 630: 629: 628: 627: 624: 616: 615: 605: 594: 560:Middle Colonies 408: 361: 319: 318: 317: 316: 315: 312: 304: 303: 292: 281: 260:Western fashion 256: 180: 168:Main articles: 166: 161: 155: 148: 62:Place of origin 41: 19: 12: 11: 5: 5907: 5905: 5897: 5896: 5891: 5886: 5881: 5876: 5871: 5861: 5860: 5854: 5853: 5851: 5850: 5837: 5834: 5833: 5831: 5830: 5828:Fashion victim 5825: 5820: 5819: 5818: 5808: 5803: 5798: 5792: 5790: 5786: 5785: 5783: 5782: 5777: 5772: 5767: 5762: 5757: 5752: 5746: 5744: 5738: 5737: 5735: 5734: 5729: 5724: 5719: 5714: 5709: 5704: 5699: 5698: 5697: 5687: 5682: 5677: 5675:Indian fashion 5672: 5670:German fashion 5667: 5665:French fashion 5662: 5657: 5652: 5647: 5641: 5639: 5635: 5634: 5631: 5630: 5628: 5627: 5626: 5625: 5620: 5615: 5610: 5605: 5600: 5595: 5585: 5580: 5575: 5570: 5565: 5560: 5555: 5550: 5545: 5540: 5534: 5532: 5526: 5525: 5523: 5522: 5517: 5516: 5515: 5505: 5504: 5503: 5498: 5493: 5488: 5478: 5473: 5468: 5463: 5457: 5455: 5453:Street fashion 5449: 5448: 5446: 5445: 5440: 5435: 5430: 5425: 5424: 5423: 5413: 5408: 5403: 5398: 5392: 5390: 5381: 5375: 5374: 5371: 5370: 5368: 5367: 5365:Modest fashion 5362: 5357: 5352: 5346: 5344: 5338: 5337: 5335: 5334: 5333: 5332: 5327: 5325:Cocktail dress 5322: 5312: 5311: 5310: 5305: 5300: 5290: 5289: 5288: 5283: 5278: 5267: 5265: 5256: 5255: 5250: 5249: 5248: 5243: 5242: 5241: 5231: 5226: 5216: 5215: 5214: 5209: 5204: 5193: 5191: 5185: 5184: 5182: 5181: 5176: 5171: 5166: 5161: 5156: 5155: 5154: 5144: 5139: 5134: 5129: 5124: 5119: 5114: 5109: 5107:Fashion editor 5104: 5099: 5094: 5089: 5084: 5079: 5074: 5068: 5066: 5060: 5059: 5057: 5056: 5051: 5045: 5043: 5037: 5036: 5034: 5033: 5028: 5023: 5018: 5013: 5008: 5002: 5000: 4994: 4993: 4986: 4984: 4982: 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