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Historians have long regarded fashion as something peculiarly Western. In this surprising, sumptuously illustrated book, Antonia Finnane challenges this view, which she argues is based on nineteenth- and twentieth-century representations of Chinese dress as traditional and unchanging. Fashions, she shows, were part of Chinese life in the late imperial era, even if a fashion industry was not then apparent. In the early twentieth century the key features of modern fashion became evident, particularly in Shanghai, and rapidly changing dress styles showed the effects. The volatility of Chinese dress throughout the twentieth century matched vicissitudes in national politics. Finnane describes in detail how the close-fitting jacket and high collar of the 1911 Revolutionary period, the skirt and jacket-blouse of the May Fourth era, and the military style popular in the Cultural Revolution gave way finally to the variegated, globalized wardrobe of today. She brilliantly connects China’s modernization and global visibility with changes in dress, offering a vivid portrait of the complex, subtle, and sometimes contradictory ways the people of China have worn their nation on their backs.
Tang dynasty (618–907) China hummed with cosmopolitan trends. Its capital at Chang’an was the most populous city in the world and was connected via the Silk Road with the critical markets and thriving cultures of Central Asia and the Middle East. In Empire of Style, BuYun Chen reveals a vibrant fashion system that emerged through the efforts of Tang artisans, wearers, and critics of clothing. Across the empire, elite men and women subverted regulations on dress to acquire majestic silks and au courant designs, as shifts in economic and social structures gave rise to what we now recognize as precursors of a modern fashion system: a new consciousness of time, a game of imitation and emulation, and a shift in modes of production. This first book on fashion in premodern China is informed by archaeological sources—paintings, figurines, and silk artifacts—and textual records such as dynastic annals, poetry, tax documents, economic treatises, and sumptuary laws. Tang fashion is shown to have flourished in response to a confluence of social, economic, and political changes that brought innovative weavers and chic court elites to the forefront of history. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/empire-of-style
Through the stories of three generations of designers this book charts the rise of fashion design in China. It takes us from the pre-communist country, through the austere and isolated China of the 1950s and '60s and on to the attempts at global integration of China's modern generation.
Less than three decades ago, when the Chinese bought cloth or clothes, they would have had to use a government-issued coupon. Today the Chinese fashion industry is one of the most dynamic in the world - it not only supplies fashions to the increasingly discerning domestic market, but also provides one-third of the clothing sold in the global market. How did this phenomenal transition come about? What can the growth of the Chinese fashion industry tell us about the post-Mao China? What roles do the local and the global play in the dramatic changes? This book offers a historically informed, ethnographically grounded and interpretive analysis of contemporary Chinese fashion and the fashion industry. It examines the interplay of state politics, market forces, local social and cultural factors, and the global political economy, both in the rise of the Chinese fashion industry and in the life and work of Chinese fashion professionals. As the first ethnographic account of the Chinese fashion industry in the post-Mao era, The Chinese Fashion Industry combines first-hand accounts with sophisticated cultural analysis to offer new insights, and will be of interest to students and scholars of fashion, anthropology and China.
A window into the fashion tribes of the young Chinese, who make up one in ten of the world's population.The pace at which China has caught up with western lifestyle is breathtaking. Chinese youth have embraced, assimilated and adapted western cultural values and aesthetics in no time. They are confident and proud on the streets of Beijing, Shanghai and Guangzhou. Most recently Chinese youth are beginning to rediscover their own heritage and mix it with western creative language, delivering a fresh and unique style, which is set to grow and influence the west in the near future. Fashion Tribes China presents the freshest and most cutting-edge youth street culture coming out of China. The book mixes straight-up head-to-toe street photography with detailed shots, including accessories, fashion detailing and fashion graphics, reflecting what is being worn and designed. Added to this are essays on style leaders in China, lifestyle, aspirations, motivations and creative thinking. Fashion Tribes China gives invaluable insight into today’s youth street culture and is aimed at creative professionals and marketers eager to understand and be inspired by what is set to become the 21st century's most influential youth group.
Chinatown Pretty features beautiful portraits and heartwarming stories of trend-setting seniors across six Chinatowns. Andria Lo and Valerie Luu have been interviewing and photographing Chinatown's most fashionable elders on their blog and Instagram, Chinatown Pretty, since 2014. Chinatown Pretty is a signature style worn by pòh pohs (grandmas) and gùng gungs (grandpas) everywhere—but it's also a life philosophy, mixing resourcefulness, creativity, and a knack for finding joy even in difficult circumstances. • Photos span Chinatowns in San Francisco, Oakland, Los Angeles, Chicago, New York City, and Vancouver. • The style is a mix of modern and vintage, high and low, handmade and store bought clothing. • This is a celebration of Chinese American culture, active old-age, and creative style. Chinatown Pretty shares nuggets of philosophical wisdom and personal stories about immigration and Chinese-American culture. This book is great for anyone looking for advice on how to live to a ripe old age with grace and good humor—and, of course, on how to stay stylish. • This book will resonate with photography buffs, fashionistas, and Asian Americans of all ages. • Chinatown Pretty has been featured by Vogue.com, San Francisco Chronicle, Design Sponge, Rookie, Refinery29, and others. • With a textured cover and glossy bellyband, this beautiful volume makes a deluxe gift. • Add it to the shelf with books like Humans of New York by Brandon Stanton, Advanced Style by Ari Seth Cohen, and Fruits by Shoichi Aoki.
Based largely on nineteenth and twentieth-century representations of Chinese dress as traditional and unchanging, historians have long regarded fashion as something peculiarly Western. But in this surprising, sumptuously illustrated book, Antonia Finnane proves that vibrant fashions were a vital part of Chinese life in the late imperial era, when well-to-do men and women showed a keen awareness of what was up-to-date. Though foreigners who traveled to China in the early decades of the twentieth century came away with the impression that Chinese dress was simple and monotone, the key features of modern fashion were beginning to emerge, especially in Shanghai. Men in blue gowns donned felt caps and leather shoes, girls began to wear fitted jackets and narrow pants, and homespun garments gave way to machine-woven cloth, often made in foreign lands. These innovations marked the start of a far-reaching vestimentary revolution that would transform the clothing culture in urban and much of rural China over the next half century. Through Finnane's meticulous research, we are able to see how the close-fitting jacket and high collar of the 1911 Revolutionary period, the skirt and jacket-blouse of the May Fourth era, and the military style popular in the Cultural Revolution led to the variegated, globalized wardrobe of today. She brilliantly connects China's modernization and global visibility with changes in dress, offering a vivid portrait of the complex, subtle, and sometimes contradictory ways the people of China have worn their nation on their backs.
Much has been written about the transformation of China from being a clothing-manufacturing site to a fast-rate fashion consuming society. Less, however, has been written on the process of making Chinese fashion. The expert contributors to Fashion in Multiple Chinas explore how the many Chinese fashions operate across the widespread, fragmented and diffused, Chinese diaspora. They confront the idea of Chinese nationalism as `one nation', as well as of China as a single reality, in revealing the realities of Chinese fashion as diverse and comprising multiple practices. They also demonstrate how the making of Chinese fashion is composed of numerous layers, often involving a web of global entanglements between manufacturing and circulation, retailing and branding. They cover the mechanics of the PRC fashion industry, the creative economy of Chinese fashion, its retail and branding, and the cultural identity of Chinese fashion from the diasporas comprising the transglobal landscape of fashion production.
Styling Shanghai is the first book dedicated to exploring the city's fashion cultures, examining its growing status as one of the world's foremost fashion cities. From its origins as an international treaty port in the 19th century, Shanghai has emerged as a global leader in the production, mediation and consumption of fashion. This book reveals how the material and imaginative context of this thriving urban centre has produced vivid interpretations of fashion as object, image and idea. Bringing together contributions by a range of leading international fashion historians and theorists, and drawing on extensive original research, Styling Shanghai offers an interdisciplinary analysis of the mega-city's shifting position as a fashion capital. Rooted in collaboration between leading UK, Australian and Shanghai-based institutions, it considers the impact of local and global textile manufacturing, the representation and marketing of 'Shanghai Style', bodies and gender in the 'Paris of the East', and the challenges of globalization, commercialization and digital communication in contemporary Shanghai.
Quotations from Chairman Mao Tse-Tung' is a volume of selected statements taken from the speeches and writings by Mao Mao Tse-Tung, published from 1964 to 1976. It was often printed in small editions that could be easily carried and that were bound in bright red covers, which led to its western moniker of the 'Little Red Book'. It is one of the most printed books in history, and will be of considerable value to those with an interest in Mao Tse-Tung and in the history of the Communist Party of China. The chapters of this book include: 'The Communist Party', 'Classes and Class Struggle', 'Socialism and Communism', 'The Correct Handling of Contradictions Among The People', 'War and Peace', 'Imperialism and All Reactionaries ad Paper Tigers', 'Dare to Struggle and Dare to Win', et cetera. We are republishing this antiquarian volume now complete with a new prefatory biography of Mao Tse-Tung.