Two early 20th-century qipaos displayed in the China National Silk Museum, Hangzhou Photo: Ren Guanhong/CSST

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Chinese fashion trends in the early 20th century were characterized by a blend of traditional Chinese garments and emerging Western influences, reflecting the country’s cultural and political changes during this period.

Zhongshan suit as political symbol

In the early period of the Republic of China, men’s clothing commonly consisted of long robes (changshan) and mandarin jackets (magua), which could be worn as both formal attire and casual wear. With increasing cultural interaction between China and the West, a new type of clothing that combined elements of traditional Chinese dress and Western suits began to gain popularity: the Zhongshan suit. In 1929, the national government of the Republic of China officially mandated the Zhongshan suit as standard attire for civil servants. By the 1950s, it had become immensely popular throughout China, serving as formal attire for everyone from national leaders to ordinary citizens.

The Zhongshan suit, named after Sun Yat-sen, who designed and first wore it, holds significant political symbolism. As the leader of the anti-Qing revolution, Sun Yat-sen was deeply aware of the power of changing attire and cutting queues as revolutionary symbols. As early as 1912, Sun Yat-sen proposed the creation of a Chinese national dress: “Formal dress must be changed, while casual dress can be left to the people... Formal dress is related to national dignity, and should be taken seriously. The current Western-style clothing, in my opinion, is not entirely suitable... The key points of the national clothing are that it should be easy to clean, convenient for movement, economical, and aesthetically pleasing. Meanwhile, the fabric and clothing industries should strive for the improvements, so that the materials used could be domestically produced, which is greatly anticipated.”

A long-standing theory exists within academia regarding the creation of the Zhongshan suit, suggesting Sun Yat-sen, while serving as the Grand Marshal of Guangdong in 1923, proposed its design based on the “mandarin-collar suit” popular among overseas Chinese in Southeast Asia. With the assistance of an old tailor named Huang Longsheng, the world’s first Zhongshan was born. Some scholars believe that Sun Yat-sen incorporated his “Three Principles of the People” [national independence, democracy, and people’s livelihood] into the details of the Zhongshan suit—five buttons on the front representing the “Five-Power Constitution” [the system extending the traditional separation of powers into five branches: Executive, Legislative, Judicial, Examination, and Control], four pockets symbolizing the “Four Virtues” of propriety, justice, honesty, and shame, and three buttons on the sleeves representing the Three Principles of the People.

Since the founding of the People’s Republic of China, national leaders have frequently worn Zhongshan suits and their modified versions at important occasions, both domestically and internationally. The Zhongshan suit has become a symbol of inheriting national culture while adapting to international trends. Its style represents the transition of Chinese clothing from traditional to modern, with distinct characteristics of the era.

Qipao as a blend of history, culture

The qipao, also known as the cheongsam, has undergone a century-long evolution from its emergence, flourishing, decline, to modern adaptations. However, its exact origin remains uncertain. It is commonly believed that the qipao was named after the Manchu robe it was originally modeled after. Before establishing the Qing Dynasty, the Manchu people led nomadic lives, and their long robes were tailored to be fitted and slit on both sides to maximize comfort while riding horses. Due to the Eight Banners [Ba Qi] system, a Manchu military and social structure, the Manchus were often referred to as “qiren” [lit. banner people], and their distinctive clothing was generally called “qipao.”

The distinction between Manchu and Han women’s clothing began to blur in the late Qing era, with Han women commonly wearing Manchu-style robes. This shift was influenced by the Qing rulers’ policy of promoting cultural integration between the Manchu and Han peoples. During this period, women’s long robes still adhered to traditional styles and cuts, featuring straight designs that reflected the conservative aesthetics and ideology of feudal society.

With the outbreak of the 1911 Revolution, China ended its imperial system and entered a new era. Influenced by the New Culture Movement of the 1920s, the concept of gender equality quickly spread throughout female society, driving clothing reforms. The design concept of the qipao was no longer constrained by traditional ideology, becoming more form-fitting to emphasize the wearer’s curves. In the 1920’s, the term “qipao” began appearing in various publications. In 1924, The Sincere Co., Ltd.; Twenty Fifth Anniversary mentioned that in 1921, qipaos spread from the north of the country to the south. Therefore, the modern understanding of the “qipao” specifically refers to the garment that emerged around the 1920s, modeled after Manchu women’s robes of the Qing Dynasty, incorporating Western tailoring, and characterized by a left-over-right (youren) opening, a close fit, and slits on the sides.

Following the 1930s, the qipao reached its peak in China, showcasing diverse styles and various standards. For example, qipaos can feature various sleeve lengths, ranging from sleeveless to short sleeves, three-quarter sleeves, or long sleeves. The slits on both sides grew increasingly higher, sometimes almost reaching the thighs. Its craftsmanship also became more sophisticated, with the upper classes favoring silk and ordinary people using indigo-dyed cotton fabric.

The qipao is a remarkable blend of traditional Chinese aesthetics and Western influences, embodying a unique fusion of modesty, elegance, and modernity, reflected in its details. Ancient Chinese clothing aesthetics focused not on highlighting the body curves but on expressing the gentle, subtle qualities of women through layers of clothing. The high collar of the qipao is a nod to traditional Chinese fashion. It represents conservatism and modesty, covering the neck and presenting a formal, dignified appearance. Women’s “spiritual liberation” was mostly achieved in the hem. The qipao’s side slits are a perfect example of the garment that balances modesty with sensuality. They provide an element of allure by revealing the calves while walking, but the exposure is controlled and tasteful. This intermittent display of skin aligns with the Chinese aesthetic of understated beauty, where subtlety and suggestion are preferred over overt display.

Another unique element of the qipao is the “Chinese frog closures,” also known as “pankou.” Traditional Chinese clothing emphasizes softness and comfort, avoiding hard materials like the buttons, which are usually made of fabric. These frog closures, made by folding, sewing, and twisting fabric strips, appeared as early as the Song Dynasty, and are characterized by their intricate designs and functionality. They come in various shapes, such as flowers, animals, and other auspicious symbols. After a thousand years of evolution, they have become a hallmark of traditional Chinese fashion. On the qipao, these buttons are often used on the high collar and lapels, serving as delicate tiny locks, securing certain areas of the female body and embodying the Chinese women’s pursuit of restrained sensuality.

Edited by REN GUANHONG