Hi, thanks for the question! Keep in mind that fashion in ancient China changed over time, so every time period/dynasty’s clothing style differed a little.
The following info is from an online fashion encyclopedia (unfortunately, the original link no longer works):
In general, for all time periods of ancient China:
- The basic garment for all classes and sexes was a loosely cut robe with sleeves that varied from wide to narrow, worn with the left front panel lapped over the right panel, the whole garment fastened closed with a sash. Sometimes worn with a coat/jacket.
- Commoners wore a shorter version of the robe—thigh-length or knee-length—with trousers or leggings, or a skirt. The upper class wore their clothes long (ankle-length), often with wide, dangling sleeves. Both men and women wore skirts and trousers.
- Men’s clothing was often made in solid, dark colors, except for clothing worn at court, which was often brightly ornamented with woven, dyed, or embroidered patterns. Women’s clothing was generally more colorful than men’s.
- All adults had long hair put up in a bun or topknot, and for men, some kind of hat or other headgear.
If you want to learn more, I highly recommend reading the book Chinese Clothing by Hua Mei, which goes into great detail, dynasty by dynasty, on Chinese fashion over time.
All the illustrations above are from 100 Portraits of Chinese Historical Customs. Please check it out for more amazing depictions of ordinary life in ancient China!
You can also check out my commoners hanfu tag for more resources. Hope this was helpful! :)
itazura na kiss: 2013 japanese remake vs Taiwan version (ISWAK)
ISWAK wins the contest, hands-down. ISWAK is centered around the budding romance of Xiang Qin and Zhi Shu, of course, but in ISWAK, they are not the only characters that matter. ISWAK is a drama in which thought is given to detail and in which an entire alternate reality has been carefully constructed. ~Love in Tokyo~, not so much.
take for example the side characters: in ~Love in Tokyo~ it feels like Kotoko’s girlfriends Satomi and Jinko exist only for the sake of being Kotoko’s girlfriends. you can’t imagine those characters existing without Kotoko because they weren’t given their own personalities to begin with. but in ISWAK, its different. Liu Nong and Chun Mei are clearly given their own personalities. (sorry i don’t remember enough of them to describe them lol, but you’d understand if you’ve watched both versions)
in ISWAK the house of the Jiang family has been strategically adorned to further establish the ISWAK world. for example: the Jiang family’s Incredibles-themed family portrait on the wall in their living room, the Jiang Dad’s collection of toy cars housed in a glass display, Zhi Shu’s impressive bookshelves that are crammed full of books, which stand behind his bed. small details that help to make these fictional characters feel real, like we’re watching a real family.
also, i really like how in ISWAK they make use of as many characters and scenarios as they can to create comedy. it makes for an awesome watch. for example, for now in ~Love in Tokyo~, Naoki’s kid brother Yuuki is only an annoying brat. but in ISWAK, the same character is more productively utilised to create comedic effect.
(in ~Love in Tokyo~, Naoki’s mother feels extremely artificial to me. that artificially bright tone of voice…)
you should never have characters in a story just to put them there. what’s the point of having characters that don’t add value to the story?
i can see that ~Love in Tokyo~ is more focused on Kotoko and Naoki alone. it never set out to create a world as real as ISWAK’s. i’m okay with that - its still a cute drama; i’m watching it for the cute.
but if you haven’t watched ISWAK yet, then you should. :)
O OLHO MÁGICO DO AMOR (1982)
dir. José Antonio Garcia & Ícaro Martins
In São Paulo, suburban girl Vera Maria Gatta finds a job as a secretary at the Society of Ornithology Friends in Boca do Lixo. Her boss Prolíxenes is absent most of the time, leaving Vera bored in the office, but one day, the young secretary accidentally finds a peephole in the wall through which she can see the room of the alluring and mysterious Penélope, a prostitute. Vera starts spending most of her time snooping through the hole, fantasizing and watching Penélope with her clients or her gigolo.
(link in title)
KÁTIA (2012)
dir. Karla Holanda
Katia Tapety is the first trans woman elected as a politician in Brazil - councilwoman for three times and one time for vice-mayor. This film is the result of a 20-day-living period with her in her small town testifying some of her experience and the impressions of those around her.
(link in title)
Do you have any other favorite looks from Chinese films besides the one from 青春的脚步 (1957)?
I'm not an expert on vintage Chinese cinema and I definitely haven't watched all (or even most) important vintage films, but I do have a lot of looks I enjoyed! Here are some of my favorites.
Don't Change Your Husband 情海重吻 (1929)
The whole movie is fabulous, but the leading lady's makeup look is just bewitchingly beautiful. It's the silent era vamp sad girl look for me.
And her dresses are SO GOOD.
10/10 would recommend.
啼笑姻缘 (1932)
Early 30s representation is difficult to come across, so I really appreciate all the looks in this film.
Finally seeing this aoqun/Western evening dress hybrid on a moving person instead of an artwork. The Deco background though!
And an unusual cheongsam. Both outfits could be corroborated by artworks by Ye Qianyu.
(First: far right)
(Second: bottom left)
Scenes of City Life 都市风光 (1935)
The evening ensembles are gorgeous.
Long Live the Missus 太太万岁 (1947)
This shoulder pad jacket with embroidery!! And the cheongsam with gold stripes underneath!! Also I love that Jiang Tianliu (the actress) looks a bit like my aunt.
Barber Takes a Wife 假凤虚凰 (1947)
Iconic film starring an iconic actress (Li Lihua). More shoulder pad cheongsam representation. The cut, fabric and hairstyle are just too good.
All the other costumes in this are also either super weird, super amazing or both.
相思债 (1947) (AI colorized version)
I may or may not be biased toward the 1940s.
This outfit and movie capture the weirdness and wildness of the Chinese 1940s to an exaggeration. The big shoulder pads, puffed sleeves, loud patterns, demonic hair and makeup... Just amazing.
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