(Left) Chartreuse Figured Silk Qipao

Made in Shanghai, Republic Period, circa 1937–1945

Material: Figured Silk

Approximate Measurements: Shoulders: 15 inches (38 cm), Length (Collar to Hem): 45 2/3 inches (116 cm), Bust: 29 1/8 inches (74 cm), Waist: 29 7/8 inches (76 cm).

This qipao is fashioned from figured silk in a distinctive chartreuse tone, a color poised between yellow and green. The hue is fresh yet restrained, carrying a quiet brightness without becoming ostentatious. Unlike the vivid silks and lavish ornamentation favored in the early 1930s, this more subdued color reflects the changing aesthetic sensibilities of the wartime years, when elegance was often expressed through restraint, practicality, and dignity.

The garment retains the essential features of the mature Shanghai qipao: a high standing collar, asymmetrical right-side closure, and a slender silhouette that follows the natural contours of the body. Its beauty does not depend on elaborate surface decoration, but on proportion, tailoring, texture, and subtle color. This aesthetic shift was closely connected to the social realities of the War of Resistance period. As war, economic pressure, and material shortages reshaped everyday life, fashion increasingly turned away from overt luxury and toward simplicity, economy, and composure.

Particularly noteworthy are the hand-crafted silk pankou at the collar and front opening. These closures are carefully formed from silk cord into elegant decorative shapes, serving both functional and ornamental purposes. Together with the matching silk piping along the collar, opening, armholes, side slits, and hem, they create a unified and refined visual structure. The restrained body of the dress allows these small hand-worked details to become especially prominent.

The silk itself is woven with an all-over figured pattern of delicate branching forms. The motifs are close in tone to the chartreuse ground, so that they appear only gradually as light moves across the surface. Rather than demanding immediate attention, the textile rewards close looking. Its quiet patterning enriches the garment while preserving its disciplined simplicity, demonstrating how material itself could become the principal decorative language of wartime Shanghai fashion.

An especially striking feature is the vivid peacock-blue silk lining concealed within the side slits and interior. In ordinary wear, this brilliant color remains largely hidden, revealing itself only through movement. The contrast between the restrained chartreuse exterior and the luminous blue interior creates a subtle yet memorable visual surprise. It suggests a refined design sensibility in which outward modesty and inner richness coexist.

As an important example of wartime Shanghai qipao design, this garment records a moment when Chinese women balanced elegance with restraint and practicality with refinement. It does not rely on brilliant embroidery or elaborate ornament, but achieves its effect through fine material, graceful tailoring, subtle figured silk, and carefully made pankou. Its quiet surface and unexpected interior color together express the resilience, dignity, and understated confidence of Chinese women during a turbulent era.

 

(左边）：

黄绿色暗花丝绸旗袍

民国时期，上海，约1937–1945年

材质：暗花丝绸

尺寸：肩宽15英寸（38厘米）；衣长（领至下摆）45 2/3英寸（116厘米）；胸围29 1/8英寸（74厘米）；腰围29 7/8英寸（76厘米）。

本件旗袍采用黄绿色暗花丝绸制成，色调介于黄色与绿色之间，清新而不张扬，明亮之中带有克制的气质。不同于三十年代初期常见的鲜艳丝绸与华丽装饰，此类较为含蓄的色彩更能体现抗战时期上海女性服饰审美的变化：优雅不再依赖外在的繁华，而更多通过节制、实用与端庄来表达。

旗袍采用成熟期上海旗袍的典型式样，高立领、右衽斜襟以及修长贴体的轮廓一应俱全，展现出女性身形的自然曲线。整体设计并不依赖繁复装饰，而是通过比例、剪裁、材质与色彩本身塑造美感。这种审美倾向与抗战时期社会环境密切相关。战争带来的民族危机、经济压力与物资紧张，使服饰逐渐由追求奢华转向强调简洁、节俭与自持。

尤为值得注意的是领口与前襟处的手工盘扣。盘扣以丝线手工盘结而成，造型精巧，既承担开合功能，也成为整件作品最重要的装饰元素。领口、襟缘、袖口、侧开衩及下摆均饰以同色丝质滚边，与盘扣形成统一协调的视觉效果。由于衣身整体较为素净，这些细小而精致的手工细节便显得格外醒目。

面料本身织有满地暗花纹样。纹饰以细密舒展的枝叶纹构成，与黄绿色底色十分接近，远观并不明显，近看则随光线变化逐渐浮现。这样的装饰方式不以醒目取胜，而是在光线流转之间呈现出丰富层次，使衣料本身成为最重要的视觉语言。低调而富于韵味的织纹，与整体简洁的设计风格相得益彰。

本件作品最具巧思之处还在于内衬色彩的运用。侧开衩及内层采用鲜明的孔雀蓝色丝绸作为衬里，与外层黄绿色丝绸形成强烈而优雅的对比。平时穿着时，这种鲜艳色彩大多隐藏于衣内，仅在行走、转身或微风拂动之间偶然显露，为整体造型增添灵动变化。外表沉静克制，内里却蕴含鲜活色彩，形成极富层次感的视觉效果。

作为抗战时期上海旗袍的重要代表之一，本件作品展现了特殊历史背景下中国女性服饰审美的转变。它不依赖华丽刺绣或浓艳色彩，而是通过考究的材质、优雅的剪裁、若隐若现的暗花织纹以及细致的手工盘扣表现女性风采。其清新而克制的黄绿色调与意外显露的孔雀蓝内衬，共同记录了那个动荡年代中中国女性在艰难现实面前依然保持优雅、尊严与从容的生活态度。

 

(Middle): Taupe Cotton-Linen Qipao with Navy Blue and Burgundy Trim

Made in Shanghai, Republic Period, circa 1937–1945

Material: Cotton and Linen

Approximate Measurements: Shoulders: 16 1/2 inches (42 cm), Length (Collar to Hem): 46 1/2 inches (118 cm), Bust: 31 1/2 inches (80 cm), Waist: 33 inches (84 cm).

This qipao is fashioned from a cotton-linen blend in a soft taupe tone, a color situated between beige, light brown, and gray. Calm and understated in appearance, the fabric possesses the natural texture and quiet elegance characteristic of plant-based fibers. Unlike silk qipaos that emphasize sheen and luxury, the use of cotton and linen reflects a growing appreciation for comfort, practicality, and modern living among Shanghai women during the Republican period.

The garment follows the mature Shanghai qipao style, featuring a high standing collar, asymmetrical right-side closure, and a long, slender silhouette that gracefully accentuates the female form. Free from elaborate embroidery or decorative motifs, the design relies instead upon refined tailoring, balanced proportions, and subtle color contrasts to achieve its visual effect. The result is an elegant and restrained modern aesthetic.

Particularly striking is the use of navy blue and burgundy double piping along the collar, front opening, sleeve edges, and hem. The deep blue and rich burgundy create a vivid yet sophisticated contrast against the subdued taupe ground. This carefully considered color combination introduces vitality and visual interest while preserving the garment’s overall sense of refinement and restraint.

Equally noteworthy are the finely executed hand-crafted pankou fasteners preserved at the collar and front opening. Formed entirely by hand from silk cord, the knots display flowing, floral-inspired forms with remarkable dimensionality and elegance. As one of the most distinctive decorative features of traditional Chinese dress, the pankou serve not only as functional closures but also as expressions of craftsmanship and artistic design. Their graceful forms complement the sweeping lines of the front opening and contribute significantly to the garment’s visual appeal.

The side slits and interior lining are finished in burgundy silk, creating a subtle yet effective contrast with the taupe exterior. Most of the lining remains concealed during wear, appearing only momentarily as the wearer walks or turns. This thoughtful interplay between exterior and interior colors introduces movement and depth while demonstrating the designer’s attention to every aspect of the garment.

In its material, color palette, and overall design, this qipao reflects the broader shift in late-1930s Shanghai fashion toward simplicity and understated sophistication. The practicality of cotton and linen, combined with the restrained taupe tone and carefully balanced navy and burgundy accents, creates an aesthetic that is both modern and rooted in Chinese tradition. While retaining the graceful silhouette that defines the qipao, the garment also speaks to changing ideas of comfort, functionality, and personal expression during the Republican era.

As a representative example of Shanghai’s evolving urban fashion culture, this qipao offers insight into the lifestyle and aesthetic values of its time. Its modest materials, exquisite hand-crafted fasteners, and sophisticated color scheme combine to create a quiet yet enduring elegance. Rather than relying upon overt ornamentation, its beauty emerges through proportion, craftsmanship, and thoughtful design, embodying a refined sense of confidence and restraint.

 

（中间）灰褐色棉麻旗袍

民国时期，上海，约1937–1945年

材质：棉麻混纺

尺寸：
肩宽42厘米
衣长118厘米
胸围80厘米
腰围84厘米

本件旗袍采用棉麻混纺面料制成，整体呈柔和的灰褐色（Taupe），色调介于米色、浅褐色与灰色之间，温润沉静，具有天然纤维特有的朴素质感。与丝绸旗袍所展现的华丽光泽不同，棉麻材质更强调舒适、实用与自然之美，体现出民国时期上海都市女性对于日常穿着与现代生活方式的追求。

旗袍采用成熟期上海旗袍的典型样式，高立领、右衽斜襟以及修长流畅的轮廓设计，使整体造型端庄而富有女性气质。衣身线条简洁利落，没有复杂纹样或刺绣装饰，完全依靠比例、剪裁与色彩关系构成视觉效果，展现出一种克制而优雅的现代审美。

本件作品最引人注目的特点在于领口、襟缘、袖缘及下摆所采用的海军蓝与酒红色双重滚边设计。深沉的蓝色与浓郁的酒红色形成鲜明而富有层次的色彩对比，在素雅的灰褐色衣身映衬下尤为醒目。这种大胆而讲究的配色方式，为整体设计增添了鲜活气息，同时保持了端庄稳重的格调，也使原本简洁的衣身更具视觉层次。

领口与前襟处保存完整的手工盘扣尤为精美。盘扣以丝线手工盘结而成，造型灵动舒展，呈花卉式结构，线条起伏自然，富有立体感。作为传统中式服装最具代表性的装饰元素之一，盘扣不仅承担衣物开合功能，更体现了制作者对于细节处理的精湛技艺。精巧的盘结工艺与流畅的襟线相互呼应，使领部成为整件作品最富特色的部分之一。

值得注意的是，侧开衩及内层衬里同样采用酒红色丝质面料。平时穿着时大多隐藏于衣身内部，仅在行走或转身之间偶然显露，与外层灰褐色面料形成优雅对比。这种内外色彩的呼应处理，使原本简洁的设计更富层次变化，也体现出上海旗袍设计师对于整体效果的细腻考量。

从材质、色彩与造型来看，本件旗袍展现出1930年代后期上海时装由华丽走向简约的发展趋势。棉麻面料的实用性、素雅的灰褐色调以及鲜明而克制的蓝红配色，共同构成一种兼具传统韵味与现代气息的审美风格。它既保留了旗袍优雅修长的经典特征，也反映出民国时期中国女性对于舒适、实用与个性表达的不断追求。

作为上海都市时尚发展的见证，这件旗袍不仅是一件日常服装，更折射出那个时代女性生活方式与审美观念的变化。朴素的材质、精巧的手工盘扣以及富有巧思的色彩搭配，共同营造出一种低调而耐人寻味的优雅气质。它展现的并非外在的华丽，而是一种建立在细节、比例与工艺基础之上的从容之美。

 

(Right) 

1. Maroon Wool Tweed Qipao

Made in Shanghai, Republic Period, circa 1937–1945

Material: Wool Tweed

Approximate Measurements: Shoulders: 16 1/2 inches (42 cm), Length (Collar to Hem): 42 1/8 inches (107 cm), Bust: 32 1/4 inches (82 cm), Waist: 28 1/3 inches (72 cm).

This qipao is fashioned from maroon wool tweed, a material that combines warmth, texture, and modern sophistication. Unlike the silk garments that dominated earlier decades, woolen fabrics such as this reflect the growing influence of Western textiles and urban fashion trends on Shanghai dress during the late Republican period. The rich maroon color retains the auspicious associations traditionally favored in Chinese culture while simultaneously conveying the understated elegance characteristic of contemporary European autumn and winter fashions.

The garment adopts a clean and streamlined design. Its high standing collar, asymmetrical right-side closure, and fitted silhouette preserve the essential structure of the traditional qipao, while the noticeably shorter length introduces a distinctly modern sensibility. Falling to mid-calf rather than extending to the ankles, the dress projects an image that is practical, confident, and contemporary. The slightly broadened shoulders and structured form further reinforce this impression, reflecting changing ideals of feminine elegance during the late 1930s and 1940s.

The shortened length and simplified silhouette also mirror broader social and cultural changes brought about by the War of Resistance against Japan. As national crisis and wartime realities reshaped everyday life, ideals of thrift, practicality, and restraint increasingly replaced the more extravagant fashions of the early 1930s. Qipaos became shorter, less ornate, and better suited to the demands of a rapidly changing society. In this context, the present garment embodies not only elegance but also the resilience, self-discipline, and quiet determination that characterized many urban Chinese women during the wartime years.

Particularly striking is the richly textured surface of the wool tweed itself. Interwoven threads of orange, gold, and lighter tones create a subtle speckled effect across the maroon ground. From a distance, the fabric appears almost monochromatic, while closer inspection reveals a sophisticated interplay of color and texture. Rather than relying on embroidery or printed decoration, the garment derives its visual interest from the inherent beauty of the textile, demonstrating a mature appreciation for material and craftsmanship.

The collar, diagonal opening, and sleeve edges are finished with lustrous silk piping. The contrast between the smooth sheen of the silk trim and the textured tweed enriches the visual and tactile qualities of the garment. Flowing gracefully from the collar down the front opening, the piping introduces a subtle decorative rhythm while maintaining the overall restraint of the design.

Wool tweed represented a distinctly modern fabric choice in Republican-era Shanghai. As Western fashions became increasingly influential, women began incorporating materials traditionally associated with European suits and coats into Chinese dress. The use of tweed expanded the possibilities of qipao design, making the garment more suitable for cooler seasons and a wider range of social settings. Compared with traditional silk qipaos, tweed offered greater structure and a more contemporary appearance, reflecting the cosmopolitan character of Shanghai as a city where Chinese and international fashions continually intersected.

As a representative example of late Republican-period qipao design, this garment vividly illustrates the fusion of traditional Chinese dress with modern international fashion. While retaining the essential elegance and identity of the qipao, it embraces new materials, new proportions, and a more restrained aesthetic. Examples made from high-quality wool tweed remain considerably rarer than their silk counterparts, making this piece an important document of both fashion history and the changing social values of wartime Shanghai.

 

（右边）：

深栗红色羊毛粗花呢旗袍

民国时期，上海，约1938–1945年

材质：羊毛粗花呢（Wool Tweed）

尺寸：
肩宽：16 1/2英寸（42厘米）
衣长（领至下摆）：42 1/8英寸（107厘米）
胸围：32 1/4英寸（82厘米）
腰围：28 1/3英寸（72厘米）

本件旗袍以深栗红色羊毛粗花呢制成，色泽沉稳浓郁，兼具温暖质感与现代气息。与同时期常见的丝绸旗袍不同，此类羊毛面料明显受到欧美服装材料与都市时尚风潮的影响，反映出抗战时期上海女性服饰逐渐向国际化发展的趋势。深栗红色既保留了中国传统文化对于吉祥色彩的偏爱，又呈现出西式秋冬时装特有的成熟与典雅气质。

整件旗袍采用简洁利落的设计语言。高立领、右衽斜襟以及修长贴身的轮廓仍然延续了传统旗袍的基本结构，但衣长明显缩短，仅及小腿中部，较1930年代初期流行的曳地长旗袍更显轻便与实用。宽肩式短袖与较为挺括的整体轮廓，使穿着者呈现出端庄、自信而富有现代感的形象。

这种较短的裙长与简练的整体造型，折射出抗日战争爆发后中国社会审美风尚的重要转变。民族危机与战时环境使得节俭成为社会普遍推崇的价值观，服饰设计亦逐渐由追求华丽转向强调实用与克制。与1930年代初期盛行的长及足面的旗袍相比，1940年代的旗袍普遍缩短裙长，减少繁复装饰，以适应更加紧张而现实的社会生活。本件作品所呈现的干练轮廓与简洁风格，正是这一时代精神在服饰领域中的具体体现，反映出战时上海女性在优雅之外所展现出的坚韧、自持与责任感。

最引人注目之处在于面料本身丰富而细腻的织造效果。深栗红色底地之中交织着橙色、金色及浅色纱线，形成均匀而富有层次的点状纹理。远观如细密星光散布于夜色之中，近观则可见复杂精致的经纬结构。设计者并未依赖刺绣或印花装饰，而是完全通过织物本身的色彩变化与肌理效果营造视觉魅力。这种强调材质本身美感的设计理念，代表着上海高级时装日趋成熟的审美取向。

领口、斜襟及袖缘均以亮面丝质滚边收饰。柔和光泽的丝质滚边与粗花呢面料形成鲜明对比，在增加层次感的同时，也使整体轮廓更加清晰流畅。滚边线条自领口自然延伸至胸前，形成优美而富有节奏感的曲线，为原本简洁的设计增添了一份含蓄而考究的装饰效果。

羊毛粗花呢属于当时颇具时代特色的新式服装面料。随着西方时尚文化不断传入上海，越来越多女性开始尝试将原本用于西式套装、大衣的面料应用于旗袍制作之中。这种材料的运用不仅丰富了旗袍的表现形式，也使其能够适应秋冬季节及更加多元的生活场景。与传统丝绸旗袍相比，粗花呢面料赋予服装更强的结构感与现代气息，展现出海派服饰兼容并蓄的时代特征。

作为民国后期上海旗袍发展的代表性实例，本件作品生动展现了中国传统服饰与国际现代时装之间的融合过程。它既保留了旗袍最具代表性的结构与东方韵味，又通过羊毛粗花呢面料、现代化轮廓以及简洁精炼的设计语言，呈现出战时上海独有的都市风格。在现存民国旗袍中，此类采用高级羊毛粗花呢制作的作品远较丝绸旗袍少见，不仅见证了中国服饰现代化的发展历程，也记录了那个特殊时代背景下女性审美与社会观念的转变。

All Size Small.  For condition report, please contact the Asian Art Department.