旗袍元素應用於時裝創作之研究

歷經幾個世紀的淬煉，中國歷代傳統服飾中，以旗袍最具有獨特的文化意涵，亦能完美詮釋東方女性之美。旗袍是由清朝旗人所穿的國服開始延伸而起，至民國初年的盛行至衰微，而今二十一世紀幾乎各國服飾品牌與服裝設計師紛紛以東方特色做為服飾創作，如台灣的服裝品牌夏姿、龍笛等，均以東方色彩、中國元素做為設計服裝的靈感，成為新一代的旗袍翹楚；由此可知，「旗袍」足以代表東方特色的服裝，其文化內涵早已悄悄地深入國際時尚圈，成為全世界的焦點與矚目。早期旗袍傳統守舊，多是直接包裸著女性的軀體，雖不暴露卻具有內斂大器之美；現今女權主義興起，逐漸秉棄傳統的細節，追求流行大膽與創新，而使旗袍逐漸流失其最初的端莊優雅之美，因此本論文將藉由文獻資料查考出初期旗袍、改良式旗袍到現代式旗袍的相關發展與演變，續而進行探討與研究；此外，日本知名服裝設計師小篠弘子（HIROKO KOSHINO）是以和服精神並善用其元素創作出時裝，而令研究者引起極大震撼與引發思考，希冀能創作出旗袍精神及旗袍元素的時裝，使之更加生活化與普及化。因此本研究將針對自清朝旗袍傳統元素的內涵，結合應用於時裝創作，使其優美精神隱於服飾創作之中；從東方之美的古老文化裡尋找藝術根源，設計出時尚摩登的服裝創作－「迴。時尚」，盼能引起台灣本土設計師對於民族特色擁有不滅的熱情，於藝術創作領域中能有更多元與藝術性的發揮與展現。

關鍵字

旗袍；傳統；服飾創作

並列摘要

Through several decades of refinement, among the Chinese traditional costumes throughout the dynasties, cheongsam (a close-fitting Chinese dress with side vents) remains the costume with the most unique cultural implications, which also perfects the interpretation of the beauty of oriental women. Cheongsam is the extension of the national costume of people in the Qing Dynasty. From its prevalence to decline in the early years of the Republic of China, in the 21st century almost all clothing brands and clothes designers have found their passion in eastern style as sources of clothing creation. For example, Taiwan’s clothing brands Shiatzy Chen 、Londee have an eye on the eastern colors and Chinese elements as the inspiration for clothing design, making it a leader for the new generation of cheongsam. This being said, the cultural connotations of “cheongsam” qualified to represent the oriental clothing have quietly entered the deeper part of the international fashion circle and has become the focus of world attention. Early cheongsams were traditional and old-fashioned, mostly directly wrapped around the female body. Although not revealing, it has the restrained and amplified beauty. Today, due to the rise of feminism, the traditional details have gradually been abandoned, so as to pursue the bold and innovative fashion. Cheongsam therefore gradually lost its original and dignified elegance. Hence, through literature reviews, the development and evolution of the early cheongsam, as well as the improved cheongsam and the modern cheongsam were verified and further explored and studied in this paper. In addition, through the spirit of the kimono, Hiroko Koshino, a well-known clothing designer in Japan, put the elements to good use in his creation of modern clothing, which caused a great shock on the research and elicited some thoughts, with the hope of creating modern clothing through the spirit of national costume and cheongsam, thereby making it more in line with everyday life and more widespread. Therefore, targeting the connotations of the traditional elements of the cheongsam from the Qing Dynasty, combined with their applications in modern clothing creation, the spirit of beauty was found hidden in the clothing creation in this study. Based on the ancient cultures of oriental beauty, the root of art was sought to design fashionable and modern clothing creation-“Retrospect; fashion”, through which the local Taiwanese designers’ unquenchable enthusiasm for ethnic characteristics are expected to be elicited, while more diversified arts can be given full play and showcased.