Eileen Chang once said: "for those who can't speak, clothes are a kind of language, a pocket drama they carry." In her novels, she does not hesitate to describe the clothes of different characters with the heaviest ink, among which the cheongsam is the most popular. Similarly, In the Mood for Love, Wong Kar-wai used 26 cheongsams to describe and promote an ambiguous ending.

Yes, ambiguous. If there is one word that defines qipao, it must be ambiguous. Compared with the aggressive fashion, cheongsam is ambiguous -- perhaps because of its high collar, but tightly packed waist, high slit; Perhaps because it was born in the era of radical integration of Chinese and Western cultures, the aesthetic contradictions and harmony between color and caution reflected in cheongsam is a symbol of the integration of tradition and modernity, east and West, and this extremely conservative liberation has also become the silhouette of that era.

Dress is the language of people, and design is the language of space. In the design of Jiangmen Poly Cheongsam Workshop, one party carved the space like carving a cheongsam -- the design themed cheongsam is easy to fall into the routine of Chinese style. When we look back on the history of Cheongsam, it was improved in the late Qing Dynasty and prevailing in the Republic of China. This era background is not pure. The colors of modern Western colonization, the new democratic trend of thought and the touch of Japan's Reform, and the "stubborn" eastern feudal tradition all collided, blended and became colorful in this period. Because of this, we started from remodeling the spatial function, blurred the boundary, through the material level and the story of the object itself, the cheongsam contained in the obvious and hidden, contradiction and harmony, traditional and modern ambiguity, through the design grammar, throughout the whole project.