• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• International Journal of High-Rise Buildings
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• v.10 no.1
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• pp.45-54
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• 2021

The adaptive reuse of 20th-century high-rise architecture poses important questions about the prevalence of authorized discourses in the heritage conservation field. Based on a two-year teaching experience at Tongji University about the adaptive reuse of the Metropolo Hotel (Palmer and Turner, 1934), an iconic historic high-rise building in the Shanghai Bund area, this paper will show the extent to which disciplinary and urban authorized heritage discourses are present in the development of design and representation strategies in adaptive reuse. Using discourse analysis as a method, this paper will make the argument that disciplinary discourses have a limited effect in the practice of adaptive reuse, which is perceived as a fundamentally creative activity. At the same time, the paper reveals how urban discourses have a much more lasting effect, confirming the intimate links between adaptive reuse and the wider phenomena of beautification and gentrification of high-rise listed areas.