| dc.description.abstract | With the integration of Chinese and Western cultures in early Shanghai in the Republic of
China, large numbers of foreign magazines, clothing companies, and foreign-funded textile
factories affected the diversity of Shanghai fashion. As Chinese and Western clothing styles
were blended, many costume pictures appeared in printed materials. Artists were being engaged
by apparel companies to arrange costume pictures in different publications. They cleverly used
fashion illustrations in clothing ads, feminine care products, accessories, and other advertising
on the same page to cause readers to purchase them.
The main idea of this thesis is about Ye Qianyu’s fashion prints before 1937, including
Three day pictorial(Sanri huabao), The Young Companion, Shanghai Sketch(Shanghai
manhua), Modern Miscellany(Shidai), and Ling Long Women’s Magazine. These fashion prints
not only recorded the changes of Ye Qianyu’s concepts of clothing design but also showed the
association of women′s clothing and Western outfits. It even pulled out the discussion of the
position of fashion designers.
Chapter1 focuses on the early experiences of Ye Qianyu, discusses the family and the
education that gave him the root of art, and explains his painting techniques and styles. The
analyses begin from his earlier Three day pictorial(Sanri huabao) and The Young Companion,
including screen character modeling, gestures, and fashion detail comparison. The second
chapter goes to Shanghai Sketch (Shanghai manhua) on fashion prints. Because of the large
number, I divide them into qipao, coat, and dress for detailed analyses. Discussions focus on
the overall atmosphere of the picture to create a contrast with the attitude of the character.
During this period, costume paintings are like shop windows, giving the viewer more
imagination and a greater longing for clothing. Based on Modern Miscellany(Shidai), published
by Shanghai Sketch (Shanghai manhua), and the clothing painting which Shanghai Garment
Research Institute published in the Ling Long Women’s Magazine, Chapter 3 shows this period
of clothing painting focused more on clothing proofing than on clothing advertising painting,
serving mostly the middle-class or socialites. Ye Qianyu’s fashion prints at each stage of
development show he was a unique figure in the fashion prints. | en_US |