审美与政治:20世纪50年代城市女性流行服饰探析  

Aesthetics and Politics: Analysis of Urban Women Fashion during the 1950s

作　　者：汤锐[1] 

机构地区：[1]曲阜师范大学马克思主义学院

出　　处：《中华女子学院学报》2017年第4期81-89,共9页Journal of China Women＇s University

基　　金：山东省社会科学规划研究项目"马克思主义妇女观视阈下的城市女工研究(1949-1966)"的阶段性成果;项目编号:DDJJ01

摘　　要：中华人民共和国成立初期,始于延安时代的列宁装以朴素、革命的式样逐渐成为女性服饰新的主宰,这与国家崇简的政治理念休戚相关。然而革命时尚的背后却渐及导致浪费衣料与模糊性别的两种趋向,加之中国棉花供应紧缺的现实,致使艺术界发起了一场旨在改进服装式样的花衣运动。中共八大的召开,将花衣运动继续引向新的政治场域。在中苏友好的文化语境之下,苏联的布拉吉连衣裙成为城市女性凸显自我风采的社交符码,其流行的背后隐匿着中苏工业合作以及中国服装产业迅速发展的经济图像。列宁装、布拉吉连衣裙的先后流行,既是国家话语在女性生活实践的一个契入面,又是当时文化、经济发展转换的一个历时性缩影。In the early days of new China, the appearance of Lenin in Yan＇an era gradually became the new trend of women＇s clothing, which was closely related to the political ideology of the State. Revolution behind fashion, however,gradually led to waste of material and the confusion of gender. In addition, the reality of China＇s cotton supply shortage eventually resulted in a campaign to improve clothing style in the art world. The opening of the Eighth Congress of the Communist Party of China continued to lead the movement to a new political field. Under the cultural context of Sino-Soviet friendship, the Soviet Union＇s＂Blazy＂dress became urban women＇s fashion trend which improved women＇s status in social communication. Its popularity implied the industrial cooperation btween China and the Soviet Union, and the rapid development of Chinese clothing industry. The popularity of Lenin＇s clothing and Blazy had been a cutting profile of national discourse in the practice of women＇s life, and a microcosm of the transition of cultural and economic development in the early new China.

关 键 词：城市女性 流行服饰 列宁装 布拉吉 

分 类 号：D442.9[政治法律—政治学]