{"product_id":"岁月生花-六十年代港工提花织锦缎石榴花扣古董旗袍-flowers-blooming-through-time-a-1960s-hong-kong-tailored-vintage-cheongsam-in-jacquard-brocade-with-pomegranate-flower-frog-buttons","title":"岁月生花：六十年代港工提花织锦缎石榴花扣古董旗袍 | Flowers Blooming Through Time: A 1960s Hong Kong-Tailored Vintage Cheongsam in Jacquard Brocade with Pomegranate Flower Frog Buttons","description":"\u003ch3\u003e岁月生花：六十年代港工提花织锦缎石榴花扣古董旗袍\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e衣服尺寸：\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e胸围\/腰围\/臀围\/衣长：92\/80\/94\/106 厘米\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e细节描述：\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e一、器物志：衣身图纹细读\u003c\/p\u003e\n\u003cp\u003e此件旗袍以深酒红提花织锦缎为地，缎面光泽如水，暗处沉静如古铜，光下流转似秋水。其上散缀着竹石花卉纹样——细竹数竿，枝叶摇曳有致，墨线勾勒的竹节间可见印章款识，取法中国画\"书画同源\"之意；间以白梅数朵、秋菊几点，辅以蝶翅翻飞之姿，以银线、金线、青蓝诸色丝线织入其中，构图疏密得宜，留白处如宋人小品般清雅隽永。\u003c\/p\u003e\n\u003cp\u003e最为夺目者，乃右襟处所缀石榴花花扣一枚。此扣以正红丝质袢条盘结而成，取石榴花盛开之态——五瓣舒展，蕊丝微露，以填芯工艺令花瓣饱满立体，中空处似有风穿堂而过。石榴花扣在旗袍花扣体系中属高档硬花扣，需经刮浆、烫条、盘结、缝合等二十余道手工工序方可成就。张爱玲在《更衣记》中写道：\"衣服是一种言语，随身带着一种袖珍戏剧。\"这枚石榴花扣，便是这件衣裳最精彩的台词——它不仅是功能性的襟扣，更是整件器物在视觉与精神上的\"眼\"。\u003c\/p\u003e\n\u003cp\u003e衣领亦以精细盘扣装点，领面织有碎梅纹样，与衣身散花遥相呼应；红色绲边沿襟线一气呵成，利落中见筋骨。\u003c\/p\u003e\n\u003cp\u003e二、时光录：一件港工旗袍的身世\u003c\/p\u003e\n\u003cp\u003e这件旗袍诞生于二十世纪六十年代的香港。那是一个奇异的年代——当旗袍在大陆被归为\"封资修\"而悄然隐退之时，大量上海红帮裁缝随人流南迁至香港，将海派旗袍的精髓带到了维多利亚港畔。\u003c\/p\u003e\n\u003cp\u003e六十年代的香港旗袍，是传统与摩登的最后一次深情拥抱。彼时港式旗袍已吸纳西式立体剪裁之精髓：收腰、收省、贴合胸腰臀的S曲线，令布料如第二层肌肤般贴体，再无一寸悬空浪费。这件无袖长款旗袍，正是那个年代的经典范式——中高立领、无袖开肩、修身收腰、及膝下摆，线条干净利落，不着一字而尽得风流。\u003c\/p\u003e\n\u003cp\u003e可以想象，它的主人或许是一位出入中环写字间的职业女性，又或许是某位名媛出席晚宴时的华服。她在铜锣湾的裁缝铺里量了尺寸，等了半月余，才将这件衣服捧回家。那时的香港，旗袍尚未被拉链与暗扣完全取代，手工盘扣仍是体面人家必不可少的坚持。这件衣服的每一针每一线，都缝进了一个时代的体温。\u003c\/p\u003e\n\u003cp\u003e三、经典互文：石榴与衣的文化谱系\u003c\/p\u003e\n\u003cp\u003e石榴入衣，其来有自。\u003c\/p\u003e\n\u003cp\u003e《诗经·陈风·东门之枌》有云：\"视尔如荍，贻我握椒。\"早在先秦，植物便已作为情感与祝愿的载体进入衣饰文化。石榴自汉代张骞自西域引入中原，以其\"千房同膜，千子如一\"的自然形态，迅速融入了中国吉祥文化的肌理。\u003c\/p\u003e\n\u003cp\u003e石榴花扣，取其\"多子多福、子孙满堂\"之寓意。故宫博物院藏清光绪绿色缂丝衬衣上，亦可见石榴、蝴蝶、葫芦纹样并列，取\"子孙万代\"之吉意。此件旗袍以石榴花为扣，以竹梅为衣纹——竹报平安，梅开五福——一衣之上，平安、富贵、多福三重吉愿交叠，暗合《尚书·洪范》所言\"五福\"之义。\u003c\/p\u003e\n\u003cp\u003e白居易有诗：\"日照血球将滴地，风翻火焰欲烧人。\"写的是石榴花，却用来形容这件旗袍襟口那抹正红，竟也再贴切不过。那枚石榴花扣在酒红缎面的衬托下，如一团不熄的火焰，燃烧了六十年，至今未冷。\u003c\/p\u003e\n\u003cp\u003e四、艺术定位：为何稀缺\u003c\/p\u003e\n\u003cp\u003e古董旗袍的收藏价值，向来取决于三要素：年份、工艺、品相。\u003c\/p\u003e\n\u003cp\u003e此件旗袍年份清晰（六十年代），正值港工旗袍工艺之鼎盛期；工艺层面，提花织锦缎本身已是高档面料，加之手工石榴花扣的制作技艺已于2009年被列入上海市级非物质文化遗产名录，今日能完整保留手工花扣的六十年代旗袍，存世量极为有限；品相方面，缎面光泽如初，纹样完好无损，花扣结构完整，属博物馆级保存状态。\u003c\/p\u003e\n\u003cp\u003e尤为难得的是，这件旗袍保留了传统盘扣，说明其制作工坊仍坚守着传统手作的底线——在那个急遽西化的年代，这种坚持本身就是一种文化姿态。正如沈从文先生在《中国古代服饰研究》中所言，服饰是\"穿在身上的历史\"，而这件衣服，正是一页未曾褪色的历史。\u003c\/p\u003e\n\u003cp\u003e它是从六十年代香港裁缝铺里走出来的时间标本，是一封用丝线与缎面写就的情书，是一个时代的最后一抹余晖——而这抹余晖，六十年后，依然灼灼其华。\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003e\u003cb\u003eFlowers Blooming Through Time: A 1960s Hong Kong-Tailored Vintage Cheongsam in Jacquard Brocade with Pomegranate Flower Frog Buttons\u003c\/b\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMeasurements \/ Size Guide：\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBust \/ Waist \/ Hips \/ Total Length: 92\/80\/94\/106 cm\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDetailed Description：\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI. Visual Description: A Close Reading of the Garment’s Motifs\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThe body of this cheongsam is crafted from deep wine-red jacquard brocade. The satin surface possesses a liquid-like luster—quiet as antique bronze in the shade, yet shimmering like autumn water beneath the light. Scattered across it are bamboo, rock, and floral motifs. Several slender bamboo stalks sway with rhythmic grace, their ink-outlined joints revealing painted seal inscriptions that draw directly from the traditional Chinese concept of \"Calligraphy and Painting Share the Same Origin.\" Interspersed among them are several white plum blossoms and scattered autumn chrysanthemums, complemented by butterflies in mid-flight. Woven into the fabric with silver thread, gold thread, and various shades of blue-green silk, the composition balances density and negative space, as refined and timeless as a Song Dynasty album leaf painting.\u003c\/p\u003e\n\u003cp\u003eThe most eye-catching feature is the single pomegranate flower frog button affixed to the right placket. This button is coiled from pure red silk bias tape into the likeness of a pomegranate flower in full bloom—five petals extending outward with stamens subtly exposed. Crafted with a stuffed-core technique, the petals are rich and three-dimensional, while the hollow spaces between them seem to let a gentle breeze pass right through. Within the hierarchy of cheongsam frog buttons, the pomegranate flower button belongs to the high-tier \"hard frog button\" category, requiring over twenty manual steps—including starching, iron-curling, coiling, and stitching—to achieve. Eileen Chang once wrote in \u003ci\u003eA Record of Changing Clothes\u003c\/i\u003e: \"Clothes are a language, carrying with them a pocket-sized drama wherever they go.\" This pomegranate flower button is the most brilliant line in this garment’s drama—it serves not merely as a functional fastener, but as the visual and spiritual \"eye\" of the entire piece.\u003c\/p\u003e\n\u003cp\u003eThe collar is likewise adorned with exquisite hand-coiled buttons, its surface woven with delicate plum blossom motifs that echo the scattered flowers across the body. A red piping runs smoothly along the edge of the placket in a single fluid stroke, exhibiting structural strength within its clean precision.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eII. Chronicle of Time: The Origin of a Hong Kong-Tailored Cheongsam\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThis cheongsam was born in 1960s Hong Kong. It was a peculiar era—as the cheongsam gradually faded away in Mainland China after being categorized under \"feudalism, capitalism, and revisionism,\" a large wave of Shanghai's \u003ci\u003eHongbang\u003c\/i\u003e tailors migrated south to Hong Kong, bringing the essence of Shanghainese cheongsams to the shores of Victoria Harbour.\u003c\/p\u003e\n\u003cp\u003eHong Kong cheongsams of the 1960s marked the final affectionate embrace between tradition and modernity. By then, the Hong Kong-style cheongsam had absorbed the core of Western three-dimensional tailoring: cinched waists, precise darts, and a contouring S-curve that fit the bust, waist, and hips, allowing the fabric to cling like a second skin without a single inch hanging loose or wasted. This sleeveless long cheongsam represents the classic archetype of that era—a medium-high standing collar, sleeveless shoulder cut, fitted waist, and a knee-skimming hemline. Its lines are clean and crisp, capturing effortless elegance without saying a word.\u003c\/p\u003e\n\u003cp\u003eOne can easily imagine its original owner: perhaps a professional woman moving through the office buildings of Central, or a lady of society attending an evening banquet. She was measured at a tailor shop in Causeway Bay, waited for over half a month, and finally brought this garment home. In the Hong Kong of that era, cheongsams had not yet been completely replaced by zippers and snap buttons; handcrafted frog buttons remained an indispensable mark of propriety for respectable households. Every single stitch of this garment holds the warm pulse of an entire era.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIII. Classic Intertextuality: The Cultural Lineage of Pomegranates and Attire\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThe inclusion of pomegranates in clothing carries a long history.\u003c\/p\u003e\n\u003cp\u003eThe \u003ci\u003eClassic of Poetry\u003c\/i\u003e (\u003ci\u003eBook of Songs\u003c\/i\u003e) states: \"Looking at you like the marshmallow flower, you gave me a handful of pepper.\" As early as the pre-Qin period, plants entered clothing culture as vessels for emotion and blessings. Ever since the pomegranate was introduced to the Central Plains from the Western Regions by Zhang Qian during the Han Dynasty, its natural form—\"a thousand chambers sharing one membrane, a thousand seeds as one\"—was swiftly integrated into the fabric of Chinese auspicious culture.\u003c\/p\u003e\n\u003cp\u003eThe pomegranate flower frog button carries the symbolic meaning of \"abundant offspring and many blessings; descendants filling the hall.\" In the Palace Museum's collection, a Light Green Kesi Unlined Gown from the Guangxu reign of the Qing Dynasty similarly juxtaposes pomegranates, butterflies, and gourds to convey the auspicious wish for \"countless generations of descendants.\" This cheongsam uses the pomegranate flower as its button and bamboo with plum blossoms as its textile motifs—bamboo reporting peace and safety, plum blossoms bringing the five blessings. Upon a single garment, three layers of auspicious wishes—peace, wealth, and abundance—overlap, subtly aligning with the concept of the \"Five Blessings\" in the \u003ci\u003eBook of Documents\u003c\/i\u003e (\u003ci\u003eShangshu\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003eThe poet Bai Juyi once wrote: \"Sunlight reflects on the blood-red ball, nearly dripping to the ground; wind turns the flames, threatening to scorch a person.\" Though written about pomegranate flowers, it describes the vibrant red at the placket of this cheongsam with uncanny perfection. Set against the wine-red satin, that pomegranate flower button resembles an unquenchable flame—burning for sixty years, never cooling down.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIV. Artistic Standing: Why It Is Rare\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThe collection value of a vintage cheongsam has always depended on three factors: era, craftsmanship, and condition.\u003c\/p\u003e\n\u003cp\u003eThis cheongsam has a clear provenance (the 1960s), coinciding with the peak period of Hong Kong cheongsam craftsmanship. On the level of technique, the jacquard brocade is already a premium fabric in itself; furthermore, the craft of making handcrafted pomegranate flower frog buttons was listed as a Shanghai Municipal Intangible Cultural Heritage in 2009. Today, 1960s cheongsams that preserve complete handcrafted frog buttons exist in extremely limited numbers. In terms of condition, the satin luster remains as fresh as ever, the motifs are completely intact, and the frog buttons retain their full structural integrity—representing a museum-grade state of preservation.\u003c\/p\u003e\n\u003cp\u003eParticularly precious is that this cheongsam preserves traditional hand-coiled frog buttons, proving that its workshop held firm to the baseline of traditional handcrafting. In an era undergoing rapid Westernization, this persistence was itself a cultural stance. As Mr. Shen Congwen noted in \u003ci\u003eResearches on Ancient Chinese Costumes\u003c\/i\u003e, attire is \"history worn on the body\"—and this garment is a page of history that has never faded.\u003c\/p\u003e\n\u003cp\u003eIt is a temporal specimen walking out of a 1960s Hong Kong tailor shop, a love letter written in silk thread and satin, and the final glow of a passing era—a glow that, sixty years later, remains brilliantly radiant.\u003c\/p\u003e","brand":"溯源","offers":[{"title":"Default Title","offer_id":56379236581668,"sku":null,"price":418.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0835\/1360\/6436\/files\/Image_20260923105423_1761_2.jpg?v=1790213137","url":"https:\/\/shenzhensuyuan.com\/products\/%e5%b2%81%e6%9c%88%e7%94%9f%e8%8a%b1-%e5%85%ad%e5%8d%81%e5%b9%b4%e4%bb%a3%e6%b8%af%e5%b7%a5%e6%8f%90%e8%8a%b1%e7%bb%87%e9%94%a6%e7%bc%8e%e7%9f%b3%e6%a6%b4%e8%8a%b1%e6%89%a3%e5%8f%a4%e8%91%a3%e6%97%97%e8%a2%8d-flowers-blooming-through-time-a-1960s-hong-kong-tailored-vintage-cheongsam-in-jacquard-brocade-with-pomegranate-flower-frog-buttons","provider":"Shenzhen Suyuan","version":"1.0","type":"link"}