Shanghai, China – Actress Anne Curtis recently showcased a cheongsam-inspired dress while in Shanghai, drawing attention to the enduring legacy of the garment and the iconic 1960s film, In the Mood for Love
, which prominently featured the elegant attire.
Curtis, known as The Loved One
star, is currently in Shanghai celebrating the birthday of her friend, Georgina Wilson, according to social media posts. Her choice of dress, a cheongsam, is a direct nod to the style popularized by Maggie Cheung in Wong Kar-Wai’s critically acclaimed film.
The cheongsam, also known as qipao in Mandarin and 旗袍 in Chinese, holds a significant place in 20th-century Chinese fashion and culture. Its rise to prominence coincided with a period of social change and modernization in Shanghai during the 1920s and 30s. The garment, traditionally a Manchu robe, was reimagined with slimmer silhouettes and Western influences, becoming a symbol of modern Chinese femininity.
However, it is In the Mood for Love
that arguably cemented the cheongsam’s status as a timeless classic. The film, set in 1960s Hong Kong, tells the story of a restrained and melancholic romance between two neighbors. Maggie Cheung’s character, Mrs. Chan, is seen throughout the film in a series of exquisitely tailored cheongsams, each one reflecting her emotional state and the societal constraints of the era.
The film’s costume design was a meticulous undertaking. Reports indicate that Mrs. Chan wore approximately 20 different qipaos throughout the film, each custom-made. The tailors responsible for these garments included Hanyi (瀚艺), a Shanghai-based establishment led by master tailor Chu, and Linva Tailor (年華時装公司) in Hong Kong. Master Chu, who began his career at the age of 16, reportedly continued working well into his nineties as of 2012, having survived the disruptions of the Cultural Revolution.
The significance of these tailors extends beyond mere craftsmanship. Many Shanghai-based qipao tailors relocated to Hong Kong in the mid-20th century due to political and social instability in mainland China. This migration ensured the continuation of the qipao tradition in Hong Kong, even as it largely disappeared from the mainland following 1949.
The cheongsams in In the Mood for Love
are not simply beautiful garments; they are integral to the film’s narrative. The designs, colors, and patterns all contribute to the film’s themes of longing, repression, and unspoken desire. The intricate details and precise tailoring emphasize the characters’ attempts to maintain composure and dignity in a restrictive social environment.
The film’s aesthetic continues to resonate today, influencing contemporary filmmakers and fashion designers. The 2024 television series Shanghai Blossoms
directed by Wong Kar-Wai, has spurred renewed interest in the film, leading to a re-release of In the Mood for Love
in China in February 2025, marking the film’s 25th anniversary. This re-release, presented in a restored director’s cut, has provided a new generation of Chinese audiences with the opportunity to experience the film’s beauty and emotional depth.
The enduring appeal of In the Mood for Love
and its iconic cheongsams speaks to the power of cinema to capture and preserve cultural heritage. The film’s influence extends beyond fashion, impacting storytelling and character development in contemporary works. The garments themselves serve as a visual representation of a specific time and place, embodying the elegance and complexities of 1960s Hong Kong and the broader cultural shifts occurring in China during that period.
Anne Curtis’s recent appearance in a cheongsam in Shanghai serves as a reminder of the garment’s continued relevance and the lasting impact of Wong Kar-Wai’s cinematic masterpiece. The dress is not merely a fashion statement, but a cultural touchstone, connecting the present to a rich and evocative past.
