张爱玲曾说：“对于不会说话的人，衣服是一种语言，随身带着的袖珍戏剧。”在她小说中，亦不惜以最浓重的笔墨来描写不同人物的衣着，其中，出镜率最高的就是旗袍。而同样的，王家卫在《花样年华》中，也用了26件旗袍，描写和推进了一场无疾而终的暧昧。

Eileen Chang once said: "for those who can't speak, clothes are a kind of language, a pocket drama they carry." In her novels, she does not hesitate to describe the clothes of different characters with the heaviest ink, among which the cheongsam is the most popular. Similarly, In the Mood for Love, Wong Kar-wai used 26 cheongsams to describe and promote an ambiguous ending.

是的，暧昧。如果用一个词可以界定旗袍，那一定是暧昧。相比于时装凌厉的进攻性，旗袍是暧昧的——也许是因为它高高耸起的领口，却紧紧收起了腰，高高地开起了衩；也许是因为它本就诞生在中西文化激进融合的年代，旗袍所体现的介乎显与隐，色与戒之间审美矛盾与和谐，正象征着传统与现代、东方与西方的糅合，这种极为保守的解放，也成了那个时代的侧影。

Yes, ambiguous. If there is one word that defines qipao, it must be ambiguous. Compared with the aggressive fashion, cheongsam is ambiguous -- perhaps because of its high collar, but tightly packed waist, high slit; Perhaps because it was born in the era of radical integration of Chinese and Western cultures, the aesthetic contradictions and harmony between color and caution reflected in cheongsam is a symbol of the integration of tradition and modernity, east and West, and this extremely conservative liberation has also become the silhouette of that era.

衣着是人的语言，而设计则是空间的语言。在江门保利旗袍工坊的设计中，壹方像雕琢一件旗袍一样来雕刻空间——以旗袍为题的设计很容易陷于中式风格的套路当中，当我们回溯旗袍的历史——改良于清晚期，盛行于民国，这个时代背景是不纯粹的，近代西方的殖民化色彩、新民主思潮和日本维新的触动、“顽固”的东方封建传统，都在这个时期碰撞，交融并五彩斑斓。正因为如此，我们从重塑空间功能开始，模糊边界，透过材质的层次和物件本身的故事，将旗袍所蕴含的显与隐、介乎矛盾与和谐、传统与现代的暧昧，通过设计的语法，贯穿在整个项目之中。

Dress is the language of people, and design is the language of space. In the design of Jiangmen Poly Cheongsam Workshop, ONE-CU Design carved the space like carving a cheongsam -- the design themed cheongsam is easy to fall into the routine of Chinese style. When we look back on the history of Cheongsam, it was improved in the late Qing Dynasty and prevailing in the Republic of China. This era background is not pure. The colors of modern Western colonization, the new democratic trend of thought and the touch of Japan's Reform, and the "stubborn" eastern feudal tradition all collided, blended and became colorful in this period. Because of this, we started from remodeling the spatial function, blurred the boundary, through the material level and the story of the object itself, the cheongsam contained in the obvious and hidden, contradiction and harmony, traditional and modern ambiguity, through the design grammar, throughout the whole project.

Interiors:ONE-CU壹方设计

Photos:三像摄