Given the impressive way certain people view fashion, it is difficult to disregard it as an important part of one’s outward appearance. In reality, a fascinating discovery of the Chinese dream and passion is based on fashion design, which has a long and illustrious history. Peng Liyuan, the Chinese first lady, has recently become a global icon by showcasing elegant and refined fashion styles that are based on Chinese culture and dresses but have a contemporary finish. As compared to the Chinese first ladies before her, who had been neglected after the Cultural Evolution, the first lady has become the epitome of fashion as a whole. Peng Liyuan’s fashion image on overseas trips has indicated elegance and deep meaning relative to the Chinese culture in a global society.
It is first essential to relate how fashion can be described in the model of semiotics relative to the integration of tradition and modern wear. It is undisputed that clothes have been used for a long time as s element of symbolism even though sometimes it may not be clear what the message is contained (Cass and Julian 4). The critical factor, however, is that clothes have used as a way of communicating for a long time in history after their inventions many centuries ago. The message delivered is often related to the context in which it is interpreted because of the role of external factors in guiding the understanding. The considerations are relative to the communication, the receiver, and the receiver, which constitutes the medium upon which the message is communicated. While the message is often not clear, the overall impression is that clothing has long been used as a way of projecting the desired image to the environment (Langdown).
Peng Liyuan has been a key image in the international stage, and her fashion style can be described in the context of semiotics to illustrate the role that she plays and the message that she intends to the society. One of the ways the first lady has epitomized her fashion as a way of communicating is through the depiction of a political role. Like many other first ladies, Liyuan is involved in giving political advice to her husband considering the close association in front of the cameras. She has also been involved in many political trips to the US and in Europe and is thus inarguably a political figure. To compliment her role, Liyuan has used fashion carefully by opting for clothes that are graceful and elegant for the occasions. She often wears a bright Chinese dress with observers noting that her brightest favorite is the blue dress that compliments the Chinese appreciation of fashion. She often considers such bright attire because of the need to communicate diplomatic colors. Interestingly, it is difficult to ignore the femininity that is apparent in her styles where she often utilized the improved Chinese dress styles to communicate the fact that she is a woman on a political stage. She, however, maintains dignified and elegant outlook always when she is political and diplomatic activities with her husband and it is apparent that she is her closest political companion. Overall, the use of strong colors in her fashion wear is a major consideration as a concept of semiotics because it serves to underscore the fact that Liyuan is diplomatic and a political figure.
It is also appropriate to identify the fact that through the first lady it has been possible to perceive the concept of the Chinese dream that is often depicted in her style. Many of the Chinese presidents have always focused on the realization of the Chinese dream that is engrossed in peace, development, mutual benefits and cooperation to all the citizens (Misuk and Wen 149). Interestingly, these elements are expressed best from the assessment of the beautiful dream that is upheld by the First Lady. The origin of Soft Power it related to the art of attraction that Liyuan is best at from the consideration of her wear techniques. It is often speared through the national language and the appreciation of national values to inspire the rest of the citizens to acculturate. The relational quote the embody this features states that “A country may obtain the outcomes it wants in world politics because of other countries – admiring its values, emulating its example, aspiring to its level of prosperity and openness – want to follow it” (Yajuan 117). The impression that one gets from the statement is that that through the way a country is perceived on the world political stage, inferences are drawn about its dream and the Soft Power. The process of Soft Power is thus perceived by considering the fashion style and design that is typical of the particular country. Liyuan is aware of this and assures that she integrates the Chinese style of dressing in her clothes to ensure that the element of soft power remains significant. It is thus common to find that through her style, Liyuan intends to communicate the message of beauty, confidence, attention, admiration, and aspiration of the people of China to the rest of the world (Misuk and Wen 150).
The last feature that is worth describing is the subject of integrating the modern and traditional values of life in the current age of globalization. China has for a long time remained unique for its approach to communism and has been used as a basis for criticizing its development in the present age. However, the First Lady does not compromise either and often integrates the national elements of fashion in China with the Western influence to demonstrate an inspirational figure both in the domestic and international arena. The collar designs and embroidery features have been inherent in the Chinese tradition and that the first lady incorporates in some of her fashion. Meanwhile, the Western influence is also perceived in her wear considering the fact that she regularly puts on clothes that depict an elegant woman in a female body. These factors have been key in understanding the first lady’s approach to globalization by appreciating the new system while owing allegiance to the Chinese traditional fashion styles.
In summary, it is worth emphasizing that the approach that Liyuan takes in her fashion is intended to communicate the concept of a political figure, the Chinese dream, and integration of modernity and tradition. Her elegant wear thus remains a primary way of understanding the First Lady’s mind with the unique style being relevant in a time when many other first ladies before her have been forgotten already. Overall, the role played by Liyuan in the political stage is complemented by her taste of fashion which emphasizes the use of wear to communicate through semiotics.
Cass, Aron O, and Craig C Julian. “Fashion Clothing Consumption : Studying the Effects of Materialistic Values , Self-Image / Product-Image Congruency Relationships , Gender and Age on Fashion Clothing Involvement.” The Australian and New Zealand Marketing Academy (ANZMAC) (2001): 1–5. Web.
Langdown, Natasha. “Fashion and Semiotics.” Slide Share (2011): n. pag. Web.
Misuk, Lee, and Zhang Wen. “A Study on the Fashion Images according to the Role Types of the Chinese First Ladies.” Journal of Fashion Business 18.6 (2014): 137–156. Print.
Yajuan, Shi. “Chinese Dream and Chinese-Style of Fashion Design Ph . D of Literature.” American International Journal of Contemporary Research 4.10 (2014): 115–119. Print.