Today, let's continue the previous special topic about Gong Li's red - carpet shows throughout the 1990s, which can be regarded as a dazzling cheongsam show. In this long - spanning show, Gong Li presented us with a perfect and eye - catching display.
The arrival of the new millennium marked the end of an era and the gentle start of another. All nostalgic and classical elements achieved unexpected development and presentation under the influence of new - style culture, with the cheongsam being a representative. If we look at the cheongsam's development in the vast waves of the entire era's civilization, it would be an extremely long - winded narrative. However, using Gong Li's choices as a reference, it's easier to discover the changes and context.
In 2000, a new era began. Gong Li was invited to be the chairperson of the jury at the 50th Berlin International Film Festival, becoming the first Chinese judge to enter the three major European film festivals. It can be said that from 2000 on, Gong Li transformed from a Chinese actress into a globally influential superstar and a symbol of Chinese cinema. This change was also very concretely reflected in her subsequent red - carpet styles and states. Take her new Chinese - style suit in 2000 as an example. The domineering and queen - like state of 'Gong Huang' (a respectful title for Gong Li) had reached the stage where the person elevated the clothing. The outerwear was a long black overcoat with large frog closures and a stand - up collar. Its simple design and elegant material suited Gong Li's full and regular face very well. The inner wear was a sleeveless and figure - hugging cheongsam. The stand - up collar with a deep V - neck design was bold and sexy. The overall royal blue color had a fresh and outstanding feel, echoing the outerwear. This outfit was truly unforgettable, and it's hard to see anyone else wear a cheongsam so gracefully and calmly.
While serving as a judge, Gong Li also brought her film Pretty Mother to the special screening section of the Berlin Film Festival. During the screening, she attended in a modified Tang suit. The seemingly simple Chinese - style Tang suit had a unique charm. With her influence, Gong Li once again showed the world the meaning and refinement of Chinese aesthetics.
Two years later, in 2002, Gong Li attended the 59th Venice International Film Festival as a judge. By then, she had participated in the world's three most authoritative and influential international film festivals in another capacity. During the event, Gong Li prepared two outfits. The first was a new Chinese - style printed dress. Different from her previous choices, this geometric - printed dress was flamboyant and full of artistic sense. The wrapped stand - up collar added a touch of ethnic style. The second outfit was still in the new Chinese style. The gray shiny material with jacquard patterns looked elegant and shiny. The halter and side - slit design was used, and the continuous skin - baring effect greatly enhanced the lightness and charm of the dress. Paired with Gong Li's slicked - back hairstyle that she had maintained for decades, it showed a mysterious beauty of Eastern women in a neat and straightforward way.
In the same year, Gong Li attended the premiere of the French film Wild Love at the 55th Cannes International Film Festival. This time, she wore a sexy black lace dress with cut - outs. The splicing of lace and fur was extremely romantic and delicate, adding a gentle and heavy touch to the all - lace outfit. The inner camisole - like design also made this dress show some shadows of Chinese aesthetics while being sexy, presenting the charming beauty of private atmosphere in clothing.
In 2003, Zhou Yu's Train was released. During the film's promotion, Gong Li once again chose the new Chinese style. A rich persimmon - red fur coat with a turned - up collar, in red and green combination, was fresh, vivid, and retro, very matching Gong Li's personal temperament.
In 2004, Wong Kar - wai's 2046 made a grand appearance. The main creative team, including Gong Li, appeared on the red carpet at the opening ceremony of the 57th Cannes Film Festival. The six heavy - weight superstars on the same stage were one of the wonders in the history of Chinese red carpets. Two film queens, one film king, Takuya Kimura from Asia, and Zhang Zhen and Carina Lau, who, though without the titles of film king or queen, were favored by great directors, truly made it a star - studded event. Gong Li left many people's favorite red - carpet looks that year. One was a modified Chinese - style cheongsam, where the Eastern dragon - pattern printing was perfectly combined with the Western sexy skin - baring design, showing the female's broad shoulders, slender waist, and graceful figure almost flawlessly. Standing in the C - position on the red carpet full of stars, she played the dignity and nobleness of the dragon robe with ease. Her mutual achievement with the cheongsam was even more prominent due to the comparison with others around. The charm and cultural heritage of the Chinese cheongsam outshone the regular suits and dresses.
The second outfit was more bold and open compared to the first cheongsam. The low - cut large neckline and side - slit could fully show Gong Li's figure advantages. Even standing beside Miss World Alicia Rae and Laetitia Casta, the image ambassador of Marianne in France, Gong Li could still catch people's eyes at once, showing the extraordinary charm of this Eastern beauty.
In 2006, Curse of the Golden Flower directed by Zhang Yimou was a bit of a disappointment in China, but this extremely magnificent and luxurious blockbuster was more popular among foreign audiences. Core foreign media such as Time Magazine, The New York Times, and The Washington Post all highly praised the film. When Curse of the Golden Flower had its premiere in New York, the media's enthusiasm and Gong Li's beauty created the most dazzling chemical reaction. She wore a dress combining the Eastern dragon - pattern element with the evening - dress form, with a casual hair - tie, looking charming and queen - like.
In the same year, Miami Vice was released. It was a powerful proof of Gong Li's transition to the international stage. Similar to traditional American blockbusters, Miami Vice was a gangster film full of poetry in the style of Michael Mann. However, without Gong Li's Eastern face, the film would lack its uniqueness. This focused personal aura was also shown on the red carpet. In 2006, at the age of 41, Gong Li still looked charming in a printed dress full of Eastern charm. Her loose hair matched the antique - looking print, showing a mysterious and free - spirited beauty.
After nine years, at the New York Metropolitan Museum of Art's Costume Institute Gala, known as the 'Oscars' of the fashion world, Gong Li wore a red velvet evening dress, creating a textbook - level look in her red - carpet history. The lace cut - outs on her shoulders, neck, and back added a touch of hidden sexuality. Complemented by traditional Chinese embroidery, it was like a masterpiece with exquisite artistic appeal. Against the backdrop of the luxurious velvet full of classical charm, she was like a proud and domineering mermaid queen standing in the shining lights.
Gong Li's more than twenty - year red - carpet styling history has come to an end. These decades witnessed numerous dazzling sparks when she collided with the cheongsam and Chinese styles. They jointly created a unique resonance and a testimony, showing that no matter how fast the times change, the cultural heritage behind the Chinese style is rich enough to display its diversity and creativity in the greater context of the era. This is the charm of the Chinese style and also the charm of Gong Li.
