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Yang Zi's Ming-style square collar in the ancient costume drama "Jia Ye (家业)" is truly eye - catching. Square collars are rare even today, so were they really popular in ancient times? Netizens are saying it's such a niche style! Let's start with the fact that similar rectangular and square collars already existed during the Shang and Zhou dynasties. However, the structure of these collars still requires further research, and they weren't very popular. Among traditional collars, the cross - collar was the most common. Rich Ming - style Collars By the Ming Dynasty, there was a wide variety of collars, including stand collars, round collars, square collars, and cross collars. While the front - opening collars popular in the Tang and Song Dynasties and classic cross collars were common, square collars were relatively rare. But they often appeared in Ming Dynasty portraits. You could wear a cross - collar or stand - collar inside a square collar, like Yang Zi wearing a stand - collar and Han Dongjun a cross - collar in the leaked photos of "Jia Ye" Artifacts with Square Collars Many clothing artifacts unearthed from the Ming Dingling Mausoleum feature square collar elements. Most of them…

Recently, the postures of actors in two popular ancient - costume dramas have once again become a hot topic. Why do people care so much about postures? Because postures are extremely important for both ancient - style actors and those who wear Hanfu. Let me state the conclusion first. What we often call posture is actually a person's figure and deportment, which are usually shown when walking, sitting, and standing. In the words of the older generation, it means sitting and standing properly. In current ancient - costume dramas, most characters have high social status, so the audience has higher requirements for them. After all, for a real gentlewoman from a prominent family, there are more constraints from etiquette, and the appearance presented should be more proper. However, in today's TV dramas, it's hard to see the so - called real 'gentlewomen from prominent families'. One reason is the poor postures. For example, the hunchback, the so - called 'rich and noble hump', and the forced standing postures can all reflect obvious posture problems. There are also details shown in expressions, such as the eyes and smiles. A good posture should at least be visually comfortable, natural, and aesthetically pleasing.…

Liu Shishi's Strappy Bustier Is So Special. Netizens say they haven't seen such a style in costume dramas since then. In the costume drama Strange Women in Liao Zhai (聊斋奇女子), when Liu Shishi, playing Xin Shisiniang (辛十四娘), danced, she wore a very special "wide - strapped underwear". Were ancient undergarments really so "modern"? And what were they called? Let's start with the conclusion. There were numerous forms of ancient undergarments. Some people simply called them "Moxiong" (抹胸). In a broad sense, it was a "general term" for ancient undergarments. As the name implies, it was clothing that covered the chest. There were one - piece Moxiong styles, strappy styles, and even cross - strappy styles. The styles were truly diverse. The Moxiong in Hanfu encompasses various undergarment categories. As more people used this term, it became a "generalized term". The names also differed in different periods, and some were even named according to the tombs where they were unearthed. Although in some excavation reports, Moxiong was directly marked, each period had its own mainstream characteristic undergarments. Moxiong Styles Currently, we know that the "mo" in Modu (肚兜), Mofu (抹腹), and Moe (抹额) is pronounced "mò". In this phrase, its original…

What's the name of the rabbit - like hairstyle on Song Zuer's head? In ancient - costumed dramas, we often spot this kind of rabbit - like hair bun, which netizens lovingly call the 'rabbit hairstyle'. What's its origin? Why do female stars adore it? Let me share the conclusion first. This hair bun resembling rabbit ears can generally be called 'double buns'. Double buns are a general term for two buns. Looking into specific styling details, they can also be named 'Lily Buns', 'Intertwined - heart Buns', etc., all styles of double buns. There's a gap in the middle or they're crossed, and it was a popular hairstyle in the early and prosperous Tang Dynasty. We can see it in many TV dramas, usually paired with Tang - style Hanfu, like the chest - high shirt and skirt, showing simplicity and vitality, as well as a girlish charm. According to 'Zhonghua Gujin Zhu' by Ma Gao of the Five Dynasties, the Lily Bun was very trendy during the Zhenguan period: 'During the Zhenguan period, people combed the Submissive Bun. Also, Yang Yuhuan combed side buns and did the crying - makeup. There were also the Sorrow - coming Bun,…

If there's any Chinese actress who knows how to wear a Qipao best, Gong Li undoubtedly tops the list. As an ambassador promoting Qipao culture, Gong Li has been showcasing the beauty of Chinese aesthetics to the world since her debut at international film festivals in 1988. Today, I'd like to focus on Gong Li and explore the remarkable chapters she has written with Qipao over the decades, as the most accomplished and influential Chinese actress in global cinema. Through her choices and presentations, we can rediscover the beauty, charm, and versatility of Qipao in different contexts. In 1988, Gong Li attended the Cannes Film Festival for the first time to promote her film King of the Children. Her youthful face was complemented by a pearl - white jacquard Qipao with subtle patterns, marking the beginning of her iconic association with Qipao. In the early days, her Qipaos were understated—short sleeves paired with a narrow skirt, adorned with delicate handmade floral buttons and statement earrings, creating a perfect balance of elegance. Even when standing alongside actresses like Sylvia Chang and Pan Hong, Gong Li radiated grace. 1990: Elegant Curve In 1990, at the Cannes closing ceremony, she wore another white…

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…

Summer is the most anticipated season for drama enthusiasts, and 2025 is shaping up to be a blockbuster year for historical (guzhuang) TV series. With a mix of sequels, book adaptations, and genre-bending plots, this summer’s lineup promises to keep viewers glued to their screens. Let’s dive into four highly-anticipated titles that are set to dominate the season - each with its own unique flavor, from epic romances to thrilling mysteries. Splendid Bloom (锦绣芳华)  For fans of Flourished Peony (国色芳华), the 2024 hit that left audiences craving more, 2025 brings Splendid Bloom , a much-awaited follow-up featuring the beloved duo Yang Zi (杨紫) and Li Xian (李现). In the previous series, their characters - He Weifang (何惟芳), a shrewd flower merchant, and Jiang Changyang (蒋长扬), a witty noble - teased a slow-burn romance that ended just as it began. This time, the stakes are higher: He Weifang evolves from a clever businesswoman to a visionary entrepreneur, founding "Wuyong Hall" and navigating the cutthroat world of trade and politics. Jiang Changyang steps up as her steadfast partner, joining her in both romantic pursuits and high-stakes power plays. What makes Splendid Bloom stand out? It’s not just the star power of Yang…

In the glittering world of Chinese cinema and television, few stories resonate as deeply as those of Yang Zi (杨紫) and Zhao Liying (赵丽颖). Both actresses have carved their legacies not through overnight fame, but through years of unwavering determination against societal and industry prejudices. Their journeys—marked by humble beginnings, public scrutiny, and triumphant reinventions—mirror each other in uncanny ways. While Yang Zi battled perceptions of her appearance to rise as a "drama queen," Zhao Liying defied stereotypes to become a beacon of strength. This article explores their shared evolution, focusing on their breakthrough roles and the cultural shifts they embody. As we delve into their narratives, we'll see how perseverance and artistic integrity have redefined success in an often unforgiving industry. From Humble Starts to Unstoppable Forces Yang Zi's entry into acting was anything but smooth. As a child star, she faced harsh criticism, including blunt advice from veteran actress Song Dandan (宋丹丹) that nearly derailed her career: "Child, with your looks, it's better not to act." This moment, recounted in industry lore, highlights the crushing weight of beauty standards that young actresses endure. Yet, Yang Zi refused to bow out. She transformed her perceived weakness into fuel, gradually…

A single dress draped on China’s beloved superstar, Zhao Liying (赵丽颖), ignited not applause, but a digital firestorm so intense it scorched her stylist and set social media ablaze. The offending garment? A voluminous Oscar de la Renta floral gown from the 2025 Spring collection, promptly dubbed the “Bed Sheet Dress” by legions of online critics. This wasn’t just a fashion misstep; it became a potent symbol of the intense scrutiny and complex journey Zhao navigates as she evolves from idol to icon. When Fashion Becomes Fodder for Transformation's Tumult The imagery was harsh: pink florals spilling across a white expanse were likened to a child’s chaotic finger painting on hotel linen. The lack of defined structure, critics jeered, swallowed her petite frame whole, while an unwieldy hem forced an awkward gait amplified by overly large heels. Close-ups mercilessly captured every perceived flaw. Yet, the mockery wasn't merely about aesthetics; it was the deafening culmination of mounting frustration among her fiercely protective fanbase. Zhao’s recent red carpet moments had become a recurring source of dismay - from the awkwardly cropped silhouette at the Singapore Film Festival, derided as unflatteringly "short-legged," to the "borrowed-from-mom" critique of another ensemble. Each "miss" chipped…

The Crucible of Commitment: Yee's Physical Metamorphosis Jackson Yee doesn't just play roles; he inhabits them through a process bordering on self-erasure. The raw physicality demanded by his characters isn't simulated; it's etched into his being, one bruise, one calorie deficit, one meticulously observed gesture at a time. Remember the reckless intensity of Xiao Bei (小北) in Better Days (少年的你)? That wasn't mere stunt double bravado. It was forged in predawn hours on set, Yee and the fight choreographer drilling takedowns until muscle memory overrode instinct. A single jump from a second-story window wasn't deemed authentic until the seventeenth take, the eighth leaving his knee a canvas of purple - a testament to his relentless pursuit of visceral truth. This dedication transcends genres. For Nice View (奇迹·笨小孩), the unassuming phone repair genius Jing Hao (景浩) required not just technical jargon, but the ingrained muscle precision of a Shenzhen back-alley technician. Yee vanished into the labyrinth of Huaqiangbei (华强北), not as a celebrity observer, but as a shadow, meticulously documenting the angle of a tweezers in calloused fingers, the barely perceptible pause in breath during a micro-solder. It’s this microscopic attention that transforms screen time into believability. The transformation reached its…

As June unfolds, the small screen is gearing up for a vibrant lineup of new dramas. On June 18, 2025, four fresh series officially announced their release dates - one ancient fantasy epic and three modern-themed shows, each boasting unique genres, star-studded casts, and plotlines designed to captivate diverse audiences. Let’s dive into what these titles have in store. 1. Cloud Heaven’s Summit (云天之上) Blends Myth and Rebellion Leading the charge is Cloud Heaven’s Summit, a much-talked-about ancient xianxia (immortal hero) fantasy drama that premiered on Tencent Video starting June 20. Directed by Cui Xiaoxiao (崔肖肖) and written by Chen Yongyi (陈泳夷), the series stars Xu Zhenzhen (徐轸轸) as the dual-identity protagonist Lu Anning/Yan Anning (路安凝／燕安宁) - a goddess bound by celestial fate - and Zhang Jingyun (张景昀 ) as the fearsome Demon Lord Ye Sha/Ling Cang (夜煞/凌沧). The narrative revolves around their fiery rivalry turning into an unlikely alliance. Forced into a cycle of conflict by predestined fates, the pair gradually awaken to their own agency, choosing to defy the heavens rather than submit. With soaring visuals, intricate world-building, and a central theme of resisting destiny, Cloud Heaven’s Summit aims to rekindle fans’ love for xianxia tropes while adding a…

Recently, Chen Duling specially shot a set of costumes in the style of 1980s ancient - costume dramas, which left netizens hardly recognizing her. Some even wonder: Is there really such a significant aesthetic difference between classical makeup and modern makeup? Let's start with the conclusion. The biggest difference between them lies in the 'charm'. Most of the so - called classical makeup adheres to the traditional aesthetic standards for eyebrow and lip shapes, presenting a classical charm. In contrast, modern makeup is mostly the result of integration under the influence of various trends, like the once - popular Korean and European - American styles, with a style leaning towards modern simplicity and fashion. This charm, though abstract, can be expressed in forms. For example, the makeup and styling of the 1987 version of A Dream of Red Mansions are often regarded as a classic because its style shows a harmonious beauty. Here, harmony means that the proportion of a person's eyebrows and eyes complements the makeup, without being obtrusive, and the colors are warm - toned. So, the reason why classical makeup is enduringly attractive is the grasp of this sense of harmony. The most challenging part of classical…

Yu Zheng may not have the best reputation, but his aesthetic sense is truly remarkable. The currently airing drama, The Song of River Reeds (临江仙), is a visual feast. Just the looks of the male and female leads are enough to make people enjoy the sweetness of this "divorced" couple. The supporting characters are even more stunning. Zhao Zhaoyi is sweet and elegant. When she makes an appearance, she exudes the charm of an ancient beauty. Even without a white dress to highlight her etherealness, her whole demeanor is lively, making her a perfect fit for a xianxia drama. Zhou Jieqiong, in a purple dress, has a pure face and a somewhat stubborn look in her eyes. She is a beauty who is both clear - cut and impactful. He Ruixian, whom Yu Zheng has tried to promote several times, has big, gentle and bright eyes. Even with a simple hairstyle, she has a transcendent beauty. Yu Zheng selects supporting characters with such high - level looks, even for those marginalized characters with only a dozen - minute appearance. Their appearances stun everyone, and this is the kind of beauty a leading actress in a costume drama should have. Huang Riying's…

The current domestic ancient costume drama market leaves much to be desired. Although both 'A Lifelong Journey' and 'Ballad of the Recluse' have their own highlights, the former's ratings are on a downward trend, and the latter has polarized reviews, failing to reach the standard of a hit drama. There are several anticipated works in the upcoming drama list. For example, 'Fragrant Orchids Forever' starring Tan Songyun is a female - themed drama that audiences love. It unfolds a 'double's escape' from a female - lead perspective, and the protagonist breaks class barriers single - handedly. It is expected to achieve good results after its premiere. Another one is 'The Pillow of Mountains and Rivers' starring Ding Yuxi and Song Qian, which tells an exciting story of the male protagonist defending the country and avenging his blood feud centered around battlefield battles and court intrigue. The pseudo - 'uncle - niece - in - law' relationship between the male and female leads adds a strong sense of taboos. However, there has been no good news about these two dramas. Instead, 'Dream of Qingchuan' premiered on Bilibili and topped the popularity chart in just 4 hours. Meanwhile, fresh reviews on Douban…

In the summer of 2025, China’s screens are awash with the lush landscapes of The Litchi Road (长安的荔枝). In this historical drama, Tang Dynasty clerk Li Shande (李善德) races against time to deliver fresh lychees from Lingnan (岭南，modern Guangdong) to the emperor in Chang’an (长安， today’s Xi’an). Beyond its cinematic appeal, this series has unleashed an unprecedented cultural and economic wave-dubbed the “lychee fever”-reshaping industries from agriculture to tourism. The Consumer Frenzy: When Drama Fuels Demand Lychee sales have exploded since the show’s debut. Data from JD.com reveals a staggering 560% year-on-year surge in Guangdong (广东) lychee purchases, while searches for ”Guangdong lychee” on Meituan spiked 143% in early June. Supermarkets now feature dedicated lychee displays, and premium varieties, such as Feizixiao (the “Imperial Concubine’s Smile,” named after the royal favorite of the show), sell out daily. The show’s marketing genius lies in its immersive cross-promotion. Actors like Lei Jiayin (雷佳音) post videos urging fans to “eat lychees while watching Lychee,” while social media campaigns like #EatWithRoyalLychee trend nationwide. Brands have jumped in too: limited-edition lychee gift boxes, packaged with Tang Dynasty aesthetics, fly off the shelves, blending historical fantasy with modern snacking rituals. Even celebrities amplify the hype. Shu Qi’s (舒淇) viral selfies of munching lychees while binge-watching epitomize the cultural moment. As one Beijing fruit…

Forget predictable palace intrigues. China's latest costume drama sensation, The Prisoner Of Beauty (折腰), isn't just another pretty face. It exploded onto screens, hitting scorching platform heat records within days. While firmly rooted in the popular "sweet pet" romance genre, its success feels different. It offers a masterclass in refreshing a well-worn formula. Let's unpack why this tale of warring clans and forced marriage is captivating audiences and what its journey reveals about the genre's evolution. Crafting the Ultimate Power Couple The Prisoner Of Beauty nails its core appeal: the electric chemistry between Wei Shao (魏劭) and Xiao Qiao (小乔). Wei Shao isn't your average brooding lord; he's a battle-hardened warlord, scarred by childhood trauma and driven by vengeance. His presence radiates icy authority. Opposite him stands Xiao Qiao - breathtakingly beautiful, yes, but crucially defined by much more. Her strength lies in resilience, strategic patience, and a deeply nurturing spirit that chips away at Wei Shao's armor. The brilliance is in their layered contradictions. Wei Shao’s ruthless exterior hides vulnerability, seen in haunting nightmares and surprising tenderness towards family. His interactions with Xiao Qiao often reveal a hilariously immature, "tsundere" side. Xiao Qiao embodies grace under immense pressure. She’s…

Have you ever seen a neckerchief in a costume drama for the first time? In the costume drama Unburdened Ferry, Duan Banxia, played by Song Zuer, often appears wearing a short shawl. It looks like a pibo (披帛), but the way of tying a knot in front of the chest is so similar to our modern neckerchief. Could this also be a kind of "time - traveling" fashion? Let's answer first. It's called a "neckerchief". Similar ways of wearing it were seen in the Northern and Southern Dynasties, and it became even more popular during the late Tang, Five Dynasties, and the Northern Song. It should be an extended style of the pibo or peizi (帔子), but actually shorter and wider than the pibo. It's mainly used to wrap the neck, keep out the cold, and match clothes. In the painting The Picture of Proofreading Books in the Northern Qi Dynasty, we can see the tying style of the neckerchief of ladies in the Northern and Southern Dynasties. At this time, peizi already existed and was once commonly in a "short and wide" style, which is very similar to the neckerchief we see later. After the Wu Zhou period, something…

Yang Zi's new makeup look in the ancient costume drama "Jia Ye" (The Family Business) is truly eye - catching. With a white veil on her head, netizens exclaimed, "Do I seem to see the Goddess of Mercy?" First, Yang Zi's veil style is somewhat similar to the "gaitou" (盖头) in Song Dynasty paintings and also resembles the fujin popular among women in the late Ming Dynasty, but it doesn't cover the forehead. The gaitou refers to a "square purple silk cloth" that can cover half of the body. It's just a square piece of cloth. One can go out directly by draping it over the head. As Mr. Shen Congwen verified, "the 'gaitou' was indeed a popular head - wear among women in the Song Dynasty." The relationship between the Ming Dynasty fujin and the Song Dynasty gaitou remains inconclusive. In the drama "Jin Nang Miao Lu" (The Wonderful Record in the Pouch) with a Ming - style setting, the "gaitou" also appeared. It can be seen that the gaitou is more like a square scarf for draping. Working women may tie it up locally for convenience. The fujin popular in the Ming Dynasty is actually a headscarf with…

"If I had a ferry ticket, would you come with me? If there was another one, would you take me along?" Whenever I hear this line, the classic melody by Shigeru Umebayashi plays in my ear, and the scene unfolds before my eyes: Su Lizhen (played by Zhang Manyu) in a cheongsam, carrying a thermos and buying a bowl of wonton noodles on the street in the dimly lit alley at night, then meeting Chow Mo-wan (Tony Leung) who's also caught in the rain on her way back... The ambiguous tension brews quietly, with a foreseeable ending. This is Wong Kar-wai's artistic expression of love, and this line has become the most regrettable confession in Chinese film history. If there's a movie that can fully showcase the beauty of cheongsams, it must be "In the Mood for Love". Even 23 years after its release, Su Lizhen played by Zhang Manyu still lives in the hearts of countless audiences. Few can wear cheongsams as impressively as she did. Her tall and slender figure, graceful posture, and every step exude charm. The grace of the cheongsam and the reserved charm of Oriental women blend perfectly, presenting a multi - dimensional view of…

In the ancient - costume drama The Longest Promise, Hanikiz's Tang - style makeup was truly impressive. Considering her previous Dunhuang - themed looks, netizens exclaimed that she was the 'Chosen One of the Tang Dynasty'. Why do we have such a strong impression of this kind of makeup? Let me start with the conclusion. We often say that the 'Hu style' prevailed in the Tang Dynasty. But where did this 'Hu style' come from? Looking back at this trend, the Uyghur people are a prominent example. The Uyghurs were originally called 'Huihe'. Through historical development and evolution, they eventually became the Uyghur ethnic minority we know today. The Uyghurs have distinct facial features, with thick eyebrows, big eyes, and three - dimensional facial structures, along with a strong and healthy build, which gives people a strong sense of the 'Hu style'. The historical influence of the Uyghurs is also profound. Before the Tang Dynasty, they were called 'Huihe' and once submitted to the Turks. Later, when the Turks were in turmoil and the Tang army attacked the Turks, they helped the Huihe establish the 'Uyghur Khaganate'. From then on, they 'abandoned their nomadic lifestyle and became sedentary people', which…

Recently, the new drama styling of Meng Ziyi has sparked quite a controversy. This large neckline design that reveals the collarbone, which we seemed to only see in early costume dramas, is popular again. In fact, this design isn't just in TV dramas but also in ancient - style photo studios everywhere. Some people even deliberately lower the collar to show their collarbones and camisoles. This somewhat revealing image is more like 'border - crossing' rather than creating an ancient - style atmosphere. Does this way of dressing really exist? First, there were indeed wide - necked robe designs in the Qin and Han dynasties, used as outerwear when layering. Later, during the Northern and Southern Dynasties, it was mainly applied to ruqun (a traditional Chinese women's clothing style), a transition from the shallow cross - collar to the front - closing collar similar to that in the Tang Dynasty. However, this way of dressing was revealing but not alluring, having nothing to do with border - crossing. How wide could the necklines be in the Qin and Han dynasties? The side width of the neckline of the straight - skirted robe N10 in the Mashan Chu Tomb was 43…

Recently, the new drama A Good Match for Chen and Jin starring Ren Min and Ci Sha started filming. Netizens directly called out the costumes they wore, saying, "These clothes are so bad. Change them quickly!" Why did netizens say so? The costume style of this drama is in the Ming Dynasty style. In Ming-style costumes, the most important aspects are the clothing pattern, texture, and the allowance. The pattern can only be seen when the clothes are laid flat, so the most obvious thing recognizable to the naked eye is the allowance issue, which directly affects the clothing pattern. The allowance here refers to the "total sleeve length". Some formal wear patterns pay attention to "the sleeve should reach beyond the wrist when the arm is bent back". That is, when cutting, there should be enough room for the arm to bend, so that the sleeve length won't be affected when the arm is bent. When the wearer bends their arm, this kind of sleeve will present a beautiful streamline. Previously, the costumes in The Ninth Purple were criticized by netizens. The clothes basically had no allowance, making the person look big-headed and small-bodied, with completely uncoordinated proportions. The…

In the ancient costume drama No Worries Ferry, Zuer Song's Tang Dynasty-style bun appears simple yet elegant. The hair accessories on her temples, not overly exaggerated, perfectly complement her facial features. So, what exactly are these hair accessories called? Well, they are decorative hair ornaments. Initially, combs, Bi (篦), and Huadian (花钿) were worn on the temples, and later, specialized accessories like Lianshu (帘梳) and Yanbin (掩鬓) emerged. This way of wearing them helps fill the decorative gaps in the bun, adding layers and visually elevating the crown of the head while enhancing facial contours. Let's start with combs. This comb - wearing method has a long history, dating back to the Han and Jin Dynasties as decorative items, categorized into wide - toothed combs and fine - toothed Bi. It reached its peak of popularity during the Tang and Song Dynasties. In the mid - to - late Tang Dynasty, with the improvement of living conditions, women became more inclined to adorn themselves. They would style elaborate, tall buns and wear various hair accessories. Combs, like jade pendants, were symbols of social status. The higher one's status, the more exquisite and luxurious the combs were. Ancient combs, as hair…

The beauty of gardenias and jasmines intertwined is truly unforgettable. In the previous feature, we briefly introduced Anna May Wong. Those familiar with Chinese - American actors in Hollywood surely know this name. Even if not, you've probably seen her iconic photos. With big bright eyes, classic willow - leaf eyebrows, high cheekbones, and a fringe, dressed in a cheongsam, she was a well - known Eastern face in early 20th - century Western society. Her hairstyle, makeup, and clothing style were emulated by countless Western girls. She was also the first Chinese actress to bring the cheongsam image to Hollywood. Let's explore her story and the beauty of the cheongsam she presented. Anna May Wong was born in Los Angeles, US, with her ancestral home in Taishan, Guangdong. Her family was third - generation immigrants. Her grandfather was among the earliest Chinese laborers who went to California to pan for gold. Her father, Huang Shanxing, held traditional ideas, favoring sons over daughters and longing to return to his roots. He returned to Guangdong, got married and had children there, then came back to the US and married Anna May Wong's mother. Before her, there was an elder sister, and…