As an intelligent life, an important feature of mankind lies in its endless enterprising spirit, which delights human life with its own material civilization and spiritual civilization, promotes everyone's all-round free development and promotes the progress of the whole society. This is a life deduction process handed down from generation to generation. As an important part of human civilization, contemporary clothing culture should also follow this humanistic spirit of putting people first. The cultural significance of clothing lies in adapting to the natural environment to meet the needs of survival, facilitating daily life to facilitate physical activities, beautifying posture to entertain physical and mental health, and showing social identity to represent social roles. As an extension of the human body, clothing can also show the strengths and characteristics of the wearer and show personality, desire and psychological characteristics with great charm. Therefore, clothing design should not only conform to the current elegant fashion trend, make it full of outstanding personality expression, recognize the psychological characteristics of the wearer and the convergent mentality of the viewer, but also integrate traditional clothing culture into it, highlight its life meaning and aesthetic meaning, and organically integrate tradition and fashion. Only in this way can we really create a fashion dress culture with rich background.
First, the cultural connotation of China's traditional costumes
Clothing is an important element of human life and an important part of human civilization. It meets the needs of people's material life and represents the culture of a certain period. Clothing design, fabric selection, color matching, etc. They all recorded the level of productive forces and social conditions in a specific period, and reflected people's ideological culture, religious beliefs and aesthetic concepts.
China traditional costume culture is not an isolated cultural phenomenon, it is the unity of material and spirit, and it is also the materialized form of subjective beauty attached to the material carrier. It not only advocates the expressive force of symbols, but also pays attention to aesthetic pleasure, pays attention to the creation of formal beauty and the expression of emotional concepts, makes the connotation and expression perfectly unified, and shows the artistic taste of national aesthetics with the beauty of scene blending and image unity. Taking the color in China traditional costume culture as an example, its cultural connotation also evolves with the development of society and the changes of the times, and presents distinct aesthetic characteristics of stage, nationality and times. China's traditional costume culture is rich in life colors, has the characteristics of hierarchical identity and is endowed with specific ethical significance. For example, in the Shang Dynasty, five colors of cyan, latosolic red, yellow, white and black taken from nature were regarded as aristocratic colors, and it was stipulated that only clothes of slave owners and nobles could use these colors, and "green refers to the text, red refers to the chapter, black refers to the marrow, black refers to the gift, and multi-color preparation". In addition, combining the five colors with the cognitive way of China traditional culture, corresponding to the five elements, the so-called "five positive colors" schema is formed, and based on the principle that the five elements are mutually generated and mutually restrained, the theory that "five virtues start from the end" is derived, which is linked to life morality, such as Shang Wang Jinde, Zhou Wangbai, Huo wang hong, Qin Wang, Shui Wang Hei and so on. After the pre-Qin dynasty, in the feudal society with strict hierarchy, the color of clothing, as an external form of political ethics, was directly used to "distinguish between the superior and the inferior" and became a symbolic symbol of the hierarchical difference of the ruling class, while the yellow and dragon patterns became the special colors of the emperor and the symbols of kingship. Under the dual influence of feudal hierarchy and Confucian ethics, the application of color is divorced from the material attribute and original meaning of nature and is endowed with strong political and ethical color. It can be seen that the cultural connotation of traditional costumes in China is extremely rich. It shows a distinctive color style and the psychological pursuit of harmony and unity. The overall effect is pleasing to the eye, simple and generous, and it has formed its own unique five-color system and style expression, which has become the keynote of China traditional costume culture.
The world created by human beings is a kingdom of culture, which develops with the progress of human life and plays a great role in social progress. Clothing culture is the unity of human material civilization and spiritual civilization. On the one hand, clothing is an important part of culture, and the development of culture stimulates people's demand for clothing; On the other hand, people's demand for clothing enriches the connotation of culture, links the transformation of culture to nature with people's own cultivation and aesthetics of life, and finally promotes the development of society. Franz Boaz, a famous anthropologist, pointed out in Primitive Art: "It is human nature to pursue artistic expression and elegant appearance. It can be said that in ancient society, many people have felt the need to beautify their lives, and this awareness is much sharper and stronger than that of the descendants of civilization. In the evolution of human history, clothing is not only limited to covering the body to keep out the cold, but also can meet people's psychological needs and life consciousness in other aspects. For example, hunters of ancient northern nomads in China decorated their clothes with their prey's teeth, claws, feathers or tails to show their bravery or lofty status. With the development of economy and society, the material, color, style and accessories of people's clothing are increasingly echoing the whole social mentality and personality psychology. As an information symbol, clothing itself can convey the information of the times, cultural characteristics, personal culture and education, knowledge level, demeanor and social role. Clothes are regarded as a person's "second skin", which can reflect a person's personality and psychological state, especially women. American fashionista Blanche Penny wrote in the History of World Fashion: "The first girl who wears flowers on her head or dyes her lips with sour plum juice must have her own aesthetics ... The material, color, sewing and accessories of women's clothes can strengthen women's identity and self-confidence, elegance and competitiveness on certain occasions.