This director is vindictive.

Chapter 536 Chinese Clothing Establishes Fashion Over a Thousand Years; Chinese Style is the Best!

The reporters at the scene were all incredibly excited, frantically pressing the shutter button.

He frantically adjusted the camera, sometimes filming the scene, sometimes filming the audience's reactions.

Finally, the audience's emotions calmed down a bit.

The grand show has officially begun.

The drumbeats thundered, and dancers dressed in flowing robes lined up, the black bird patterns on their sleeves fluttering with their movements, as if they were ancient people who had stepped out of the Book of Songs.

Chen Baoguo appeared on stage wearing Han Dynasty iron armor, holding bamboo slips and reciting "On the Faults of Qin," while magnificent images of the Great Wall and terracotta warriors were projected behind him.

Following closely behind were various "celebrity models" in glamorous attire, primarily in black but incorporating modern fashion elements.

The live chat exploded with comments: "This is the true way to demonstrate cultural confidence!" "Foreign designers should definitely copy this!"

"That's what an All-Star game is all about!"

"I never knew black clothes could be worn like this! I don't understand fashion, but I just really want to buy, buy, buy!"

The first event featured black as the main color. The outfits worn by the celebrities and models included classic Hanfu and common styles that incorporated modern elements, but all were predominantly black.

Black clothes, black skirts, black shirts, exquisite fabrics, incorporating unique symbols of Qin Dynasty civilization, and paired with cultural elements of the Qin Dynasty, make those clothes seem to be endowed with a unique civilized color when worn by celebrities and models.

As the first wave of Qin and Han dynasty spirit faded away, the second wave of Tang dynasty grandeur arrived.

As the sound of the pipa began, Liu Yifei descended from the sky aboard a mechanically driven "flying silk," her high-waisted ruqun (a type of traditional Chinese dress) adorned with Dunhuang ceiling patterns. Hu Ge, dressed as Li Bai, drunkenly recited "Bring in the Wine," when suddenly mist from both sides of the stage sprayed out, transforming under laser light into the line "The Yellow River's waters come from the sky."

Fan Binbin was dressed as an empress, wearing an empress's crown.

It appeared suddenly!

Male and female celebrities stood in two rows, wearing various Tang Dynasty costumes with modern elements!
Since it's a big show, it must showcase a variety of different outfits.

In this respect, this show is actually quite different from past fashion shows.

Because the focus is more on cultural empowerment and civilizational empowerment.

Moreover, Chen Mo set the tone from the very beginning.

That is, it must conform to the general public's conventional aesthetic standards of dressing.

Therefore, the clothes worn by celebrities and models are truly the same styles worn by celebrities that will soon be available for mass consumption.

There aren't as many of the flashy and extravagant fashion week shows; instead, there's more everyday clothing that leans towards mainstream aesthetics.

There are Hanfu, formal wear, Zhongshan suits and cheongsams for everyday wear, as well as many other items such as shirts, T-shirts, and skirts.

It can be said that it makes everything clear to everyone at a glance.

Actually, this was also part of Chen Mo's personal motives, or rather, he was ulterior motives.

The main reason is that he really hates those so-called fashion weeks. They act all high and mighty, even though they ultimately want to get money out of the public's pockets, but they act superior and arrogant, as if to say, "You don't understand our designs, and you don't need to understand them."

Therefore, it can be said that every design in this show reflects the aesthetics of the "masses".

Or rather, Chen Mo's main target market is the lower-tier market.

As for the high-end market, it will naturally not be ignored, but in this respect, there is actually a clear distinction.

Chen Mo has discussed this matter with Huayun and several domestic brands.

There's an unwritten rule in the high-end apparel market: the more delicate the fabric, the more prestigious the price.

There is nothing wrong with this. Since ancient times, China has used the terms "silk and satin" to describe the nobility.

But what about in modern times? It's completely changed!
This reminded Chen Mo of the saying in the antique trade that "golden nanmu is afraid of being bumped and knocked, and Ru kiln porcelain should be handled with care," but nowadays the behavior of some luxury brands is simply outrageous and absurd!

Have you heard those stories circulating online? A certain designer silk dress snagged after washing, and a top-tier cashmere sweater shrank to the size of children's clothing after just one wash.

The most outrageous thing was that rhinestone-studded dress, with a label that clearly stated "Do Not Wash," turning the dress into a disposable fast-moving consumer good!

Even so, a group of "spiritual aristocrats" jumped out to defend it, saying things like "haute couture doesn't consider repeated wear" and "real high-end customers don't wash their own clothes at all."

Listen to this! What kind of absurd logic is this? So, spending hundreds of thousands on a piece of clothing means you have to treat it like royalty, only to wear it once and then it's in a museum? What's even more ridiculous is that anyone who questions this anti-intellectual approach is immediately labeled a "country bumpkin." Some fashion bloggers even shamelessly claim: "The soul of luxury is that it can't be washed; if you ruin it by washing, it means you're not qualified to be its owner."

Chen Mo was so angry at these comments that he laughed.

Yes, you might say that the silk robes of ancient royalty did require special care, but that was due to the limitations of the textile technology at the time. Now it's the 21st century, and Italian workshops can use nanotechnology to waterproof the leather seats of sports cars, yet they can't solve the washing problem of a dress?

To put it bluntly, it's about deliberately creating a "delicate" image to use PUA tactics—taming consumers into suckers who will grovel and spend money on their knees!

Behind this distorted phenomenon lies a whole set of materialistic logic at work: packaging fabric defects as "aristocratic privileges" and beautifying design flaws as "class symbols".

It's like dangling a carrot in front of a donkey's head, making buyers chase after the illusion of "disposable luxury." What's most disgusting is their condescending arrogance—"If you can't afford it, don't touch it; if you can't please it, don't wear it"—a modern-day version of "Why don't they eat meat porridge!"
In Chen Mo's personal view, true luxury shouldn't be anti-human performance art. The fine silks and satins of our ancestors were valued for their "cascading drape and enduring beauty," not the fragile "Emperor's New Clothes" of today. When "cannot be washed" becomes the new standard for luxury goods, this isn't fashion evolution; it's capital running naked!
Therefore, Chen Mo had an agreement with all the major brands in this show: they could differentiate between high-end and low-end products, but mainly by the fabric. Since these were high-end products, they wanted to give people the feeling that they were getting what they paid for.

But it absolutely cannot be the kind that "breaks at the slightest touch".

High-end products can use fine silks and satins, and can be hand-embroidered, while low-end products are distinguished by using regular fabrics and machine embroidery.

Back to the scene.

After the Tang Dynasty came the Song and Ming Dynasties.

On the stage of the Workers' Stadium, holographic technology recreated "Along the River During the Qingming Festival," with Liu Shishi, dressed in a Song Dynasty-style jacket and carrying a round umbrella, walking through the scene. Huo Jianhua transformed into Su Shi, writing calligraphy beside the projected Bian River Rainbow Bridge. The most amazing performance was by Maggie Cheung—who wore a Ming Dynasty horse-face skirt mixed with a modern suit and played "Blue and White Porcelain" on an electronic erhu!
This scene made the audience laugh.

But for some reason, it didn't feel out of place at all.

The live chat was flooded with comments like, "You can even do a fusion of East and West like this?!"

Finally, the grand show came to its final chapter, a chapter of inclusiveness.

The spotlight suddenly cleaved through the darkness, and all the stars made a spectacular grand finale appearance!
Yang Mi wore a 20-pound Miao silver headdress, adorned with phoenix wings that trembled with her steps, yet she wore a neat Hanfu short-sleeved top. Her black cotton-linen top barely reached her waist, revealing a Miao embroidered waist chain adorned with silver bells. When she swung her modified Miao pleated skirt, the metal hem produced a clear, bell-like sound.

Fan Binbin cut a traditional Tibetan robe with an astonishing 45-degree slanted opening, revealing a Suzhou embroidered cheongsam underneath, with the slit extending all the way up to her thigh. The dark blue woolen fabric and silk crepe created a visual contrast of heaviness and lightness as she moved, while the prayer wheel hanging at her waist was engraved with the artistic characters "Shanghai 1933".

Gao Yuanyuan wore a cheongsam, but it was a unique cheongsam that incorporated other elements. The upper body still highlighted the characteristics of the cheongsam, perfectly showcasing her curvaceous and sexy figure. However, the lower body featured a floor-length fishtail skirt sewn inside the cheongsam.

Zhao Liying wore a cheongsam in the style of a student from the Republican era, paired with a plain-colored horse-face skirt, and looked both innocent and alluring!

Gong Li wore a 1:1 replica of the Qing Dynasty "Wanzi Butou" (万字不端) patterned brocade, but a closer look revealed that the warp threads were all fiber optics. When she suddenly spread her arms during a fixed pose, the entire robe instantly began to flow with LED blue light data. The most amazing part was the semi-transparent mask she wore in the style of a mechanical girl, with oracle bone-shaped breathing lights flashing in sync with the melody of "Jasmine Flower".

If we're talking about overseas fashion weeks, the main theme is usually the use of less fabric and thinner fabrics.

Models, well, most of them have "ordinary" figures, so it doesn't really matter whether they're exposed or not.

But tonight, many LSP audience members found that the show was both very "bold" and very "conservative"!
For example, the cheongsam show that everyone was most looking forward to did appear in the final chapter.

Sexy? Definitely. So many female celebrities are top-tier in the industry.

But what happened to the high slit? What happened to the low-cut neckline?
What happened to them?

Although the various fusion outfits do look beautiful and don't feel out of place at all, there are definitely some disappointments.

Are you kidding me? How could Chen Mo possibly let his woman wear that kind of high-slit cheongsam that's alluring yet subtly suggestive?
Cover them all up!

This show set a record for the largest audience at a fashion show, bar none.

After all, fashion shows are designed for a sophisticated and aloof audience; they don't aim to make the general public understand or enjoy the spectacle.

So, despite its great reputation, the person who seeks benevolence has actually seen very few of these works.

Or most people simply prefer watching shows like the Victoria's Secret Fashion Show.

However, this final chapter of the "Hanfu Millennium Show" has truly broken the established pattern of the fashion world.

Global Fashion's review: "The 'Rivers Flow into the Sea' all-star show is not only a feast of Chinese fashion, but also a battle for cultural sovereignty! Chen Mo used a lineup of top stars from the Chinese entertainment industry to push Chinese fashion from a 'niche hobby' to a 'national carnival,' completely breaking the Western fashion monopoly. The shock of this show is that it shows the world that Chinese fashion is no longer an 'imitator,' but a 'definer'!"

Entertainment Weekly Headline:
"From the nostalgia for the Legend of Sword and Fairy to the historic reunion of Zixia and Supreme Treasure, this show can be called a 'Spring Festival Gala' level event in the Chinese entertainment industry! Chen Mo used the star power to deliver a devastating blow, truly allowing Chinese clothing culture to 'break out of its circle'."

Netizens joked: "'I used to watch the Victoria's Secret Fashion Show because I envied the supermodels' figures, now I watch the glamorous fashion show because I envy the cultural heritage!' Chen Mo has won big with this move!"

Special Feature from Overseas Media VOGUE:
"When Maggie Cheung's cheongsam and Liu Yifei's ruqun (a type of traditional Chinese dress) appeared on the same stage, and when Hu Ge's Tang-style Hanfu was mixed with Peng Yuyan's motorcycle elements, this show proved that Eastern aesthetics can absolutely lead global trends! Overseas netizens went crazy trying to buy the same items, and Chinese fashion has finally moved from being 'defined' to 'exporter'."

In-depth report by Cultural Daily:
"Chen Mo's 'fashion strategy': leveraging celebrity influence to sway cultural discourse! The success of 'Rivers Flow into the Sea' lies in the fact that it has transformed traditional Chinese clothing from a 'retro symbol' into a 'contemporary trend.' The celebrities' mix-and-match style respects traditional forms while incorporating modern aesthetics, truly achieving 'using the past for the present.'"

The impact of this fashion show, which redefined fashion discourse, has only just begun!
(End of this chapter)