In the Mood for Love: The Cheongsam’s Iconic Role in Cinema
The cheongsam, or qipao, is far more than a garment. It is a vessel of history, a symbol of elegance, and a powerful instrument of cinematic storytelling. While it has graced the silver screen for decades, no film has harnessed its narrative potential quite like Wong Kar-wai’s 2000 masterpiece, “In the Mood for Love.” In this visually sumptuous film, the cheongsam is not merely a costume worn by the protagonist, Su Li-zhen (played by Maggie Cheung); it is a character in its own right. Each stitch, pattern, and color serves as a line of unspoken dialogue, painting a portrait of longing, restraint, and quiet rebellion. Through the lens of Wong Kar-wai, the cheongsam was elevated from beautiful attire to an essential element of the film’s grammar, forever cementing its place as one of cinema’s most iconic and evocative garments.
1. The Historical Fabric of the Cheongsam
To understand the cheongsam’s power in “In the Mood for Love,” one must first appreciate its rich history. The garment as we know it today emerged in 1920s Shanghai, a bustling metropolis where Eastern traditions and Western modernism collided. Evolving from the long, loose-fitting robes of the Qing Dynasty, the cheongsam was adapted by modern Chinese women seeking a style that was both elegant and liberating. It became a symbol of the “New Woman”—educated, progressive, and confident. The form-fitting silhouette, high collar, and side slits were a radical departure from traditional attire, representing a blend of cultural pride and contemporary sophistication. By the 1960s, the era in which “In the Mood for Love” is set, the cheongsam had become a staple in Hong Kong, a testament to the grace and resilience of the Shanghainese diaspora who had settled there. This historical weight is woven into every cheongsam Su Li-zhen wears, connecting her personal story to a broader cultural narrative.
2. Weaving a Narrative: Su Li-zhen’s Wardrobe
In “In the Mood for Love,” the cheongsams are the primary storytellers. Art director and editor William Chang reportedly designed over 40 cheongsams for Maggie Cheung, with more than 20 making the final cut. Each change of dress marks a passage of time, a shift in the emotional landscape, or a subtle development in the burgeoning, unspoken relationship between Su Li-zhen and her neighbor, Chow Mo-wan (Tony Leung). The high, stiff collars of her dresses mirror her upright posture and emotional containment. She is a woman bound by propriety and marital duty, and her clothing physically represents this constraint. Yet, the vibrant colors and sensuous floral patterns hint at the passionate, yearning soul trapped within. The cheongsams become a visual diary of her inner turmoil, communicating what she cannot bring herself to say.
| Scene Context | Cheongsam Description (Color/Pattern) | Symbolic Meaning |
|---|---|---|
| Initial Encounters | Muted florals, greens, and subtle geometric patterns. | Represents Su Li-zhen’s initial reserve, conformity, and the mundane routine of her married life. |
| Discovering the Affair | Somber vertical stripes, dark tones. | Reflects her inner turmoil, a sense of being caged, and the somber realization of her husband’s infidelity. |
| Rehearsing Confrontation | Bold, almost aggressive, red floral pattern. | Symbolizes the burgeoning passion and anger she channels into her role-playing with Chow Mo-wan. The red is a burst of suppressed emotion. |
| Writing Martial Arts Serials | Vivid greens, swirling psychedelic patterns. | Signifies a period of creative collaboration and emotional escape. The patterns are more fluid, suggesting a loosening of her strict inhibitions. |
| Final, Lingering Moments | Faded floral prints, muted tones. | Represents the melancholy of missed opportunities, the passage of time, and the fading memory of their profound but unconsummated connection. |
3. The Cinematography of a Garment
Director Wong Kar-wai and cinematographer Christopher Doyle did not just film a woman in a dress; they filmed the dress itself. The camera’s gaze is often intimate and fragmented, lingering on the texture of the fabric, the graceful sway of Su Li-zhen’s hips as she navigates a narrow noodle stall corridor, or the way a floral pattern presses against a rain-streaked window. Slow-motion shots transform her walks into poetic ballets, emphasizing the elegance of her form and the silent drama of her movements. The film’s claustrophobic setting—cramped apartments, tight hallways, and dimly lit streets—serves to highlight the cheongsam’s beauty. Amidst this confinement, Su Li-zhen’s impeccable style is an act of defiance, a statement of grace in a world that seeks to restrict her. The cheongsam is framed not as an object of overt sexualization, but as an extension of her very being—a beautiful cage that both contains and defines her.
4. The Cheongsam Beyond “In the Mood for Love”
While “In the Mood for Love” is arguably the zenith of the cheongsam’s cinematic representation, the garment has a long and varied filmography. Its portrayal has often shifted depending on the cultural lens and narrative intent, creating a fascinating spectrum of meaning. In early Hollywood, films like “The World of Suzie Wong” (1960) used the cheongsam to exoticize and stereotype Asian women, reducing the garment to a costume of sensuality and submissiveness. This stands in stark contrast to its nuanced, character-driven role in Wong Kar-wai’s film. Later, Ang Lee’s “Lust, Caution” (2007) presented another complex portrayal, where the bespoke cheongsams worn by Tang Wei’s character are tools of espionage and seduction, her wardrobe transforming as she delves deeper into her assumed identity as a honey-trap spy.
| Film Title (Year) | Character | Portrayal/Symbolism of Cheongsam | Contrast with ‘In the Mood for Love’ |
|---|---|---|---|
| The World of Suzie Wong (1960) | Suzie Wong | An exotic costume emphasizing allure and availability, fitting a Western fantasy of the Orient. | Lacks the deep psychological and narrative connection; it is costume, not character. |
| Lust, Caution (2007) | Wong Chia Chi | A tool of transformation and seduction; the changing styles reflect her shifting loyalties and identity as a spy. | More overtly weaponized and tied to performance, whereas Su Li-zhen’s are a reflection of her internal, private self. |
| Crazy Rich Asians (2018) | Eleanor Young | A symbol of tradition, power, and matriarchal authority, worn with commanding elegance. | Represents established status and tradition, rather than the personal, repressed longing of Su Li-zhen. |
5. An Enduring Legacy in Fashion and Culture
The cultural impact of “In the Mood for Love” was immediate and profound, catapulting the cheongsam back into the global fashion consciousness. Designers from Tom Ford to Roberto Cavalli have cited the film as an inspiration, referencing its elegant silhouettes and moody aesthetic in their collections. The film single-handedly revived interest in bespoke tailoring and the intricate craftsmanship required to create a perfectly fitted cheongsam. Today, platforms dedicated to the art and history of the garment, such as the comprehensive resource Cheongsamology.com, continue to explore its cultural significance, tracing its evolution and documenting its modern interpretations. These resources often point back to “In the Mood for Love” as a pivotal moment, a film that captured the soul of the cheongsam and presented it to a new generation. It demonstrated that the garment is not a relic of the past but a timeless piece that continues to inspire and captivate, whether worn on the red carpet, at a formal occasion, or as a powerful symbol in contemporary cinema.
“In the Mood for Love” did more than just tell a story of unrequited love; it immortalized a garment as a profound symbol of human emotion. The film teaches us that a costume can transcend its function, becoming a silent narrator that speaks volumes about character, culture, and the delicate, often painful, beauty of restraint. Through Maggie Cheung’s hauntingly graceful performance and Wong Kar-wai’s masterful direction, the cheongsam was not simply worn; it was lived in. Its patterns and pleats hold the secrets, sorrows, and unspoken desires of Su Li-zhen, forever preserved in the amber glow of the film’s unforgettable frames, a cinematic testament to a dress that was, and always will be, in the mood for love.
