The cheongsams astonish as outfits, but at the same time they’re vital to the film’s visual narrating. Wong and cinematographer Christopher Doyle use closeups generously, often fixating their shots on the cheongsams embracing Cheung’s figure. As the camera’s drowsy however intentional look follows characters all over close flights of stairs and through faintly lit passages or shadowy rear entryways, it’s the hues and examples of Chan’s outfits that pop.
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Similarly as the film’s focal relationship is led quietly through signals and articulations, the cheongsams pass on moving dispositions and subjects. Red and green represent love and desire separately.
Warm and cold hues on the other hand recommend rising and cooling feelings, while flower examples and textures like chiffon, ribbon and silk fabric insinuate Chan’s womanliness and delicate quality.
Along with craftsmanship executive and outfit fashioner William Chang, Wong made just about 50 cheongsams for the film, however less than 30 show up in the finished edition. The pair hoped to plans from the 1960s – when the article of clothing was an ordinary thing among Hong Kong’s ladies – for motivation.