A rare collection of Chinese cheongsams tells a story of personal style and cultural connection in 20th-century America
A Rare Collection of Chinese Cheongsams: Personal Style and Cultural Connection in 20th-Century America
A rare collection of Chinese cheongsams – At the Los Angeles County Museum of Art (LACMA), a groundbreaking exhibition titled “A Rare Collection of Chinese Cheongsams” is set to open this Sunday. This curated display features over 70 distinctive garments, offering an unprecedented look into how Chinese women shaped and adapted their fashion during the early to mid-20th century. Among the highlights is a cheongsam that merges traditional Chinese elements with American influences, showcasing a lime green fabric patterned with Mayan motifs. The dress’s Mandarin collar and streamlined design reflect both heritage and innovation, symbolizing the cultural crossroads that defined this era of transformation.
A Mother’s Journey Through Tradition and Innovation
Susan Mah, a pioneering Chinese American, wove her identity into every stitch of her cheongsams. Born in Guangdong province and later settling in Fresno, California, in 1938, she balanced motherhood with her passion for sewing. Her work with elite tailors in Shanghai and Hong Kong honed her skills, enabling her to create hybrid styles that bridged her heritage with the vibrancy of the American West. “I think, had she stayed in China… she would have had to dress very conservatively,” muses her daughter-in-law Chere Lai Mah, 78. “But in Fresno, she wanted to be interestingly dressed, inspired by Irene Dunne and Barbara Stanwyck.”
“Susan’s cheongsams were custom-made, each reflecting the wearer’s tastes and collaboration with tailors,” Lai Mah explains. “They reveal a journey from a young girl’s style to that of an older, confident matriarch.”
Lai Mah recalls the 1940s as a time when her mother embraced American fabrics, selecting bold novelty prints that conveyed humor and energy. “She would go shopping for the ‘craziest novelty prints,’” Lai Mah says. Susan’s designs, ranging from French aristocrats to clowns, became a visual diary of her resilience and creativity. The Mayan-themed cheongsam, in particular, highlights the seamless blending of her Chinese roots with Western artistic flair.
The Legacy of a Wardrobe
Following Susan’s passing, Lai Mah inherited not only her mother’s belongings but also a rich tapestry of stories. By combining family anecdotes, oral histories, and the garments themselves, she crafted a narrative of cultural adaptation and personal expression. “The rare collection of Chinese cheongsams documents this period of incredible change that women were experiencing,” guest curator Michaela Hansen notes. The social shifts after the Qing dynasty’s collapse in 1912 allowed for greater freedom in fashion, and Susan’s collection captures that evolution.
“Provenance and stories—knowing who wore what, where they wore it—make this collection exceptional,” Hansen says. “It’s rare for an American institution to have such a deep connection to Chinese fashion with this level of detail.”
The garments in the exhibition are more than clothing; they serve as cultural artifacts. Lai Mah’s own mother, Li Zhang Huifang, a close friend of Susan’s, contributed pieces that reflect shared experiences. Together, these items tell the story of two generations of women navigating identity in a rapidly changing world. Susan’s cheongsams, in particular, reveal how her style evolved from modest beginnings to a bold, confident expression of self.
From Silk Brocade to Sculptural Inspiration
One of Susan’s most iconic cheongsams, a turquoise silk brocade design with gold accents, inspired Lai Mah’s artistic pursuits. The piece, gifted in 1971, became the muse for a series of sculptures during her UC Berkeley studies. “She had also given another daughter-in-law her fur coat, which that woman turned into a lap blanket,” Lai Mah recalls. “Maybe that inspired Susan to think about passing on her pieces to someone else.”
“This rare collection of Chinese cheongsams is unique because it captures the everyday fashion of Chinese women,” Hansen emphasizes. “It fills a gap in fashion history that’s hard to capture.”
Unlike typical exhibitions focused on Qing dynasty court attire or Western interpretations of Chinese styles, this collection highlights the personal and practical aspects of Chinese women’s dress. The rarity of such a comprehensive personal wardrobe is underscored by the challenges faced by migrants during this era. Susan’s ability to adapt and preserve her clothing makes her story both intimate and historically significant.