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A n o t h e r is wearing a very stylish qipao of classical cut, which became m o d i s h in the 1920s. " I n fact the sisters' clothes are decidedly m o d e r n . T o describe t h e m as "traditional" is in effect to suggest t h a t Chinese culture lacked the impulse for or experience of fashion. A m o n g W e s t e r n observers in early t w e n t i e t h - c e n t u r y C h i n a , Ida Pruitt was unusually well-attuned to the nuances of Chinese dress. W h e n she first m e t old M a d a m Yin, the subject of one of her two famous books, she saw that: Her clothes were cut with great style and distinction.

I, 14. , 12. 35 WAYS O F SEEING Fig. 8 "Braiding the queue," from the collection of the Religious Tract Society. The front of the head was shaven clean, while the hair at the back was cultivated to its maximum length.

31 The early missionaries almost startle the modern reader with their matter-of-fact presentation of the practice. " 32 Cruz, "Treatise," 149. 33 Ricci, China in the Sixteenth Century, 77. 34 Ebrey, on the basis of a much broader survey than has been conducted in the present book, identifies a "rough chronology" of ways of talking about footbinding, and concludes that "progress in understanding the practice was slow" ("Gender and Sinology," 25). To imagine the possibility of progress on this issue is to suppose a degree of epistemological continuity over this whole period, which is clearly at variance with the argument being developed here.

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Harper's Bazaar (February 2011)

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