穿别国的服饰算文化挪用吗？
Stepping into Pandora Cheng's qipao rental store in central Hong Kong is like stepping back in time.
走进潘多拉·程位于香港中心区域的旗袍店之后就仿佛回到了过去一般。
A brown leather Chesterfield sofa sits in one corner beside a gramophone, opposite row-upon-row of tailor-made qipaos, the traditional high-neck Chinese dress.
一张棕色的切斯特菲尔德皮革沙发放在留声机旁边的一个角落里，对面是一排排定制的旗袍(一种中国传统的高领服装)。
Cheng offers tourists in Hong Kong "dress-up experiences" that use fashion as a way to explore culture.
程女士为香港的游客提供的是一种“装扮体验”，将时尚作为探索文化的一种方式。
She was inspired by geisha makeovers in Japan and other cultural dress activities she has taken part in on her travels.
她的灵感来自于在日本的艺伎装扮，以及她在旅行中参加的其他文化服装活动。
"I think if tourists wear the qipao like us, then they can go into the culture, (explore) the old Hong Kong style," she says, adding, "It's an experience of knowing a culture deeply."
她说:“我认为，如果游客像我们一样穿旗袍，那么他们就可以走进文化，探索古老的香港风格。这是一种深入了解一种文化的体验。”
But for many tourists traveling abroad, the idea of "dressing up" in another culture's clothing can raise questions about cultural appropriation -- and make them reluctant to take part.
但对许多出国旅游的游客来说，“装扮”另一种文化的想法可能会引发文化挪用的问题，让他们不愿参与。
So, what are the rules?
那么，规则到底是什么样的呢？
When looking at issues of cultural appropriation, it is important to consider who is the cultural "insider" and what the power dynamic is, says Erich Hatala Matthes, a professor of cultural ethics at Wellesley College in Massachusetts.
马萨诸塞州韦尔斯利学院的文化伦理学教授埃里希·哈塔拉·马瑟斯说，在研究文化挪用问题时，重要的是要考虑谁是文化的“内部人士”，以及参与群体是什么。
Culture is "constantly morphing, evolving and hybridizing," and determining who is a cultural insider or outsider is "always going to be a negotiation," he adds.
他补充说，文化是“不断变化、演变和杂交的”，而确定谁是文化的圈内人或圈外人“总是要经过协商的”。
Matthes says in instances like the geisha or qipao makeover experiences, tourists are being invited by cultural insiders -- but it is often cultural outsiders raising issues of appropriation on social media, for example.
马修斯说，在艺伎或旗袍改头换面的例子中，游客是被文化圈内人邀请的，但现实中通常是文化圈外人在社交媒体上提出挪用的问题。
"Context is so key to thinking about charges of appropriation," says Matthes.
“在考虑是否存在文化挪用时，事件背景是非常关键的，”马瑟斯说。
"If you have cases where people in Japan or China are inviting tourists to wear this clothing, to refuse because you're worried about cultural appropriation ends up being its own kind of troubling assertion of authority, to delineate what's acceptable in that context."
“像在日本或者中国邀请游客穿这种服装的情形中，如果因为担心文化挪用就拒绝的话，这种拒绝最后会成为一种有问题的对于这种情形下描述什么才是可以接受的权威的表现。”
He adds that this can have negative economic consequences on traditional artisans who rely on selling culturally specific crafts or experiences to make a living.
他补充说，这可能会对传统手艺人产生负面的经济影响，因为他们依靠出售特定文化的手工艺品或体验来谋生。
While an invite from a cultural insider often means the activity will be appreciation rather than appropriation, social media "tends to decontextualize" the situations says Matthes.
虽然来自文化内部人士的邀请通常意味着该活动将是一种欣赏而不是挪用，但马修斯表示，社交媒体“往往会将这种情况与事件背景脱节”。
However, he doesn't think the answer is for people to not share these experiences online as it can help "drum up further business" for those choosing to share their culture with tourists.
然而，他认为，人们不应该在网上分享这些经历，因为这有助于那些选择与游客分享本国文化的人“进一步招揽生意”。
Matthes says the most important thing for cultural outsiders to do is listen: "Try to be deferential to those who have the cultural experience and knowledge, and listen to what they're telling you about how to wear the clothes or how to act respectfully within that context."
马瑟斯表示，对于文化背景以外的人来说，最重要的事情就是倾听:“尽量对那些有文化经验和知识的人表示恭敬，倾听他们告诉你的如何着装，以及在这种情况下如何表现出尊重。”
Cheng is one of the "cultural insiders" inviting foreign tourists to try on a qipao at her rental store in Hong Kong.
程女士就是一个文化内部人士，她邀请外国游客从她的香港的店里租赁旗袍来试穿。
While the dress is symbolic for Cheng, she doesn't think it should be reserved for traditional use, or only worn by those with Chinese heritage.
尽管这种服装对程女士来说是民族标志性的，她认为这种服饰并不是只能用于传统用途，又或者只能有华人血统的人才能穿。
"The qipao doesn't have such a heavy meaning," she says.
“旗袍并没有这么沉重的含义，”她说。
Once a loose-fitting everyday staple, the qipao (also known as a cheongsam) was popularized in Shanghai in the 1920s and became increasingly fitted as women gained more agency over their lives and bodies.
旗袍曾经是一种宽松的日常必需品，20世纪20年代在上海流行开来，随着女性对自己的生活和身体有了更多的自主权，旗袍也变得越来越合身。
"The qipao is a starting point of (Chinese) fashion, and also the starting point of women's independence," Cheng says.
“旗袍是(中国)时尚的起点，也是女性独立的起点，”程女士说。
She opened her store in 2017 to offer tourists a tactile way to connect with the fast-disappearing old Hong Kong.
她2017年开的这家店来向游客们提供一种具体可感的方式去感受快要消失的老香港文化。
With more than 200 handmade qipaos to choose from, customers can pick from a range of styles and sizes handmade by Cheng, before having their hair and makeup done for an additional fee.
店里有200多件手工旗袍可供选择，顾客们可以从程女士手工制作的一系列风格和尺寸中挑选，然后再花额外的费用做头发和化妆。
Then, accompanied by a photographer, customers visit nearby historic locations including Man Mo Temple and Cat Street Antique Market for a photoshoot (starting from $164).
然后，顾客可以在一名摄影师的陪同下，参观附近的历史景点，包括文武庙和猫街古玩市场(164美元起)。
问题
文中提到了旗袍是从什么时候开始流行的？
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