Although there are great differences in clothing design made in China, it is an inevitable trend of historical development that clothing elements all over the world merge and collide with each other. All garments are in transition, and China and France have complementary development trends. French clothing changed from loose to tight, and the wide robe and big sleeves absorbed the three-dimensional cutting of the west, making the clothing fit light. The improved cheongsam is the most classic and perfect embodiment of the combination of China and China. France, on the other hand, abandoned the artificial and distorted beauty of human nature and liberated women from the corset that harmed their health. However, in order to adapt to the new life, both China and France have changed the complicated decoration and the complicated clothing structure. Only by integrating and learning from each other can we keep up with the fashion trend.

China's clothing culture is a single-source culture, which is closely related to China culture in its formation. The creation and invention of China's clothing is an organic part of human creative activities. In this process, according to their own customs, thoughts, emotions and appreciation habits, people of all ethnic groups in China constantly changed their own styles, colors, materials and structures, satisfied their desire to explore and create beauty, and promoted the expression of emotions and the change and development of new aesthetic forms. China's clothing pays attention to the connotation of form and has a strong social, political and ethical tendency. In its development process, tradition, conservatism, inheritance and continuity far outweigh variability and innovation. China people attach importance to the beauty of decoration, the harmony with the environment, and the balanced, symmetrical and unified clothing modeling method, with regularity and stability as the most beautiful. The French pay attention to the beauty of clothing modeling and the contrast with the environment. Yu Wen attaches importance to the objective aesthetic feeling of modeling, lines, patterns and colors, and puts visual comfort in the first place. French fashion design culture is a multi-source culture, and its cultural instinct is relatively open, so it is easy to integrate foreign fashion culture. In the process of its formation, clothing is regarded as a special human art, paying attention to form and thinking that form is content. In the process of its development, the characteristics of the times are obvious and the style changes obviously. Variation and innovation are far greater than inheritance and continuation. French clothing pays attention to three-dimensional, and its appearance has become varied. The three-dimensional decoration of clothing has its own bright spots: first, the three-dimensional decoration echoes the three-dimensional structural modeling, which is natural and harmonious; Second, the decorative effect conforms to the aesthetic psychology, because the straightforward and unobstructed surface is easy to cause people's monotonous feeling, while the layered, virtual and real collocation and overlapping surface space are intriguing and easy to cause the aesthetic feeling of viewing. At the same time, let the shape reflect the beauty of the body as much as possible. France believes that there is no absolute comparability between the two clothing styles that emphasize human beauty. The French are famous for their romance. Therefore, French fashion design especially emphasizes romance and luxury, and pays attention to the beauty of fashion modeling and the contrast with the environment. Rich and excellent materials, bold design and exquisite production technology enjoy a high reputation in the world.