Women's dress at the Qing court was elaborate, ethereal and elegant. Wonderful garments were created through the ingenious adaptation of the newly-introduced vibrant dyes from the West to the delicate hues of the vegetable dyes already available in the East. The dazzling flowers and symbols decorating these costumes were imbued with auspicious symbolism that conveyed the cultural values and aspirations of their wearer, such as longevity, success and fertility. 

Women became butterflies shimmering amongst the heavenly gardens of the palaces, embodying cherry blossoms, prunus, peony and chrysanthemum flowers that symbolised the Four Seasons. The changyi or changfu informal dresses included in this collection were worn on the occasion of festivities such as court rituals, seasonal changes, birthdays and New Year celebrations. One such festivity includes the Double Ninth Festival, considered auspicious because of the homophonic nature of the number nine with the word 'forever'. On this occasion, women wore chrysanthemum blooms in their hair and on their garments as they attended a ceremony that paid homage to their ancestors. 

The Institute of Indulgences, Ruyi guan, 如意館, designed the courtly garments through the creation of painted templates that conformed to the court regulations, Huangchao liqi tushi, 皇朝禮器圖示, or the fashion style of the moment as it was selected by the Empress. The templates were then sent to the imperial workshops of Suzhou for the production of the finest satin stitch or to Nanjing for the weaving. The workshops worked long hours and often men were the most accomplished embroiderers. Time and precision, elaborate designs, silk threads of exquisite quality and dyes of spectacular colours, showed the power and beauty of the 'butterfly' courtesans of the Qing court. 

Women's dress provides a rare insight into the romance and secret court life of the royal ladies, 'a rare chance to peep behind the silk curtain of the court' and own an important aspect of Chinese history.