[廣東一帶婦女流行穿 [龍鳳裙褂] 出嫁，內裡有一個有趣的傳說]
相傳幾百年前有一位大臣梁儲 ，曾經抱著年幼的小皇子上殿登基 ，小皇帝長大以後 ，對梁儲十分尊敬 ，甚至在梁儲女兒出嫁時 ，御賜她 [龍鳳裙褂] ，以前龍鳳紋飾是皇室專用的。由於梁儲是廣東順德人 ，龍鳳裙褂自此便在廣東流行起來 ，後再傳至上海 ，北方一帶。
早在二百年前，[冠南華] 己在廣州高第街開業 ，當時專營寢室用品 ( 如棉被、草蓆、毛氈 )、嫁妝用品 ( 如龍鳳被、枕袋、枕頭、床單、蚊帳、門簾、子孫尺、梳、剪刀、上頭用的紅頭繩 ) 及傳統男女禮服 ( 如男仕穿的長衫、女仕穿的裙褂、甚至大襟衫也有出售 )。在香港灣仔駱克道的分店約於二十年代開設 ，到了五十年代 ，廣東老鋪結業後 ，便主力在香港擴展業務。六、七十年代為龍鳳裙褂業最興盛時期 ，當時上海街、擺花街及軒尼詩道都是裙褂店的集中地 ，那時候 [冠南華] 己有五間店鋪 ，員工共三、四十人。由於顧客增加 ，因此工作時間頗長 ，從早上九時半開鋪 ，到晚上十一時才休息。
[冠南華] 一向都有為顧客提供售賣及租賃傳統禮服的服務。舊式的傳統禮服可分為兩種 : 男士多穿長衫馬褂 ,而女士則流行裙褂。以往中上階層人士在壽宴或隆重的場合也愛穿上這些傳統服飾 ，而繡有龍鳳紋樣的裙褂在過去幾十年 ，一直被用作新娘的禮服。[褂] 是指上身的對襟外套 ，[裙] 則是下身長裙。嫁娶的裙褂一般多繡上龍鳳 ,鴦鴦 ，花草等吉祥圖案。而舊式的褂更在襟前中央部分繡有兩條彩帶 ，稱為 [子孫帶] ，即子孫滿堂之意。
早期不論嫁娶或在喜慶場合 ，女士多穿上黑褂紅裙。昔日因為縫製裙褂的價錢比較便宜 ，一般人都會訂購 ，租用的人反而不多。至八十年代初期 ，嫁娶的裙褂已演變成全套紅色 ，但當時百物騰貴 ，差不多有百份之九十五以上的顧客都是到傳統禮服店來租賃裙褂的。 近年購買裙褂的人又多起來 ，主要是人們生活質素提升 ，有些香港人特地訂購這些傳統禮服 ，待日後遇有嫁娶或喜慶日子時穿著。而海外之顧客 ，通常會選擇購買一些較便宜的款色 ，通過互聯綱選擇款式及尺碼，直接由本店郵遞往海外 ，訂價亦只是港幣一千餘元起。
裙褂製作是一門藝術 ，由畫稿至完成製作需要三百多個工序 ，全部以人手製作 ，為求圖案對稱 ，手工統一 ， 刺繡必須由同一人完成 ，當繡工的條件是不能有手汗 ，以免沾污布料。顧客先選定花樣圖案 ，專人度身 ，由師傅畫成紙樣及議定價錢 ，價錢的高低視乎圖案的複雜程度和尺碼而定 ，要完成縫製一套裙褂 ，所需之時間由二個多月至一年不定。 隨著中國改革開放後 ，龍鳳裙褂又再時興起來 ，以往被視作封建迷信象徵之龍鳳圖案 ，隨著香港潮流之帶動 ，迅速被國內同胞認識 ，但款色用料及刺繡手工 ，始終較香港的款色簡單及粗糙 ，這亦是在港擁有數十年刺繡經驗的師傅其地位不能被取替的重要原因。
"There is an interesting story about the origin of the longfeng qungua in Guangdong…"
A few hundred years ago an emperor succeeded the throne at a very young age. Being a mere child, he was held in the arms of a minister named Liang Chu for the coronation. Ever since then, the emperor developed a high regard for Liang Chu. For the wedding ceremony of Liang's daughter, the emperor thus granted the bride special permission to use the Longfeng qungua (wedding costumes with patterns of dragons & phoenixes) that previously had been exclusive to royal weddings. As Liang Chu was from Shunde, Guangdong province, the longfeng qungua became popular in that province, and its popularity later spread to Shanghai and other places in China.
Koon Nam Wah sells and rents out traditional ceremonial costumes . There are two types of traditional ceremonial costumes: changshan magua (long gowns and short jackets) for men, and qungua for women. In the past, people of the middle and upper class often wore these traditional costumes for birthday banquets or on other grand occasions. In recent decades, however, qungua embroidered with the dragon-and-phoenix pattern has been the ceremonial costume for brides. (Gua is the front-opening jacket, and qun is the long skirt.) The wedding costumes are usually embroidered with auspicious patterns such as the dragon and phoenix, mandarin ducks or flowers and plants. Traditional gua have two decorative sashes embroidered at the centre of the lapel. These bands are called zisundai ('offspring' bands), which means "having an abundance of offspring."
In the past, the qungua was worn either as a wedding costume or on a festive occasion and was made up of a black gua and a red qun. It was not expensive and the average person could afford a set, so very few people would rent the costume. Since the early 1980s, however, as prices kept going up, 95 per cent of the customers have preferred to rent the qungua instead, which by then were made entirely in red. More people have been buying qungua in recent years, however, mainly because of the wave of emigrants who often like to bring a set of qungua along with them for future use overseas.
Making qungua is an art, involving over three hundred procedures from pattern-drawing to completion - all done by hand in the past. A customer who wanted to place an order for a set of qungua would first choose the pattern she desired, this pattern would then be outlined by a patterns-master, and the price negotiated according to the complexity of the pattern. The drawn pattern would be sent to Beijing, where the Qiren (Manchu) embroiderers were regarded as exceptionally good at their work. They would embroider the patterns with silk thread onto the various parts of the qungua, and the embroidered fabric would then be sent back to Hong Kong for the local tailor to sew according to the customer's measurements.