Judging by the depictions in the Tenjukoku Shūchō Mandala, during the reign of Empress Suiko (593-628), male and female court dress were very similar. Belize – Mestizos – Huipil (female), pink cheongsam short Guayabera (male); Mayas – All tribes wear distinct kinds of Mayan dress. The frogs which are used in the making of the cheongsam, are typically made from silk or from the same materials as the dress. The manner these men wore their Sogdian robes were not exactly the same as the way they dress themselves in their motherland, Sogdia. Robes and Honor : the Medieval World of Investiture. The Turks typically had lapel robes which closed on the left side. This includes the Sogdians and the Turks, who typically closed their robes on the left side. And, when ordered to implement troop order, the imperial court would send the left piece to the official who is carrying the right part. 98 The Huihuzhuang was very popular among the Tang dynasty’s aristocratic women and the women of the imperial court. The former is well accepted as being an authentic shape as such form of skirt was unearthed in archeological findings; thus proving the correctness of the one-piece style qixiong ruqun whereas the latter is controversial as it is a style which (so far) can only be found in ancient paintings, such as the Tang dynasty “A palace concert” painting.

Data show that the Hanfu, show clothes turnover year-on-year growth rate of 376% and 212%, respectively, the number of consumers of men’s Tang suit increased by more than 90% year-on-year.On the other hand, fashion styles tend to diversify. There were also two styles of changpao for the imperial consorts, known as chenyi and changyi, which became popular. 27 According to the Chinese tradition, the tiger was a symbol of valour; therefore, a tiger-shaped tally symbolized the expectation that an imperial command should be completed as promptly and as courageously as a tiger with the authorization of the emperor. The damao was also widely worn by government clerks and family servants of the Ming officials and the Imperial family, and postmen (yishi 役使). Chinese woman wearing xiapei, Xu Family of Guangzhou Chinese officials, Qing dynasty. The Yuan dynasty was an era of ethnic integration in Chinese history, and the costumes and clothing fully reflected this feature.

According to the Yi Zhou Shu, Sogdian women used the Chinese clothing. The majia (Chinese: 马甲), the sleeveless riding vest of the Qing dynasty, evolved from the bijia which was popular among women during the Ming and Qing dynasties. 72-74 Pak Chega based his description of Chinese women’s clothing by using the Records of Daily Study (Rizhilu) by Gu Yanwu (1613-1682), a scholar from the late Ming and early Qing dynasties. The guiyi also evolved in terms of shape in the Northern and Southern dynasties when the long ribbons were no longer seen and the swallow-tailed corner became bigger; as a result the flying ribbons and the swallow-tailed corners were combined into one. 27-28 Although it could be made in various shapes (such as tiger, dragon, turtle, snake, fish or human), most of them come in the shape of a tiger. For your comfort, the cuff design is loose, and the fairy shape of the skirt gives you lots of space. As a result, a school of aesthetic thought known as iki, which valued and prioritised the display of wealth through almost mundane appearances, developed, a concept of kimono design and wear that continues to this day as a major influence.

After the fall of the Yuan dynasty, Mongol fashion of the Yuan dynasty continued to influence some styles of clothing worn in the Ming dynasty; this included the persisting usage of bijia. 2 The crown prince of the Song dynasty also wore gunmian. Hinterland warriors and military dress: European empires and exotic uniforms. By the later 19th century, for lower grade uniforms down to postal deliverers, telegraph boys and hotel pages, the frogging cordage would be retained as a decoration but there would be no corresponding toggle or opening with it. The frogging was often far more than was necessary for fastening. This was particularly evident for prestigious regiments, especially cavalry or hussars, and gave rise to the German term for frogging in general, Husarentressen. Floral frog Panhuapankou (simplified Chinese: 襻花盘扣; traditional Chinese: 襻花盤扣; pinyin: pànhuāpánkòu) A generic term for any forms of frog which are more elaborate than the straight frog. The term fu refers to the magical drawings used by the adepts of Taoist and Buddhist tantric masters. Classical description of tallies is found in the Zhou li, which refers to the tallies of jade and horn, and mentions the shapes of tiger, human, dragon, seal, and banner.

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One of the main reasons that the Hanfu has made a comeback is not because of the older generations who have returned to their heritage, but the younger girls who long to have something traditional to wear. It would’ve been the main form of skirt earlier on, when skirts first began to show up instead of full-body robes, while it became popular to wear striped poqun in chest-high styles in the Tang Dynasty, so they’ve been dominating the skirt industry for quite a while! In the Ming dynasty, the ao as a long jacket became more prevalent at the expense of the short ru. It is a formal attire worn by scholars and students (生員) taking the imperial examination in Ming Dynasty. Although this is typically a male attire from the Tang to Ming Dynasties, women during the Tang Dynasty considered it extremely fashionable to dress like the boys! 36, 159 and kimono were again promoted and worn as everyday dress by a small minority.

Daxiushan is also used to match the dress with the skirt. When you lay the skirt out, it doesn’t lay flat, but if you hang it spread out from the waistband it’ll naturally fall into even waves because of its trapezoidal shape. This skirt is a favorite of hanyuansu enthusiasts, as it looks really similar to a modern skirt with a less flashy silhouette-it doesn’t end up being much of a poofy skirt, draping mostly straight down on the hips, and is easy to modernize. The part of this skirt that makes it different from the earlier poqun is the three inverted box kick pleats (工字摺) between the po of the skirt, one in the front center and two on either side, creating a unique silhouette with three pleated slits-sometimes a contrasting fabric is used for the inside of each slit for an added layering effect, other times it’s the same fabric.

The skirt part of the heziqun can take on multiple forms, usually a poqun or zhequn since we only see these in the Tang dynasty, not to mention that since there are no surviving artifact of heziqun it can only technically be counted as hanyuansu. The difference is that while the mamianqun’s two pieces of fabric have a flat part called the skirt door at each end, with 工字摺 in the middle, the two pieces of fabric of a manzhequn are pleated all the way through with straight knife pleats all facing the same direction. Narrow versions will be made up of less fabric, and so when wrapped around the body will hug the hips and legs more tightly, resembling a long pencil skirt or straight skirt-essentially a cylindrical shape. Also a popular Ming-dynasty style, despite there being artifacts in this silhouette it’s hard to find many shops that make this kind of skirt, as it’s much lesser known than the mamianqun, but it offers the same mobility as the mamianqun without the flat skirt doors.

As you might be able to guess from the logic above, since this is a 四破 or four-po skirt, it’s made up of four long trapezoidal pieces of fabric sewed together along the edges, making it wider at the bottom than it is at the top. A poqun with three pairs would be a six-po skirt or 六破裙, four pairs would be an eight-po skirt, etc. Typically they say the more po the more slimming it looks! One example of how the poqun evolved over time is the 四破三襉裙, jin dynasty hanfu often shortened as the sanjianqun. Technically the po, 破, in poqun is a word that means broken. Each piece is called a po, or 破, and they come in pairs. Made of one piece of fabric, these narrow pleats fill the center of the fabric while each end of the fabric has a smooth unpleated section called a 光面 or smooth face, which overlap each other when the skirt is worn-the result is a similar look to the mamianqun, but with only one visible smooth face.

In April, the Communist Youth League of China launched a two-day conference for traditional Chinese garb, including hanfu. The youren is also an important symbol of the Han Chinese ethnicity. During the Ming dynasty, the traditional clothing system of the Han Chinese, the Hanfu, was restored following the fall of the Mongol-led Yuan dynasty. Annamite (Vietnamese) badge, Nguyễn dynasty (19th century), civilian 8th rank. The specific birds and animals used to represent rank varied only slightly from the inception of mandarin squares until the end of the Qing dynasty. Figurine wearing a boli hat, horse face skirt china Yuan dynasty. The tieli (Chinese: 贴里) originated in the Yuan dynasty in a form of Mongol robe known as terlig. Initially the daopao was a form of casual clothing which was worn by the middle or lower class in the Ming dynasty. Round fans with Chinese paintings and with calligraphy became very popular in the Song dynasty. Against this context, the Hanfu movement is a grassroots movement which seeks to restore the dress and attire and to recover the aesthetic sensibilities of Han Chinese dress from previous eras recognized as high points for Han culture – principally the Ming, Tang, Song and Han. Duijin shan made of luo (罗), Song dynasty.

Qing dynasty during the winter seasons. Upon establishing the Qing dynasty, the Manchu authorities also issued a decree known as Tifayifu (剃髮易服, lit. U-shaped collar are known as tanling (Chinese: 坦领; pinyin: tǎnlǐng; lit. The dajin placket is also called xiejin (Chinese: 斜襟; pinyin: xiéjīn; lit. There is also a custom of wearing a necklace with a longevity lock pendant, changmingsuo (lit. For example, in some areas (such as Northern Hebei) in the 10th century, some ethnic Han Chinese could be found wearing left-lapel clothing. Northern dynasties – Tang dynasty. In March, qipao dress short two students in Shijiazhuang Medical College in northern China were reportedly threatened with expulsion for wearing the outfits to school. Noble woman wearing a long jacket with right side closure and a high collar. Wearing earrings among Chinese women then became popular in the Ming and Qing dynasties. Based on archaeological findings, it appears that it was a popular trend for ancient women to only wear a single er dang (especially on the left ear) instead of pairs of earrings.

In Qing dynasty, Han Chinese women wore a single earring at each ears which contrasted from the Manchu women who had to wear three earrings at each ear. It was therefore a taboo in Chinese clothing culture for a living person to wear clothing with a zuoren closure. Traditionally, men don’t wear anything under the kilt. Proceedings of the 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. The Taoist priests’ daopao which date back to at least the 1800s is not cross collared and instead looks like a beizi in terms of construction and design; a clothing artefact showing this style of daopao is now stored in museums such as the Rhode Island School of Design Museum. And, while the specific birds and animals did not change much throughout their use, the design of the squares underwent an almost continual evolution. While Chinese people have traditionally favoured light skin tone as part of their traditional Chinese aesthetic; they did not favour the white skin tone of European people which was looked down as being pale and unhealthy as the colour white was the symbolic colour of death and mourning in traditional Chinese culture.

The neckline of the robe is often decorated with white or plain collars. High standing collars in the Ming dynasty are referred as shuling (竖领) or liling (立领). Ming dynasty portrait paintings showing Chinese women dressing in zuoren jackets appeared to be characteristic of ancestral portraits from the province of Shanxi and most likely in the areas neighbouring the province. Although the implementation of the latter two was more limited in both scope, traditional features of Han Chinese attire, found in all earlier dynasties, disappeared nearly completely from public life. Lastly, it is seen as a more authentic form of clothing than the cheongsam and qipao, which are now seen products of repression, and as imposed from the outside. The Manchu overlap was more shaped like an S-curved overlap; it ran straight to the right of the centre-front of the neck, drops down to the burst before curving to the right side. Many Hanfu followers like the clothes for the fashion statement, but some, Li included, say its significance is greater.

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This flexibility makes it easier for individuals to incorporate Hanfu into their regular wardrobe. While modern Hanfu designers incorporate contemporary methods, they also respect and preserve traditional techniques such as embroidery, dyeing, and weaving. Modern Hanfu designers are also innovating to meet contemporary needs and preferences. Collaborations between Chinese designers and international fashion brands could further elevate the status of modern Hanf’u on the global stage. These intricate fastenings are not only functional but also serve as a focal point, infusing the outfit with a historical resonance that speaks to the artistry of ancient Chinese tailoring. In the realm of fashion, where trends evolve at an ever-accelerating pace, the traditional Hanfu has found a new resonance. In contemporary fashion, men’s Hanfu is often paired with modern accessories, such as sneakers or leather bags, creating a stylish blend of tradition and modernity. This color-blocking technique adds a dimension of depth and modernity to the ensemble. The vest is further adorned with pearl-shaped buttons, an exquisite detail that catches the eye and adds a touch of luxury to the overall design. They featured cotton knotwork instead of buttons and a design of peonies surrounding the letters “APEC”. The inner layer, a white shirt, serves as the perfect canvas to highlight the traditional Ming-style frog buttons.

The shirt’s crisp white shade offers a striking contrast to the vest, bringing a sense of balance and harmony to the ensemble. At the heart of this set lies a beautifully structured vest, shirt, and Ma Mian Qun combination. Step into the world of modern hanfu with this exquisite set that marries tradition with contemporary style. The style of its collar varies; it can also be secured at the front either with ties or a metal button. Additionally, promoting ethical production practices can enhance the appeal of modern Hanf’u to eco-conscious consumers. Modern Hanf’u represents a harmonious blend of tradition and innovation, offering a unique way for people to connect with Chinese cultural heritage while embracing contemporary fashion. Yes, wearing Hanfu is generally seen as an appreciation of Chinese culture. Traditionally, the art of wearing kimono (known as kitsuke) was passed from mother to daughter as simply learning how to dress, and in the modern day, this is also taught in specialist kimono schools. While modern interpretations breathe new life into this traditional attire, it’s crucial to ensure that the essence of Hanfu remains intact.

It’s now common to see Hanfu-wearing enthusiasts at cultural events, college campuses, and even in urban settings. Although it was traditionally created to be worn by men of all occupations (craftsmen, farmers, samurai, etc.), it is now socially accepted to be worn by women as well. The kuapao was also worn by women, who would wear it to cross-dress as men. In daily life, the difference between men and women is not significant. According to the Yi Zhou Shu, Sogdian women used the Chinese clothing. 85 By the mid-Tang dynasty around the mid-8th century, upper garments with low décolletage lost popularity and women started to cover themselves with shawls; there were also new ideals of beauty favouring extremely plump and voluptuous women over the youthful slenderness of the Sui and the early Tang dynasties. Over the millennia, men’s Hanfu has been shaped and influenced by the philosophies, aesthetics, and customs of different dynasties.

Men’s Hanfu typically consists of a robe or jacket worn over a long skirt or trousers. A typical men’s Hanfu outfit includes a robe or jacket (top), a long skirt or trousers (bottom), and often a belt to secure the top at the waist. Common features include a cross-collar, waist belt, and broad sleeves. Modern Hanfu often features embroidered motifs that draw from historical designs but are adapted to modern tastes. The garment is often made of high-quality silk, embroidered with intricate patterns symbolizing prosperity and good luck. Dyeing: Natural dyeing techniques are sometimes used in modern Hanf’u to achieve authentic colors and patterns. Embroidery: Traditional Chinese embroidery is renowned for its intricate patterns and craftsmanship. Its resurgence among the younger generation is a testament to its timeless appeal and the enduring legacy of Han Chinese culture. The Hanfu, revered as the national costume of the Han Chinese people, is more than just a form of attire. Perfect for those who appreciate the elegance of classic Chinese attire but desire the convenience and versatility of modern clothing, this ensemble is a testament to the enduring allure of cultural heritage fused with the sleekness of today’s fashion.

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As one of the most recognized symbol of Chinese fashion and history, the Chinese Hanfu is making a comeback in modern society. This style of dress, translated to mean “Han clothes”, relates to any period in which the Han Chinese ruled. Some of the reason for this popularity has been television shows that have recently highlighted the style, causing today’s generations to become more interested in the traditional clothing available. To best understand the meaning of the Chinese Hanfu, its history including the early origins of the garment will be explored, as well as the modern appeal. Others are those who want to return to their heritage, honor their history, and own something authentically Chinese hanfu culture. It is not just any ordinary piece of clothing, which is why you should prepare and know the best places to find it. We’ll even talk about the best places to find Chinese Hanfu, and what you should expect when you go to purchase one online. Let’s get into the history of this clothing before we discuss your options for purchasing your new Chinese traditional dress. It was created during the first Han Dynasty, which would occur from 206 BC to 220 AD. The history of this style of dress dates back to the 3rd century BCE. Yet, this style would not disappear over the ages. As the Han Chinese would continue to rule over the people throughout Chinese history, this style would see continuous reappearances. It would not just be during one or two dynasties, but nearly all of them, and again during the modern times. The legend says that Leizu would be the first to make the Chinese Hanfu out of silk, back between 2700 BC and 2550 BCE. Here’s a brief introduction into the history of the Hanfu from the start of Chinese civilization until modern times. Despite the popularity of this legend, there still is no evidence that this is actually true. In its earliest days, the style of dress was confined to knee-length tunics, sashes, a skirt and an apron. With the limited ability to produce variety, many people of this time resorted to green and red. During several different dynasties, this style of Chinese hanfu dress would change as the technology and the rulers implemented their own expectations for their people. In the Zhou dynasty, clothes became a symbol of power and wealth. The one-piece clothing and the religious court dress would make an appearance, formally becoming part of the transition to a more hierarchical society. The style would also make a shift to wider sleeves and jade decorations. It would become the favored style of dress and there would be a new formal option created out of linen. In the Qin and the Han dynasties, the Chinese hanfu dress would again undergo a unique shift in its appearance. Those who had power in the royal courts would commonly be seen wearing green, while those who were poorer and not given the same power would wear white linen. During what was referred to as China’s golden age during the Sui and the Tang dynasties, the Han would broaden as a culture and diversify into other areas. Capes would also make an appearance with those who could afford to implement them into their style. Women were seen with less strict requirements for their dress and many of the garments would now include decorations and embroidery. Even when the golden age was over, the implementation of the Mongolian culture would continue to use the Chinese Hanfu, but allow for more traditional collars and shorter lower garments. As the last Han-led dynasty, the arrival of the Ming Dynasty would bring the restoration of Han culture. People would return to the expected longer lower garments and women would wear more conservative clothing. One of the most interesting aspects of its history was the fact that it was banned during the Qing Dynasty, which would be the last of the dynasties in Chinese history. Western clothing would also be integrated into their world, influencing their culture to become more and more diverse. From 1644 to 1912, the Qing rulers would require Han individuals to wear a long cheongsam, also known as a long gown. It would be a symbol of the times that they would have to modernize. The Han style of dress was banned, as mentioned, but this would also be revisited as time passed and the Chinese began to reflect on their history and their culture. This would also be around the same time that the English and other western societies would begin to visit China. Surprisingly, this is most common among the younger generations. While the translation relates to the idea of any sort of clothing from the different eras of rulers, the Chinese Hanfu that people are referring to today is in reference to a specific kind of garment. This typically is a long flowing robe with loose sleeves and a belt that is seen at the waist. Even after all this time, the Chinese Hanfu style of dress has made a comeback in modern society. There are many reasons why this style of dress became popularized, one of them relating to the traditional values that the Chinese had. The women were always covered up and as time passed on, they would begin to show more vibrant colors as a sign of their wealth or their status in society. Many people would reflect their social standing in their dress, which was important at the time, especially in the Chinese courts and among the rulers of the dynasties over the years. The Chinese have always been a conservative group of people and their style of dress is reflective of this. However, it was more commonly associated with the Han rulers more than any other dynastic family of power. To the Chinese, their style of dress was a symbol of the traditional aspects of their culture. However, the Chinese Hanfu was not only isolated to the Chinese. This would also spread to the Japanese, who would also regularly wear this within their society. As mentioned, the Chinese had a unique style of dress that related to their cultural values and their values as people. There is also the Korean hanbok and the Vietnamese Áo giao lĩnh. Even though the Chinese traditional dress has a history dating back over four thousand years, there is now a renewal of interest in wearing this dress. It has been seen as a trend for those who want to show their Chinese heritage, their pride in their culture, and also to celebrate Chinese history in general. It helps to show collective national identity, which is symbolic for a nation that has experienced such significant and strong history for thousands of years. With all this information in mind in regards to the Chinese Hanfu, it might not be entirely clear why this style of dress might have appeal today. Here are some reasons why the dress has made a comeback, and why it is important to recognize these trends within the market. Yet, when people look around cities today and at special events, there are many models and younger individuals wearing this unique style of dress. One of the primary reasons why the Chinese Hanfu has such an appeal in modern society is because of the beauty of the clothing. With so many designs and unique styles to choose from, it makes it easier for people to become interested further and make their own collections of gorgeous garments to fill their closets. There are many individuals who have commented on how the Hanfu is seen as something that is both traditional, but incredibly artistic in nature. The Chinese Hanfu is no longer just a simple dress today, but it can be made more modern, more traditional, with unique patterns, and also in solid colors. There are numerous ways to diversify the Hanfu, and people are continually finding more ways to show their talents and their unique sense of style. The beauty of one’s clothes in Chinese society, now and then, also is a nod to their inherent position in society and their presumed wealth of their family. Unlike many other items or symbols that could have been chosen, the Hanfu style of dress is one that dates back to the earliest days of the dynasties. Another significant reason that people are turning to the Chinese Hanfu now is because of the way that it captures Chinese history. There are very few other methods that have quite the same appeal as the Hanfu, which can be seen as a form of national dress. The Hanfu means a lot to the Chinese and it is a symbol of their enduring culture. No matter what has happened throughout their history-even during the warring periods-this dress has continued to prevail and been one of the consistent styles that people always return to. For many young fashionistas, it is a way to connect to history and show off their unique taste. It would be a shame not to mention all of the cultural and historical shows that have begun to appear in recent years. Much like people have been flocking to shows like Bridgerton, there are equivalents for the Chinese people. Some of the most famous shows are The Imperial Doctress or even Serenade of Peaceful Joy. Both of them are important, as they showcase some of the traditional dresses that people are choosing to wear now. Both of these shows have numerous influences from the Ming and the Song Dynasties, both of which were incredibly important and used the Chinese Hanfu as their desired style of dress. For some people, including many Chinese individuals, the opportunity to own something authentically Chinese is appealing. It can be argued that the modern revival of these styles for the purpose of television has also allowed people to become interested in revisiting their heritage and wearing them on their own! To receive this kind of artisanship, people have to be willing to shop in China and seek out the right artisans from the nation. People believe that fashion trends and brands like Nike might be cool, but the artisanship that it takes to produce a Chinese Hanfu shows its importance, its significance, and the chance people have to have something unique and Chinese like this dress. If you want to have authentic Chinese craftsmanship for your Hanfu, be sure to shop within the Chinese markets! One of the main reasons that the Hanfu has made a comeback is not because of the older generations who have returned to their heritage, but the younger girls who long to have something traditional to wear. In reports that were made public on the market in China, generation Z is among the top consumer category. People from all around the world might be able to offer Chinese Hanfu, but this might not be as authentic and traditional as others who have been trained in the art from masters themselves. Chinese traditional garments are among some of the most stunning designs that you can choose from, whether you enjoy traditional or modern styles of fashion. We hope you learned a lot about Chinese Hanfu, and recognize the power of how this market is truly growing and developing, even hundreds of years on. With the current market expected to grow as much as it will in the next few years, there’s plenty of potential to create a great business and market to an eager group of customers!

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Court uniform and dress were required to be worn by those in attendance at the royal court in the 19th and early 20th centuries. Specifically, court uniform was worn by those holding particular offices associated with the government, the Civil Service, the Royal Household, or similar national institutions. A range of office-holders were entitled to wear it, with different grades of uniform specified for different grades of official. It is still worn today on state occasions by certain dignitaries both in the UK and abroad. For men, it comprised a matching tailcoat and waistcoat, breeches and stockings, lace cuffs and Cravat, cocked hat and a sword. Court dress, on the other hand, is a stylized form of clothing deriving from fashionable eighteenth-century wear, which was directed to be worn at court by those not entitled to a court uniform. For women, a white or cream evening gown was to be worn, together with a train and other specified accoutrements. Male court dress is still worn today as part of the formal dress of judges and King’s Counsel, and is also worn by certain lord mayors, parliamentary officials, and high sheriffs of counties. Formerly, female court dress was required wear for debutantes being presented at court, but it ceased to be regularly worn after the Second World War, as afternoon presentations largely replaced evening courts. Court dress (as distinguished from court uniform) was worn by all men not entitled to court uniform or military uniform on occasions of state where such were customarily worn. The 1937 edition remains authoritative for those rare circumstances in which court uniform or court dress are still required. It is still worn today, to a very limited extent, in courts of law and by certain parliamentary and other office-holders; the last time it was worn by people in significant numbers was at the Coronation in 1953. It consists of a tail-coat with matching waistcoat and breeches, lace cuffs and jabot, silk stockings, buckled shoes, cocked hat, white gloves and a sword. Such occasions are now rare, but formerly they included state balls, evening state parties, courts and levées. Peers’ robes were worn over normal dress, which gradually became stylised as the court suit. At one time suits of various colours were to be seen, often with gold or silver embroidery; but (as is generally the case with men’s formal dress) black is now the predominant colour, and has been since the nineteenth century. By the early to mid eighteenth century velvet was largely confined to court dress. It was only from the late eighteenth century that court dress became fossilised. During the seventeenth century, gentlemen’s court dress was largely determined by two related influences, the retention of out-dated styles, producing a distinctive form of dress, and an interest in military uniform. Court dress was obligatory in Westminster Abbey for all not wearing official or lordly apparel. The court suit has undergone a number of changes since the eighteenth century. The first produced the court suit, a coat with tails, waistcoat and knee breeches, worn with silk stockings, and a formal court sword with a cut-steel hilt and embellishments, and bicorne hat. However, apart from changes in the cut of the sleeves and shoulders, there was little basic alteration until the third quarter of the nineteenth century. They were always embroidered, and worn with waistcoats generally of a different colour- gold or silver brocade, damask, silk or satin, heavily embroidered or laced in silver or gold. From the 1730s at least, cloth was popular for court wear. In the eighteenth century, dress worn at court comprised gold and silver stuff, brocades, velvets and cloth coats. By the 1780s dress was established as dark cloth or velvet, embroidered in silk or metal, single-breasted silk waistcoat (usually white), with the fronts curved away. From 1810, the Lord Chamberlain laid down regulations for court dress. Breeches matched, or could be silk of a similar colour. The coat, and sometimes the breeches, were embroidered. In the nineteenth century court dress coats were commonly black, brown, dark green, purple, or blue. These were worn with white silk stockings, black shoes with shoe buckles, and sword. A wig-bag was found on the back of the neck. The waistcoat was generally white satin, sometimes embroidered. A crescent-shaped chapeau-bras, known as an opera-hat, developed in the 1760s-1770s from the three-cornered hat. In the second decade of the nineteenth century, this hat became known simply as the cocked hat. In the 1830s-1840s, the full court dress was sometimes decorated with embroidery, and sometimes not. For levées, cloth trousers were worn. A new style of court dress, worn from the 1840s, comprised a dark, frequently black, cloth (or silk-velvet) single-breasted dress coat (lined with black silk, except for the tail, which was white), with a stand collar. Cloth was most general, but velvet was also used. For levées, this was worn with matching velvet trousers with a gold lace stripe down the seam. This was worn with a white satin or black silk collarless waistcoat, and white neckcloth. For drawing rooms matching breeches with white silk stockings, and a white neck-cloth was worn. In 1869, the Lord Chamberlain’s Department issued new regulations for gentlemen at Court. The new style of suit was described, in which the cloth coat and breeches were replaced with silk velvet. A coat for levée dress had dark coloured cloth, single-breasted, with a stand collar, and trousers of the same material and colour as the coat, both decorated with narrow gold lace on collar, cuffs and pocket flaps, similar to that worn on certain classes of the civil uniform. This had been permitted before, but in place of the embroidered waistcoat was a waistcoat of plain white silk. In 1898, court dress was described as black (often very dark blue) velvet, or a dark colour cloth suit (not black). A gold lace loop and button were similarly worn on the hat, and a sword of the same pattern carried. The velvet version in 1898 was without gold embroidery on the coat, and the buttons were gilt, steel or plain. Trousers were of velvet. The waistcoat was either black velvet, or the normal white one. The sword was gilt or steel with silk shoulder belt. Hats were as for the cloth version, that is beaver or silk cocked hat with black silk cockade, but the loop and buttons were gilt or steel, and there was no lace. A white neckcloth was worn. When breeches were worn they were black velvet with black silk hose. Gilt or steel buckled shoes were worn. The velvet suit was all black. The buttons were convex gilt with mounted crown in relief. The cloth coat in 1898 had embroidery on collar, cuffs and pocket flaps, specified as similar to fifth-class civil uniform, 3⁄8 inch (0.95 cm). Gold lace striped trousers (for levée dress) or white breeches, black or white silk stockings, gilt buckled shoes, beaver or silk cocked hat with black silk cockade gold lace loop and buttons, sword same as civil, suspended by a silk shoulder belt worn underneath the waistcoat, white neck cloth. By the time Dress worn at Court was published, in 1898, regulations for three different varieties of court dress had been laid down: ‘old style velvet’, ‘new style velvet’ and ‘cloth’. The most notable difference between the ‘old style’ and ‘new style’ suits is that the old style coat has a curved front and is worn with a lace jabot, whereas the new style coat is cut away at the waist and is worn with a white bow tie. In this, it will be seen that the new style is closer to what is nowadays known as ‘white tie’ or white tie and tails. The velvet suits were in black and without embroidery; the cloth court suit (“for Courts and Evening Parties”) is to have embroidery, and is to be “mulberry, claret or green – not blue or black”. In 1908, the old-style court suit was of velvet, with a cut-back frock style, single-breasted with seven buttons and button-holes, but the coat was actually fastened edge-to-edge on the chest by a hook and eye. There were six buttons at the back, two extra halfway down the tails. A black silk flash or wig-bag, and lace frill and ruffles were worn. A white satin or black silk waistcoat was worn, which was no longer to be embroidered (and has four small buttons). The breeches were black velvet, with three steel buttons and steel buckles at the knee. At levées velvet trousers with patent leather military boots were worn. In 1912, the old style pointed pocket flaps were to have three buttons (one under each point). Black silk stockings, black patent leather shoes with steel buckles, black silk or beaver hat, steel hilt sword and black scabbard (belt under waistcoat) and white gloves completed the dress. The sword is of sling type, with slings instead of a frog on the black silk waistband. The waistcoat has pointed pocket flaps and three buttons under each, skirted fronts. It was lined with black silk, except for the tail, which was white. By 1908, the new style court dress was described as being a single-breasted black silk-velvet coat, worn open but with six buttons, a stand collar, gauntlet cuffs, four buttons at back, two at centre waist, two at bottom of tails. Buttons were cut steel. The waistcoat was white satin or black silk, breeches were black velvet, with three steel buttons and steel buckles at the knee. Black silk stockings, black patent leather shoes with steel buckles, black silk or beaver hat, steel hilt sword and black scabbard, belt under waistcoat, white gloves, and white bow tie completed the dress. The regulations for 1912 were substantially the same as in 1908. The only difference for the new style was that the pocket flaps were to have the three points on the waist seams, the coat lined with white silk, tails with black lining, trousers were now not allowed at levées. At levées velvet trousers with patent leather military boots were worn. At levées one could wear with the velvet or cloth dress a black or very dark Inverness cape, or a long full dark overcoat. In 1937, the final edition of Dress Worn at Court was published. The hat has a steel loop as a black silk cockade or rosette, sword belt a black silk waist belt under the waistcoat, with blue velvet frog. The cocked hat is described as “beaver”, silk being omitted. The new style velvet court dress included a white satin waistcoat (not white corded silk or marcella), or a new optional black velvet waistcoat. The shirt was to be as worn with evening dress, soft front with stiff white cuffs. Trousers were still prohibited. This was mulberry, claret, or green, but not black or blue. In 1908, a dark cloth suit was worn for courts and evening parties. There was a stand collar, gauntlet cuffs, two buttons at back centre waist, and two at bottom of tails. It was single-breasted, hanfu graduation gown worn open but with six gilt buttons and dummy button-holes. Gold embroidery was on the collar, cuffs, and pocket flaps as for the 5th class. There were matching breeches, gilt buckled, a white corded silk or marcella waistcoat with four small gilt buttons. The sword was “Court Dress with gilt hilt”, in a black scabbard gilt mounted, with gold knot. Stockings, tie, gloves, shoes, and hat were as for the new style, but gilt buckles were added to the shoes, and a gold loop on the hat. At levées, trousers were worn instead of breeches, to match the coat, and patent leather military boots. In 1912 the cloth court dress is still described as embroidered on the collar, cuffs and pocket flaps as for 5th class. Buttons are gilt, convex, mounted with the imperial crown. Matching cloth trousers with rows 5⁄8-inch-wide (1.6 cm) gold lace. In 1924 white-tie evening dress was given official status as an ‘Alternative Court Dress’ for use on State occasions. By 1937 the cloth coat was decorated with gold embroidery similar to the edge of a Privy Counsellor’s uniform coat, 5 inches (13 cm). This was worn with ordinary dress shirt, collar, white bow tie, and opera hat. In 1908 this was described as being dress coat with silk facings, black or white waistcoat, black cloth or stockinette breeches, with three black buttons and buckle at knee, pantaloons not now being allowed. This was very similar to the “frock dress” introduced in the mid nineteenth century, and worn at dinners and evening parties when uniform was not worn: frock dress in 1883 comprised dress coat and waistcoat, breeches or pantaloons, white cravat. A folding cocked hat in corded silk with a black loop and rosette and white gloves finished the dress, which was used for dinners, balls, and receptions. This was worn with plain court shoes with bows, not buckles, and the cravat was replaced by a white tie. In 1912, the frock dress was the same, except that the hat was now an opera hat. In 1929 and 1937, this was substantially the same, except that a stiff evening dress shirt and a winged collar were added, and opera hat omitted. In the Army and Navy Stores catalogue of 1939 this dress is described as the “new pattern cloth (alternative) Evening Dress”. Similarly, for the 1937 Coronation, gentlemen were firmly instructed to wear ‘full-dress uniform or full velvet Court dress’; but a note in the Gazette reveals that ‘Members of the House of Commons may obtain particulars of alternative dress from the Speaker’s Secretary’ and likewise ‘representatives of trade unions and friendly societies may apply for information as to their dress to the Earl Marshal’s office’. Official sanction of ‘Frock dress’ as an alternative to Court dress coincided with the election of Britain’s first Labour government (George V is said to have shown sensitivity to his new government in sartorial matters). On both occasions, ‘Oriental dress’ was also permitted, for those for whom it was ‘the usual Ceremonial Costume’. Photo of the former High Sheriff of Hampshire, Mark Thistlethwayte, from the Romsey Advertiser. Since the death of Elizabeth II, male members of the Royal Family have ceased to wear ‘Alternative Court Dress’ (with knee-breeches) for the annual Diplomatic Reception at Buckingham Palace. In the twenty-first century old and new style velvet Court Dress has become the distinctive garb of High Sheriffs (see the external images in the links on the right). This is worn still by legal persons, mostly by King’s Counsel and judges of the superior courts – when sitting in the divisional court and administrative court of the King’s Bench division of the High Court, and in the Court of Appeal Criminal Division – and by some parliamentary officials. Varieties of court dress continue to be worn by senior legal professionals, and by certain parliamentary and other officials. It is a single-breasted cloth or velvet coat, of cut-away front style, with seven buttons although actually fastened edge-to-edge on the chest by a hook and eye arrangement. There are six buttons at the back, with two extra halfway down the tails. The coat is worn with a waistcoat, breeches to match the coat, black silk stockings, buckled shoes, sling sword, cocked hat, lace frill, ruffles, black silk flash (or wig-bag). They are worn with military boots and trousers for levées. Full dress for the Lord Chancellor and judges comprises black cloth or velvet court coat, waistcoat, black cloth knee breeches, black silk stockings, shoes and steel buckles, plain bands, white gloves, and a beaver hat. The cloth dress is worn only on such occasions as when attending St Paul’s Cathedral in state, the Lord Chancellor’s Breakfast, in court on the first day of Michaelmas Law Term, and at the House of Lords when His Majesty The King is personally present, and is worn with robes, wigs and lace bands. On other state and semi-state occasions, ordinary black velvet court dress of the legal style should be worn. For daily wear, only the coat and waistcoat are worn, with trousers and shoes. The Clerks of both Houses wear short wig and gown over a legal cloth court suit, worn with trousers and white bow tie. The Clerk of the Crown and their Deputy wear the same dress in most respects, but with bands rather than bow tie. At the State Opening and on similar occasions the Clerk of the Parliaments and the Clerk of the House of Commons wear the same dress but with knee-breeches and lace jabot & cuffs. The Serjeants at Arms wear a cloth court suit of legal pattern with knee-breeches, white gloves and silver-hilted sword. Black Rod is similarly dressed (with, on State occasions, his chain of office rather than the collar) but with black-hilted sword, black leather gloves and black shoe-buckles (rather than silver). Doorkeepers in both Houses have, since the nineteenth century, worn a black evening dress suit, black waistcoat, white tie and a silver-gilt badge suspended from the neck. On State occasions they wear lace and a Collar of Esses also. On state occasions, as when attending on His Majesty together with the House of Commons (such as for the State Opening of Parliament or the presentation of an Address) the Speaker traditionally wore a state robe of black satin damask with gold lace guarding over a black velvet court suit, lace jabot, lace ruffles or cuffs, full-bottomed wig and white gloves, with hat. In the House of Commons, the Speaker traditionally wore a black silk gown over a black cloth court suit of legal pattern, knee-breeches, white bands, full-bottomed wig, and carried a three-cornered hat. For mourning, the Speaker has traditionally worn a black paramatta gown, white ‘weepers’ (broad linen wraps) on coat cuffs, broad-hemmed frill and ruffles instead of lace, lawn bands, and black buckles on shoes and knees replacing the bright metal ones. This was worn by Sir Lindsay Hoyle in 2022 when the House of Commons sat in the aftermath of the death of Queen Elizabeth II. Others in Court dress wear broad-hemmed frill and ruffles, black buckles and gloves and a black-mounted sword. The Speaker’s Secretary and his train-bearer wear a black cloth court suit of legal pattern, with lace frill and ruffles, steel buckles on breeches and shoes, cocked hat and sword. The formal dress of the Lord Chancellor was and is almost identical to that traditionally worn by the Speaker of the House of Commons, as is that of the Lord Speaker of the House of Lords. At courts and levées, bishops were directed to wear rochet and chimere; other clergy (and nonconformist ministers) were to wear cassock, gown and scarf. For ‘state or full dress dinners, and evening state parties’, however, they were to wear a cloth court coat with knee-breeches and buckled shoes. For bishops the coat was purple (and was worn with a half-cassock called an ‘apron’). For other clergy, the court coat was black; (deans and archdeacons wore aprons, junior clergy wore a clerical waistcoat). Archbishops of Canterbury continued to wear this form of dress, at state banquets, into the twenty-first century. By 1908, this was extended to Highland gentlemen, and comprised: kilt, sporran, doublet of cloth or velvet, Highland belts, claymore, dirk, long plaid. In 1898, a special dress with sword and dirk was allowed for Chiefs and petty Chiefs as a military uniform at court. By 1912, the qualification was absent and the description was more detailed. By 1937, the shoulder plaid became shoulder plaid or belted plaid. Cross belt of leather (or metal mounted) for carrying the sword worn over the right shoulder. Dress sporran could be hair, fur, or skin, any pattern. Footwear was dress shoes and brogues. Highland Bonnet, feather or feathers if entitled. Highland pistols and powder horn may be worn. Dress Doublet- of velvet, cloth or tartan. Highland basket-hilt sword, black leather or metal mounted scabbard; sgian dubh (sock knife); dirk; kilt pin; jabot, lace (lace, silk, satin or lawn stock); cuffs, lace; Ghillie Brogue shoes (leather uppers, soles and tassels) or Dress shoes (with buckle); Highland Bonnet; belt and buckle (leather and lined); flashes; Highland pistols and powder horn may be worn; gloves are not worn. A distinctive style can be seen in the dresses and accoutrements worn by courtly ladies in the Elizabethan period, and likewise in subsequent reigns. For women (as for men) court dress originally meant the best and most opulent style of clothing, as worn in fashionable and royal society. Fashion (and wealth) continued to dictate what was worn on these occasions; but in the late eighteenth century, a degree of fossilisation began to set in, with the result that women in attendance at royal courts were still, in the early nineteenth century, to be seen in garments with side-hoops, reminiscent of forms of dress fashionable in the mid-1700s. The Commonwealth put a stop to Court activity – and to opulent display in general; but with the Restoration, the opportunities afforded by attendance at the royal court was taken up all the more zealously by young women of status or aspiration (and their families). In the 1820s, however, George IV made known his opinion that obsolete side-hooped dresses should no longer be worn; and thereafter fashion began to have more of an impact on the style of dress worn by women at court. Moreover, from the late eighteenth century, what was worn at court had been subject to a degree of regulation, and this helped standardise certain features. Most noticeably, court dresses (regardless of style) are expected to have a sizeable train (usually separate from the dress itself). Some details of court dress, though, were more or less invariable (and these set court dress apart from more ordinary forms of evening or day wear in any given period). The dress itself was expected to be long and low-cut (again, whatever the style). 1800s a length of fifteen yards was not unusual. By the end of the nineteenth century, the main occasions at which court dresses were worn were those at which debutantes were presented to the Queen. In the twentieth century (especially following the First World War), occasions for full court dress diminished. The prescribed headwear was also distinctive: ostrich feathers (usually three in number) were to be worn (to be ‘mounted as a Prince of Wales plume’, according to the instructions given in Dress worn at Court) – a style which had its origin in fashionable eighteenth-century daywear. Court presentations continued, except during wartime, but they gradually became less opulent. In the post-war 1940s evening court events were replaced with afternoon presentations (for which afternoon dresses were worn); and with that, the donning of full court dress ceased to be a rite of passage for young women taking their place in society. Court uniform came into being in the early nineteenth century. Two orders of dress are prescribed: full dress and levée dress. 1953, ladies attending the coronation were directed to wear ‘evening dresses or afternoon dresses, with a light veiling falling from the back of the head. The full-dress uniform consists of a dark blue high-collar jacket with gold oak-leaf embroidery on the chest, cuffs and long tails; white breeches and stockings; and a cocked hat edged with ostrich feathers. Levée dress is less ornate: the jacket is comparatively plain (with embroidery on the cuffs, collar and pockets only), and is worn with dark blue gold-striped trousers instead of breeches. On occasions, trousers are worn with the full-dress jacket; this is sometimes referred to as ‘half-dress’. In the United Kingdom, court uniform was formerly worn by various ranks within the Civil and Diplomatic Service, by Privy Counsellors, and by officials of the Royal Household (who were distinguished from other wearers of the uniform by having scarlet, rather than blue, collar and cuffs). Different grades (or ‘classes’) of uniform were stipulated for different grades of official; these are described in detail below. Full dress was worn at courts, evening state parties, drawing rooms, state balls, state concerts, etc.; levée dress was worn at levées, and other ceremonies where full dress was not worn. Neither were worn after retirement without special permission. In 1820, King George IV introduced a court uniform based on the Windsor uniform, modified by the dress of the Marshal of France. Soon only the Royal Household wore scarlet cloth facings, and all others had black velvet collar and cuffs. It had a dark blue single-breasted tail coat (or “coatee”), lined with black silk, the stand collar and gauntlet cuffs having scarlet velvet facings, gilt buttons, waistcoat, breeches or trousers. Later the facings, collar and cuffs became blue velvet. Which class of uniform was worn depended on the office held by the wearer: the more senior the position, the higher the class of uniform. Court uniforms came in five (later six) classes. In India, for example, in 1921, the Governors of Bengal, Bombay and Madras were entitled to wear the 1st class uniform, the President, Members, Secretary and Chief Engineer of the Railway Board (among others) were entitled to 3rd class uniform, while Under Secretaries to Local Governments (among others) were entitled to 5th class uniform. On the edge of the cuffs, collar and coatee, the embroidery had a wavy edging for 1st class, and saw edge for lower classes. The different classes were indicated by different widths of gold oak-leaf embroidery on the coatee: 1st class had 5 inches (13 cm), 2nd class had 4 inches (10 cm), 3rd class had 3 inches (7.6 cm), 4th class 2 inches (5.1 cm), and 5th class 3⁄8 inch (0.95 cm); (these measurements related to the width of embroidery on the cuffs in both full and levée dress). In full dress the coatee’s chest, back, tails back and front, collar, cuffs and pocket flaps were all decorated with gold oak-leaf embroidery. It was fastened by hooks and eyes, with dummy buttons bearing the Royal coat of arms of the United Kingdom (nine buttons up the front, showing between the two embroidered edges two at the waist behind, two at the bottom of back skirts). For each class of uniform, both a ‘full dress’ version and a ‘levée dress’ version were stipulated; which was worn depended on the occasion. The coatee had white silk linings, and was worn with white breeches, white gloves, and patent leather court shoes with gilt buckles. The sword had black scabbard, gilt mountings, and sword knot of gold lace strap with bullion tassel; it was worn on a sword belt of white web, with white cloth frog. 1⁄2 inches (11 cm) long, that of 4th class had front embroidery 3 inches (7.6 cm) long, and that of 5th class a saw edge only. The coatee was fastened with practical buttons bearing the Crown onto button-holes. White gloves were again worn, while patent leather military boots replaced the buckled shoes, and the sword accessories were similar to that on full dress, but with blue cloth frog. Separate full-dress and levee-dress coatees were only provided for the higher grades of official (those holding 1st, 2nd or 3rd class Household positions, or 1st or 2nd class Civil Service positions); lower-grade officials (those holding 4th or 5th class Household, or 3rd, 4th or 5th class Civil Service positions) were only entitled to a levée dress coatee; this was worn for both full dress and levée dress occasions (with breeches worn for full dress, trousers for levée dress). 1⁄2 inches (6.4 cm) wide for 1st and 2nd classes, 2 inches (5.1 cm) for 3rd and 4th classes, and 1 inch (2.5 cm) for 5th class. The 2nd class was as above, but with double gold bullion loop and tassels. Both types of dress were worn with black beaver cocked hat, with black silk cockade; for the 1st class it had white ostrich feather border, as well as treble gold bullion loop and tassels. In addition, a scarlet lined blue cloth cloak, double breasted, black velvet collar and two rows of six buttons each, with a detachable cape, was described in 1898 for outdoor wear, with a soft cloth forage cap (military staff shape), with a blue peak and scarlet welts around the crown and gold braid on top for the Household, and gold braid without scarlet welt in the case of other officials. The cap for consular use had silver instead of gold braid. The 3rd, 4th, 5th class had black ostrich feather border, plaited gold bullion loops, and no tassels. In 1908, white gloves were still mentioned in the regulations, while in 1912 they were not, and the 1937 regulation said that they are not worn. 1⁄2 inches (11 cm) for the old 1st class, and 4 inches (10 cm) for old 2nd class; whereas the 3-inch (7.6 cm) lace for old 3rd class, 2-inch (5.1 cm) for the old 4th class and 3⁄8-inch (0.95 cm) for the old 5th class were replaced by a standard 1-inch (2.5 cm) gold lace on the cuffs (so that the collar alone became the distinguishing feature between these three classes of uniform). A sixth uniform, which was classified as the 1st class of civil uniform, was introduced after the First World War, that of Privy Counsellors. 1⁄2 inches (6.4 cm), as did 1st and 2nd classes. 3⁄4 inches (4.4 cm). For Privy Counsellors, on both levée and full dress coatees, the embroidery had a purl edging; the cocked hat was similar to that of the 1st class, but with additional hangers on the gold tassels. From the early 20th century the Privy Counsellors, 1st and 2nd classes’ levée coatee embroidery was extended to include the centre back waist as well as the collar, cuffs and pocket flaps. Cabinet ministers, being Privy Counsellors, are entitled to wear the 1st Class civil uniform and continue to be so entitled after they leave Cabinet. In lieu of Civil Uniform or Court Dress, alternative dress may be worn by gentlemen (except for Household, Diplomatics and Consular Services) on all occasions when uniform or court dress is prescribed. Edward VII ordered Privy Counsellors to wear civil uniform at Privy Council meetings, but this requirement has lapsed. Until about 1965 Foreign Office Regulations and Consular Instructions had required even junior foreign service officers to acquire this formal dress following completion of their probation period. By the end of the 20th century the use of this uniform had greatly diminished. In the UK, Court uniform is still worn by a few select officials on formal State occasions (such as at the State Opening of Parliament); but the last time it was worn by people in significant numbers was at the Coronation of Queen Elizabeth II. The Governors of the few remaining colonial territories were notified in 2004 that the expense of providing uniforms would no longer be a recognised charge against the Foreign and Commonwealth Office. The Lord Great Chamberlain wears a unique form of Court uniform, his coatee being scarlet (with scarlet facings) rather than blue. The Earl Marshal’s coatee is also scarlet, with dark blue collar and cuffs. The Earl Marshal’s officers (i.e. the Pursuivants, Heralds and Kings of Arms) wear similar coatees with varying degrees of embroidery. Breeches, stockings and court shoes are now confined to coronations so trousers of the levee version are worn instead with full dress. Members of the Diplomatic Service wore Court Uniform: ambassadors’ coats wore 1st class civil uniform, but with additional embroidery on the sleeves and back seams. High commissioners for Dominions in London wore 1st class uniform. The High Commissioner for Southern Rhodesia, and Agents-General for Australian states, wore 2nd class uniform. The King’s or Queen’s Foreign Service Messengers were entitled to 5th class court uniform (upgraded to 4th class in 1929) and also wore a distinctive greyhound badge. All the aforementioned continue to wear the uniform at the State Opening of Parliament and on other occasions, the officers of arms wearing it under their tabards. The coatee (for both full-dress and levée dress) was in blue cloth, with a Prussian collar, single-breasted buttoning with nine frosted gilt buttons of royal arms, two more buttons on back waist, two more on coat tails. Members of the Consular Service wore a slightly different form of the uniform, with silver embroidery rather than gold predominating. 1⁄2 inches (6.4 cm), consuls 2 inches (5.1 cm). Consuls-general and consuls had embroidered gold and silver lace on collar, cuffs, pocket flaps, and back. 1⁄2 inches (3.8 cm) on cuffs, and front half of collar only. All wore white breeches and stockings, patent leather court shoes with gilt buckles for full dress, or trousers with silver lace stripes and patent leather military boots for levée dress. 3⁄4 inches (4.4 cm). These were worn with black beaver cocked hats, black cockade, silver bullion loops, and gold tassels. For consuls-general there were treble loops and a border of black ostrich feathers, for consuls double loops, and for vice-consuls single loops. A blue greatcoat or cloak, blue detachable cape was for outdoors use. The sword accessories were the same as for standard court uniform. Members of the Colonial Service wore Court Uniform (or military uniform, if so entitled); but Governors, and Governors General have distinctive uniform of their own: a plain blue coat, scarlet collar and cuffs (embroidered in silver), silver epaulettes and trimmings and a plumed hat (with Governors General wearing aiguillettes in addition). Lieutenant-Governors and other officials of various ranks wear regular Court Uniform, as detailed above. Indian members of the Indian Civil Service were entitled to civil uniform, with a turban or pagri replacing the cocked hat, or the national dress which they were accustomed to wear on ceremonial occasions. They could also wear a blue coat buttoning from the neck to below the waist, worn with white trousers or pyjamas and the native head-dress. This uniform (in slightly simplified form) continues to be worn by Governors of British Overseas Territories. For all the above, a simplified white uniform was provided for use in tropical postings: of white drill with gilt buttons. Members of the diplomatic and consular services had the same embroidery on the collar and cuffs as on the full-dress blue coatee, but worked on (detachable) white cloth panels. Members of the colonial service, on the other hand, wore dark blue gorget patches with gold braid, which varied according to rank (as did the number of buttons on the cuff). Mansfield, Alan (1980). Ceremonial Costume. London: A & C Black. London, Harrison & Sons. With this uniform the same cocked hat was worn as with the temperate uniform, or else (specifically ‘out of doors during the day’) a white sun helmet would be worn; in full-dress, the helmet would have a spike attached (for members of the diplomatic and consular services) or (for governors and governors general) a plume. 17 April 1921 – via Internet Archive. NB this term is ambiguous, as it is also used as a synonym for levée dress in some contexts. Dress and Insignia Worn at His Majesty’s Court. 9 September 2011 – via Flickr. Dress Worn at Court , published by the Lord Chamberlain’s Office, provides official regulations for all details of Court Dress and Uniforms. Great Britain. Lord Chamberlain’s Office (1921). Trendell, Herbert A. P (ed.). The 1937 edition has not been superseded. CUH&GS: Dress and Insignia Worn at Court, 1937, accessed 4 February 2006. Citing Titman, G.A. Dress and Insignia Worn at His Majesty’s Court. Harrison and Sons Limited. 1937): Dress and Insignia Worn at His Majesty’s Court. This page was last edited on 11 July 2024, at 13:56 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Chinese influence is very pervasive in Korean Culture, stretching back to Ancient times, with Korea’s first Kingdom, Gojoseon. This is until the rise of Korean Nationalism. The Chinese gave the Koreans the Chinese script, which became Korea’s main writing script (Hanja) until the Joseon Dynasty. The Chinese also introduced sword-smithing technology, such as the differential clay technique to Korean weapon-smiths. With the rise of Korea’s nationalist movement, the decision has been made to change the written script to Hangul. Chinese navy Technologies also influenced Korean shipbuilding for years to come. They are also the first ones to introduce gunpowder weapons to the penisula. Confucius, a famous Chinese philosopher is also a key influence in Korea Culture. Many Chinese administrative practices are also used in Korean Kingdoms, from the 3 Kingdoms to the Joseon dynasty. Key Chinese sinocentric motifs such as the mandate of Heaven is put into practice by the Korean Kingdoms. Zen Buddhism is also brought over from China. Korea’s architecture in Ancient times is also heavily influenced by the Chinese. The Koreans and Chinese share similar mythologies, religious practices (Incense burning and Ancestral worship etc.) . The Chinese Lunar Calender is widely adopted in Korea. The Chinese ethnic costume, Hanfu also served as a basis for the Korean hanbok, Japanese Kimino and Vietnamese ethnic costume. Some Traditional Festivals such as New Year (Seollal) also originated from the Chinese. However, some Koreans view the Chinese as imperialist invaders as they have attempted and succeeded in colonising Korea for varying periods of time (The Four Commandaries of Han etc.) and making it a Chinese prefecture, like Annam. Chinese artforms, pottery and irrigation methods are also spread to Korea. China at that time, invaded Korea for many different reasons, mostly because of Korean provocation. Ming Dynasty China helped Korea in the Imjin Wars and other incursions, making sure that Japan is unable to annex it during that time. Korea later became a vassal state to China for quite some time and placed under Chinese protection. As a result, it influenced East Asian culture as we know it today, from Japanese to Vietnamese culture. China in the past, used to be the leading civilization in the East. Korea is no exception, especially with its close proximity to Mainland China.

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Royal Chinese traditional dress Hanfu represents an era of elegance in Chinese history. In this article, we delve into the world of royal Chinese traditional dress Hanfu, exploring its historical significance, exquisite designs, cultural impact, revival in modern times, and its enduring influence on contemporary fashion trends. Join us as we uncover the beauty and grace of royal Hanfu, a fashion statement that connects the past with the present. Royal Chinese traditional dress Hanfu has a long and rich history, representing the pinnacle of fashion during different dynasties. The luxurious fabrics, vibrant colors, and refined craftsmanship exhibited in royal Hanfu served as a testament to the splendor and opulence of imperial China. Hanfu, with its flowing silhouettes, voluminous sleeves, and intricate details, was exclusively worn by royalty and nobility, symbolizing their status and power. Royal Hanfu embodies cultural symbolism and tradition, reflecting the values, aesthetics, and customs of the dynasties it represents. The choice of colors, patterns, and accessories is not arbitrary but carefully selected to convey specific meanings. Each component of the royal Hanfu ensemble, from the headdress to the robe, holds cultural significance, reflecting the social hierarchy, marital status, and rituals of the time. Wearing royal Hanfu is a way to honor and uphold centuries-old traditions and customs. Silk, considered the ultimate fabric of luxury in China, is often used for royal Hanfu, adding a lustrous sheen and a sublime touch to the ensemble. Royal Hanfu dazzles with its choice of luxurious fabrics and elaborate embellishments. Intricate embroidery, delicate beadwork, and exquisite hand-painted motifs embellish royal Hanfu, elevating its beauty and replicating the artistry of the era. Its loose and flowing design allows for freedom of movement, while the voluminous sleeves and wide, sweeping skirts create a sense of regal grandeur. The silhouette of royal Hanfu exudes elegance and grace. The draping techniques employed in royal Hanfu, such as pleats, gathers, and tucks, accentuate the natural curves of the body, creating a flattering and sculptural effect. The revival of royal Chinese traditional dress Hanfu in modern times has contributed to the preservation and appreciation of China’s cultural heritage. Enthusiasts of Hanfu advocate for the revival of traditional craftsmanship and techniques. Ensuring that the artistry and skills involved in creating royal Hanfu are passed down to future generations. This revival serves as a reminder of the elegance and grandeur of imperial China, fostering a deeper understanding and pride in Chinese cultural traditions. Modern interpretations of royal Hanfu in contemporary fashion designs serve to bridge the gap between the past and the present. Designers incorporate elements of royal Hanfu into their creations, merging traditional aesthetics with modern sensibilities. Moreover, this resurgence of interest in royal Chinese traditional dress Hanfu has given rise to a vibrant community of enthusiasts. This fusion not only reinterprets the timeless beauty of royal Hanfu for modern tastes but also ensures its relevance and longevity in the ever-evolving world of fashion. These individuals come together at various events, gatherings, and cultural festivals to celebrate and showcase their passion for Hanfu. Through these shared experiences, Hanfu enthusiasts have forged connections and built a supportive community centered around their love for royal Hanfu. Platforms such as Weibo, WeChat, and dedicated Hanfu forums provide spaces for enthusiasts to exchange knowledge, seek advice, and share their Hanfu journey. Additionally, the community of Hanfu enthusiasts has embraced the use of social media and online platforms to connect and share their experiences. These online communities have become an invaluable resource for Hanfu enthusiasts, allowing them to learn from one another, discover new styling techniques. And find inspiration for their own Hanfu creations. Furthermore, the sense of community among Hanfu enthusiasts extends beyond the digital realm. Regular gatherings and events are organized by and for the community, providing opportunities for enthusiasts to come together in person. These gatherings often feature activities such as Hanfu fashion shows, historical reenactments, and educational workshops, creating a sense of camaraderie and shared excitement for Hanfu. Online communities and forums allow individuals to exchange knowledge, seek advice, and learn about the historical background of royal Hanfu. Social media platforms have played a significant role in the revival of royal Hanfu, providing a space for enthusiasts to connect, share their experiences, and showcase their personal styles. The elegance and timeless beauty of royal Hanfu have served as an inspiration for fashion designers worldwide. Through these platforms, the passion for royal Hanfu has spread, inspiring a new wave of appreciation and creativity. The influence of royal Hanfu can be seen in haute couture collections, red carpet ensembles. And fusion fashion that merges traditional and modern aesthetics. The global appeal of royal Chinese traditional dress Hanfu has cultivated cultural exchange and appreciation. Elements of royal Hanfu, such as the silhouette, color palette, and intricate embellishments, have found their way into contemporary designs. Incorporating it into their personal styles. Hanfu enthusiasts worldwide, regardless of their cultural backgrounds, have embraced the beauty of royal Hanfu. This intercultural appreciation not only promotes a deeper understanding of Chinese cultural heritage but also fosters unity and appreciation for the diversity of global fashion and heritage. In conclusion, royal Chinese traditional dress Hanfu represents the elegance and grandeur of imperial China. Its historical significance, exquisite designs, and cultural impact highlight the enduring legacy of this remarkable attire. The revival of royal Hanfu in modern times has not only preserved and celebrated China’s rich cultural heritage. But also bridged the gap between the past and the present. Its influence on modern fashion attests to its timeless appeal and serves as a reminder that the grace and beauty of royal Hanfu continue to captivate and inspire generations to come.

Have you ever wondered about the fascinating clothing that has adorned Chinese civilisation for thousands of years and the games, snacks, music and other things that are distinctly Chinese? Welcome to the Hanfu Society at the University of Liverpool, we are not just a society, hanfu chinese traditional costume but a cultural adventure waiting to be explored. We will also hold interactive game workshops led by enthusiasts and experts and share mystical Chinese myths and legends. Celebrate traditional Chinese festivals by experiencing Chinese specialised games and tasting delicious specialties together. We embrace diversity through cross-cultural events where friendships transcend borders. Sharing your own culture while discovering the richness of other cultures is highly encouraged. You will have the opportunity to dress up in your favourite traditional Chinese clothing from China spanning 5,000 years in various dynastic styles and experience intangible cultural heritage handicrafts over a cup of Chinese tea, as well as listen to the melodious sounds of traditional Chinese musical instruments after a busy day of study and work! Are you ready to embark on a journey of discovery? The Hanfu Society welcomes everyone, from novices to avid enthusiasts, to join our vibrant community. There’s no need to be an expert; curiosity is your only requirement.

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The Hanfu scene is bustling with excitement (for better or worse) today because of the Dior Fall collection. In particular, the black mamian skirt look-alike (Dior Pleated Skirt) and its pairing with the corset which looks suspiciously also like the way the modernised Ming dynasty (14th-17th century) hanfu style that you see a lot in the last few years in China. Homage, Copycat, or Appropriation are all just similar concepts to different ends/results and of different intentions. Or if they managed to establish a strong style/design through thoughtful innovation on top of the original which makes it a new style by definition. I’m too lazy to be politically correct or prescriptive about their definitions and nuances, but the simplest way of looking at it is probably whether the finishing looks as good as, better, or worse than the original item/style that they are trying to emulate. So they’ve shortened the skirt length, modified the fastening/securing mechanism of the skirt, and matched the undergarment as a summer top with the mamian skirt. For autumn/fall/winter season, the Mamian skirt is even nicer to pair with winter coats and other basics as I did during my Sabbatical Trip. Of course mine were the original length skirts with tie-string fastening mechanism which was the most traditional method for the Chinese. But you could see just how non-costumey they can be if you paired them properly. I also have black mamian with subtly weaved motifs and golden thread weaved patterns. Honestly for a S$5,500 skirt, I expected better. But obviously the Hanfu makers were probably also copying the kilt makers in the waist fastening mechanism. I’m a huge fan of Mamian skirts (Have more than a dozen of them of different colours and materials). The least that Dior could do was to invest some of their marketing budgets into these finer details. They can keep the clean lines and ‘minimalistic’ look (sometimes I suspect minimalism is just an excuse to cut cost), but those metal eyelets and straps are hardly anything worth shouting about. MAMIAN SKIRT, SCOTTISH KILT, DIOR-What are the differences? My first instinct when I saw the controversy erupting was, hang on, maybe they’re just inspired by their own ‘Western’ (sorry I’m using such a loose term) dressing-kilts. But then someone noted that the kilts had full pleats at the back, whereas the Mamian skirt had the same flat panel front and back which was exactly what Dior had. This artefact is from the Southern Song dynasty (12-13th century) of China, and it already had the earliest form of the Mamian skirt. Interestingly, such skirts were initially worn by the courtesans (who were, as usual, always at the forefront of fashion), and then it became a skirt popular amongst the aristocratic women by the Ming dynasty. The style has survived for almost 1,000 years now, with fashionistas constantly trying to emulate it in different forms, and it has not only fascinated the Chinese. The Western designers of our days were equally fascinated by the Mamian skirts and Dior’s 2022 Fall design is by no mean their first encounter with the Mamian skirt of China. Obviously everyone loves the Mamian skirt. But wait, Dior’s not the only one! Princes Diana too wore it once, and Alice Through the Looking Glass film clearly also based Alice’s costume on it. WHAT IS YOUR TAKE? If you want to read a bit more about the Qing dynasty Mamian skirts, you can hop over to ‘From Hanfu to Cheongsam: The Missing Link‘. That explains why many people splurge on what I would find ugly items. So what is your take on Dior’s latest Fall design that is obviously based on the Ming era mamian skirt? Personally, I find it a blatant and poorly done copycat attempt (without acknowledgement at that!) because obviously the 2022 design doesn’t create anything distinctly new or impressive. Taste is subject, of course. This applies to many of the art appropriation claims as well. The Chinese has a modern phrase 谁丑谁尴尬 which loosely translates to ‘Whoever does it better wins the game’. But I’d love to hear your thoughts! And I’m not even going to talk about cultural appropriation in this instance since it’s beyond obvious. And I shall end my post with my Ming style mulberry silk vest embroidered with hydrangeas, in NYC (cos everyone is travelling now and I’m stuck! I deserve this.

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