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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The kimono, literally meaning ‘thing to wear’ is a traditional Japanese garment and national dress of Japan. It is usually a full length T-shaped robe with straight lines. It’s worn so that the hem falls at the ankle and has collars and wide, long sleeves. With a kimono, one wears traditional Japanese footwear (geta or zori) and split toe socks called tabi. The kimono wraps around the body, with the left side on top of the right (except when dressing for a burial), and is secured with an obi (sash) tied at the back. The earliest kimono styles were significantly influenced by Han Chinese clothing, popular today as hanfu (漢服). The sleeves of the kimono began to grow in length during the Edo Period, especially for single women, and the obi became wider. Since then the shape of the kimono has remained unchanged. Young people in kimono. Stitches were usually taken out during washing and then hand sewn again for wearing. A kimono is made from a single bolt of cloth. It takes outstanding skills to create a kimono. The traditional method of washing kimonos is called arai hari. A whole bolt of fabric (tan) is used to make only one kimono. When completed, a kimono is made up of four main strips of fabric: two panels form the sleeves, and another two cover the body. The standard dimensions of tan are 12½ yards long and 14 in. Kimono with embroidered pattern. There are kimonos to match the age and gender of a person. There are different kinds of kimonos depending on the wearer. Men don kimonos with a jacket and wide-legged pants called hakama. Women wear kimonos depending on the stages of the events in their lives. Male kimono designs have more subdued patterns and colors. Married women wear tomosode kimonos on more formal occasions. Single women and young women usually wear furisode, which are kimonos with long, flowing sleeves and vibrant designs. All women whatever age may wear a houmongi when paying a social visit or attending parties. These have shorter sleeves, a family crest and the colors are more toned down. Kimonos that are well cared for can last several generations. They are often decorated with kamon or a family crest making a kimono a perfect gift to be passed on to a child. There are kimono specialists who can restore kimonos.
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HWA International School, in collaboration with China’s Eazy Education, recently organized a cultural exchange event to promote the Hanfu culture. The aim of this event was to provide international students with a deeper understanding of Eastern history and culture while fostering cultural exchange and interaction among young people from different backgrounds. During the event, students presented the background of Hanfu culture and explained how Hanfu embodies the natural beauty and harmonious aesthetics of the East. The students took turns showcasing Hanfu from different time periods, including the Han Dynasty, Wei and Jin Dynasty, Northern and Southern Dynasties, Sui and Tang Dynasty, Song Dynasty, Ming Dynasty, modern wedding qipao and the Republic of China. This exhibition demonstrated the ancient Chinese people’s unique pursuit of beauty. Additionally, students from our school’s martial arts CCA class delivered a spectacular martial arts performance. They showcased the charm of traditional Chinese martial arts skills and introduced the depth of Chinese martial arts culture to international students.
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Dynasty hanfu women to the charming simplicity of modern interpretations that fuse tradition with contemporary aesthetics. The choice of fabrics, ranging from silk to linen, not only caters to different climates but also allows for a myriad of textures and feels, from the softness of silk to the breathability of linen. AliExpress provides detailed sizing charts that can be found in the product listings, alongside customer reviews that offer valuable insights into the fit. A primary concern for potential buyers is the fit and size of the hanfu. Quality is another crucial aspect that customers often inquire about, particularly since hanfu is often an investment piece due to its craftsmanship and intricate designs. While some products may come at a lower price point, AliExpress boasts a range of high-quality hanfu that has been sourced from reputable Chinese brands known for their attention to detail and premium materials. For those new to the sizing standards used in China, it’s advisable to consult these charts meticulously or to opt for custom-made options, which can be a delightful treat for those seeking a perfect fit. To ensure a satisfactory purchase, browsing for products with high ratings and positive reviews can help in making an informed decision. For those looking to delve deeper into the authenticity of the hanfu, AliExpress’s verified seller system can provide an extra layer of assurance. From selecting the color of the base fabric to choosing from various embroidery designs, customers can work closely with the seller to create a unique piece that resonates with their personal taste. For the more adventurous or fashion-savvy individuals, incorporating elements from the Ming Dynasty hanfu, such as the distinctive front-lacing, can add a historical flair to their wardrobe. Customization options for women’s hanfu on AliExpress offer a delightful personal touch, allowing individuals to tailor their purchase to their own style preferences. Lastly, the question of how to pair and style women’s hanfu to enhance its elegance and beauty is one that many find intriguing. For those who are new to styling hanfu, looking for inspiration on social media platforms or dedicated hanfu forums can be a great starting point. AliExpress not only provides an extensive selection of hanfu but also complements it with an array of accessories, including jewelry, shoes, and hairpins, that can perfectly match and elevate any ensemble. Whether you’re drawn to the grace and elegance of Ming Dynasty hanfu or prefer the simplicity and versatility of modern designs, AliExpress provides a platform to explore, learn, and indulge in this captivating cultural expression. In conclusion, women’s hanfu on AliExpress offers a treasure trove of traditional Chinese attire, appealing to a wide range of preferences and budgets. Embrace the timeless beauty of hanfu and bring a touch of Chinese heritage into your wardrobe with AliExpress.
A yuanlingshan (Chinese: 圓領衫; pinyin: yuánlǐngshān; lit. The yuanlingpao is an article of formal attire primarily worn by men, although in certain dynasties, such as the Tang dynasty, it was also fashionable for women to wear. Wuhu, including the Xianbei people, during the Six Dynasties period. 185-186 Such garments were typically worn by government officials. In the Tang dynasty, the yuanlingpao could be transformed into the fanlingpao using buttons. When a yuanlingpao or yuanlingshan is decorated with Chinese dragons called long (simplified Chinese: 龙; traditional Chinese: 龍) or decorated with mang (蟒; ‘python’) decorations, including roundels or square rank badges, the generic term longpao or mangfu is applied respectively depending on the number of dragon-claws used and the time period. The yuanlingpao and yuanlingshan were both common forms of clothing for the Hu people. In this period, the yuanlingpao was primarily used as an undergarment. During the Eastern Han dynasty, some forms of Hanfu started to be influenced by the Hufu of the Hu people, leading to the emergence of garments with round collars, or yuanling. It was also during the early years of the Han dynasty that the shape of the yuanlingpao worn in the later dynasties, such as in the Ming dynasties, started to develop. The collars of the Han dynasty yuanlingpao were not turned on both sides and their edges were similar to the styles worn in the Sui and Tang dynasties. It is also during the Six Dynasties period that the yuanlingpao started to be worn as formal clothing. Wuhu, who founded the minority nationalities regime in the Wei and Jin dynasties. Hence, these ethnic minorities played a significant role in laying the foundation for the popularity of the yuanlingpao in the subsequent dynasties. When the Wuhu migrated to the Central Plains, their dressing culture influenced the clothing culture of the Han people in the region. These northern nomads, including the Xianbei, also introduced new clothing styles, including the quekua (缺胯), a type of crotch-length long jacket. The quekua had either a round or snug (plunged) collar, tight sleeves, and less overlap than the traditional Hanfu, which allowed for greater freedom of movement, especially for horse riding, and strongly impacted Chinese fashion. The Northern Wei dynasty was marked by cultural integration between the Xianbei and the Han Chinese. 183,185-186 In this period, the yuanlingpao worn by unearthed terracotta warriors were closed in the zuoren-style instead of youren-style, reflecting its Hufu characteristics. The Xianbei ruling elites adopted Chinese clothing and Chinese customs, while the Han Chinese started to integrate some of the Xianbei’s nomadic style clothing, including high boots and narrow-sleeved yuanlingpao and yuanlingshan into Han clothing. Since the Northern Wei dynasty, the shapes of the Han Chinese’s paofu also started to be influenced by the yuanlingpao-style robe, which originated in Western Asia and was then spread to the East through the Sogdians of Central Asia. This evolution was achieved through the addition of a new seam structure called lan (襕; lán), which aligned with the traditional Hanfu style and followed the Han Chinese’s shenyi robe. The Sogdians and their descendants, mostly from the merchant class, who lived in China during this period also wore a form of knee-length, yuanling-style kaftan that retained their own ethnic characteristics but also showed some influences from East Asia, including Chinese and early Turkic influences. Due to the influence and the demands of the Chinese population, most Sogdian attire in China had to be closed to the right in the youren-style. In the Northern and Southern dynasties, the yuanlingpao of the Xianbei was localized by the Han Chinese, resulting in a loss of its association with Hufu and developed into a new form of Hanfu, called panling lanshan. Their kaftan would often be buttoned up to the neck, forming a round collar. Chinese: 翻领袍; pinyin: fānlǐngpáo; lit. In the Tang dynasty, the descendants of the Xianbei and the other non-Chinese people who ruled northern China from 304 – 581 AD lost their ethnic identity and became Chinese; the term Han referred to all people of the Tang dynasty instead of describing the population ruled by the Xianbei elites during the Northern dynasties. This dressing custom of wearing fanlingpao-style robes was later inherited and developed into the yuanlingpao of the subsequent Tang and Sui dynasties. Both garments became the main form of clothing for men as well. Both the yuanlingpao and yuanlingshan of this period had a long, straight back and front with a border at the collar. The front and back of the garments each had a piece of fabric attached for tying the clothing around the waist. Tang dynasty, as it was fashionable for women to dress like men in this period. The sleeves could be tight or loose, with tight sleeves designed to facilitate ease of movements. Trousers were worn under the yuanlingpao. Some women also wore banbi under their yuanlingpao. One distinctive feature of men’s clothing during the Tang dynasty was a horizontal band, which could also be attached to the lower region of the yuanlingpao. In 630 during the 4th year of Zhen Guan, colour regulations for the panling lanshan of the officials were decreed: purple for the 3rd and 4th rank officials; bright red for the 5th rank officials; green for the 6th and 7th rank officials; and blue for the 8th and 9th officials. 81In the Kaiyuan era (713 – 741 AD), slaves and the common soldiers also started to wear the scholar’s panling lanshan. A Tang dynasty man (middle) wearing a panling lanshan, notice the large horizontal band at the bottom of the robe. 81 Tang dynasty scholars and government officials wore long, red panling lanshan with long sleeves, accompanied by headwear called futou. Central Asian roundels which would run down at the center of the robe as a form of partial decoration. In the Tang dynasty, it was also popular for people to use fabrics, including brocade, to decorate the collars, sleeves and front of the yuanlingpao; this practice of clothing decoration is known as “partial decorations of gowns” and was influenced by the Sogdians of Central Asia, who had entered China since the Northern and Southern dynasties period. Almost all figurines and mural paintings depicting female court attendants dressed in men’s clothing are wearing Hufu. Robes with double overturned lapels and tight-fitting sleeves were known as kuapao, which originated from Central Asia. During this period, the yuanlingpao could be turned into a fanlingpao under the influence of Hufu by unbuttoning the robes, while the fanlingpao could be also be turned back into a yuanlingpao when buttoned. In some unearthed pottery figures wearing fanlingpao dating from the Tang dynasty, it was found that the yuanlingpao had three buttons on the collar. It was also popular to wear Hufu. During the Song dynasty, the official attire worn by Song court officials was the yuanlingpao with long, loose and broad sleeves. 3 The colours of the yuanlingpao were also regulated based on the official’s ranks. After the High Tang dynasty period, the influences of Hufu progressively started to fade and the clothing started to become increasingly loose. 275 Kerchief (typically futou), leather belt, and yudai (Chinese: 魚袋; lit. 3and a long line which divided the front part of the gown. Khitan men wore the Khitan-style yuanlingpao with a belt at their waist and trousers tucked into felt boots. Khitan-style yuanlingpao had both back and side slits, with the side slits located in the lower region of the robes. The back slits facilitated horse-riding and protected wearers’ legs from the cold. Some of them had no slits. After the establishment of the Ming dynasty, the emperor restored the old system of the Tang and Song dynasties. A Khitan guard wearing tight-sleeved yuanlingpao, Liao dynasty. The yuanlingpao and/or yuanlingshan were not typically worn alone; a sleeveless vest called dahu and an inner robe (either the tieli or zhishen) was commonly worn underneath. During the Ming dynasty, the yuanlingpao and yuanlingshan were also the most common form of attire for all genders, including officials and nobles. 64) and the fabric materials used. During an Imperial Funeral, Ming officers wore a grey-blue yuanlingshan without a Mandarin square, wujiaodai (Chinese: 烏角帶; pinyin: wūjiǎodài; lit. This set was known as Qingsufu (Chinese: 青素服). The front and back were symmetrical and the left and right were also largely symmetrical; there is a central line acting as the axis of this symmetry. The Ming dynasty yuanlingpao and yuanlingshan were typically characterized by the “cross-plane structure”, with the back and front being bounded by the middle seam of the sleeves. It also has side slits on the right and left side. The sleeves of the yuanlingshan are mostly in a style called pipaxiu (Chinese: 琵琶袖; pinyin: pípáxiù; lit. Men’s yuanlingpao and yuanlingshan also have side panels called anbai (Chinese: 暗擺; pinyin: ànbǎi; lit. It has a round collar without a high-standing collar which is secured with a button; it overlaps on the front side and closes at the right side in the youren-style, which follows the traditional Hanfu system. The “side ear” also allows for greater ease of movement and can increase the looseness of the robe. Ming Emperor wearing round-collar robes decorated with dragon roundels. These side panels are also referred to as “side ears” which are unique to the Ming dynasty’s yuanlingpao; this specific structure reflects the combination of Hanfu and attire of the Mongols, the ethnic minority. During the Qing dynasty, the Manchu rulers enforced the tifayifu policy along with 10 exemptions. This form of dress is called the longpao (i.e., the dragon robes). While qizhuang was worn in the dominant sphere of society – ritual and official locations, Hanfu continued to be worn in the subordinate societal sphere, such as in women’s quarters and theatres. Among the exempted people were the Han Chinese women, who were allowed to continue wearing the Ming-style Hanfu, and on-stage theatre performers. A woman’s wedding yuanlingshan, also known as mangao, closes with buttons on the right side. It was typically worn together with a skirt known as mangchu. The yuanlingpao of officials and nobles also served as a form of wedding attire for commoners. The groom wears a type of headwear known as wushamao and a yuanlingpao of a 9th-rank official. The bride wears a type of headwear known as fengguan and a red yuanlingpao or yuanlingshan with a xiapei of a noblewoman. During the rule of Queen Jindeok of Silla, Kim Chunchu personally travelled to the Tang dynasty to request for clothing and belts and voluntarily accepted the official uniform system of the Tang dynasty, which included the dallyeong among many other clothing items. Since then, the dallyeong continued to be worn until the end of Joseon. In the late Goryeo period, under the reign of King U, the dallyeong was adopted as an official gwanbok when the official uniform system of the Ming dynasty was imported. In Japan, the formal court attire for men and women was established by the start of the 8th century and was based on the court attire of the Tang dynasty. According to the Ming dynasty’s Government letter against Toyotomi Hideyoshi, the Ming Government bestowed on him a set of changfu (Chinese: 常服羅) containing a red yuanlingpao with qilin mandarin square (Chinese: 大紅織金胷背麒麟圓領), a dark blue dahu (Chinese: 青褡護), and a green tieli (Chinese: 綠貼裏). The initial shape of the wonsam worn by women from the 15th to 16th century was similar to the dallyeong and included the use of a collar which was similar to the dallyeong-style collar. A Chinese dragon can be found with 3, 4 or 5 claws. From ancient times to the Song dynasty, Chinese dragons were typically depicted with 3 claws. However, this fashion gradually faded away from their daily lives due to the clothing reforms decreed by the Nguyen lords. From the Ming dynasty, a Chinese dragon was defined as having 5 claws while the 4-clawed dragon was referred to as mang (python). There is a clear difference between the Dragon robe and mangfu. Zuoren refers to having the garment closing on the left side while youren refers to having the garments closing on the right side. See page Mangfu, Dragon robe, Japanese dragon for more details. In the Ming dynasty, officials were silk or leno silk. The ordinary civilians however wore coarse clothing made of cotton and linen. According to the Ming dynasty regulations officials ranking from the 1st to 4th grades wore red; the 5th to 7th wore green, and the 8th to 9th also wore green. Cambridge, United Kingdom: Cambridge University Press. Hua, Mei (2011). Chinese clothing (Updated ed.). International Journal of Arts Management. 유혜영 (1992). 돈황석굴벽화에 보이는 일반복식의 연구 (Doctoral Thesis). Wang, Xinyi; Colbert, François; Legoux, Renaud (2020). “From Niche Interest to Fashion Trend: Hanfu Clothing as a Rising Industry in China”. Proceedings of the 2nd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2018). Atlantis Press. Zhao, Qiwang (2020). “Western Cultural Factors in Robes of Wei, Jin, Southern and Northern Dynasties as Well as Sui and Tang Dynasties” (PDF). Wang, Fang (2018). “Study on Structure and Craft of Traditional Costumes of Edge” (PDF). 2018). Introduction to Chinese culture : cultural history, arts, festivals and rituals. Guobin Xu; Yanhui Chen; Lianhua Xu; et al., eds. Yang, Shuran; Yue, Li; Wang, Xiaogang (2021-08-01). “Study on the structure and virtual model of “xiezhi” gown in Ming dynasty”. Michael Dillon, ed. (1998). China : a historical and cultural dictionary. 1986 (1): 012116. Bibcode:2021JPhCS1986a2116Y. Journal of Physics: Conference Series. New Haven, Conn.: Yale University Press. Dien, Albert E. (2007). Six dynasties civilization. 2013). Migration and membership regimes in global and historical perspective : an introduction. Ulbe Bosma; Kh Kessler; Leo Lucassen, eds. Yatsenko, Sergey A. (2012). “Sogdian Costume in Chinese and Sogdian Art of the 6th-8th centuries”. G. Malinowski, A. Paron, B. Szmoniewski, Wroclaw (1 ed.). Serica – Da Qin, Studies in Archaeology, Philology and History on Sino-Western Relations. Cambridge University Press. pp. 李竹润., 王德华., 顾映晨. Holcombe, Charles (2018). A history of East Asia : from the origins of civilization to the twenty-first century. Chen, Bu Yun (2013). Dressing for the Times: Fashion in Tang Dynasty China (618-907) (Thesis). Beijing: Wu zhou chuan bo chu ban she. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Ka Shing, Charles Ko (2014-01-01). “The Development of Academic Dress in China”. Transactions of the Burgon Society. San Francisco, CA: China Books & Periodicals. Yang, Shao-yun (2017). Chen, BuYun (ed.). James C. Y. Watt, ed. Zhao, Qiwang (2019). “The Origin of Partial Decorations in Gowns of the Northern Qi and Tang Dynasties”. New York: Metropolitan Museum of Art. 2004). China : dawn of a golden age, 200-750 AD. Zhang, Qizhi (2015). An introduction to Chinese history and culture. Zhu, Ruixin; Bangwei Zhang; Fusheng Liu; Chongbang Cai; Zengyu Wang (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties (Updated ed.). Cambridge, United Kingdom: Cambridge University Press. Tackett, Nicolas (2017). The origins of the Chinese nation : Song China and the forging of an East Asian world order. Cambridge, United Kingdom: Cambridge University Press. Wang, Guojun (2019). “Absent Presence: Costuming and Identity in the Qing Drama A Ten-Thousand Li Reunion”. Harvard Journal of Asiatic Studies. 79 (1): 97-130. doi:10.1353/jas.2019.0005. Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Advances in Social Science, Education and Humanities Research. Vol. 368. Atlantis Press. Kyunghee Pyun; Aida Yuen Wong, eds. Su, Wenhao (2019). “Study on the Inheritance and Cultural Creation of Manchu Qipao Culture”. 2018). Fashion, identity, and power in modern Asia. Cham, Switzerland: Springer. p. Journal of the Korean Society of Clothing and Textiles. Ju-Ri, Yu; Jeong-Mee, Kim (2006). “A Study on Costume Culture Interchange Resulting from Political Factors”. Choi, Eunsoo. “Dallyeong (團領)”. Encyclopedia of Korean Folk Culture. Lim, Hyunjoo; Cho, Hyosook (2013). “A Study on the Periodic Characteristics of Wonsam in the Joseon Dynasty”. Journal of the Korean Society of Costume. Mineola, N.Y.: Dover Publications, Inc. p. Haruo Shirane, ed. (2012). Traditional Japanese literature: an anthology, beginnings to 1600 (Abridged ed.). Yarwood, Doreen (2011). Illustrated encyclopedia of world costume. Nguyen, Hannah (2020-06-14). “Weaving a Realm: Bilingual book introduces Vietnam’s costumes from the 15th century”. This page was last edited on 2 November 2024, at 16:44 (UTC). New York: Columbia University Press. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. 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Representation matters, but the piece of the puzzle that’s missing is the freedom to represent no one but yourself. To be an individual and all that comes with it, writes Preyanka Gothanayagi. As a southeast Asian immigrant living in New Zealand, I’m used to being a cultural ambassador. I’ve had a lifetime of fielding many, many curious questions (“What’s the significance of Diwali?” “Do your parents own a dairy?”) – so much so that I’ve learned the answers by rote. It was part and parcel of growing up in Aotearoa in the early 2000s, and I’ve always accepted it as the unspoken price of admittance. It’s only as an adult that I, and others, have begun to talk about what this experience was actually like. But nothing speaks louder than the art we create. I first discovered artist Abhi Chinniah on LinkedIn (yes, really), and immediately became obsessed with her work. Individual backgrounds, individual experiences and individual identity. A collection of her pieces, titled A Migrant’s Path, is currently on display at the New Zealand National Portrait Gallery, Te Pūkenga Whakaata, and it’s a direct response to the ways in which we silence ourselves. In direct contrast to the broad cultural representation I’ve always felt shoehorned into, her art is all about the individual. Colourism isn’t something we talk about much in Aotearoa. We’ve at least opened the conversation on racism, but colourism remains pervasive in part because it exists in quieter spaces, while we as a country hash out other issues. And we don’t talk about it, or the scars it’s inflicted. Much of the overt colourism we face comes from within our own diaspora communities, whether as a holdover from a colonial past, or something much older. The first part of Chinniah’s collection, from a body of work called Melanin Rising, challenges our collective – and my personal – silence. It’s a hard concept to explain to friends who have never even heard about Fair and Lovely cream. It’s a powerful statement, centring people who have been “othered” squarely within distinctive landscapes of New Zealand, allowing them to express all the elements of their identity. It’s also powerful that these individuals take front and centre both literally and metaphorically – there’s no sense of the person behind the camera. Chinniah later told me that each photograph was the result of a deep and trusting relationship. The exhibition opens with six larger-than-life portraits of six individuals, each wearing the cultural attire of their heritage, each photographed outdoors. Each person chose what they wore, and the accompanying essay, detailing their experiences with colourism, was entirely their own. It was the inverse of so many, many examples of photography where the subject becomes an object, and the work belongs to the photographer alone. Instead, here was community and belonging, captured in small details. The dying sun painting black hair gold. A twisted native tree framing a deep blue headdress. A pounamu necklace sitting alongside a gold pendant. Toi toi dancing behind the hanfu of a fifth-generation New Zealander, who is still asked “No, where are you from really? ” Each portrait contains multitudes to soak in. The pallu of a sari draped across the long grass. The phrase “representation matters” has been used so many times that it’s begun to lose its original meaning. Now that we have heroes and heroines who look like us on big screens and small (see: Simone Ashley), there’s a sense that we’ve made it; we’re there now. To be an individual, and all that comes with it. But the piece of the puzzle that’s missing is the freedom to represent no one but yourself. “You know, you’re doing it for all of us,” I overheard an uncle say to Chinniah. That’s what Chinniah’s work speaks to, whether we like it or not. The second part of the exhibition was a series of short stories and accompanying images about the way certain cultures treat mental health. “I don’t want to do it for everyone,” Chinniah replied, clearly startled. Spoiler alert: we don’t do it well. Abhi’s series No. 13 explores the ways people lose themselves, when they fall through the cracks of community. It’s darker and more surreal – but somehow also more hopeful. One that fluidly switches between different traditions and four languages, where keeping up appearances is a survival instinct. Bharatanatyam, a classical South Indian dance form, is performed to Erik Satie’s haunting ‘Gnossienne No.1’ – representing the grief and madness of a woman cut loose from the safety of family. A fabric hoop, made from pieces of cloth with sentimental meaning, is a portal between the past and the present. I didn’t realise before visiting the gallery that Chinniah’s background is so similar to my own – we’re both from Sri Lankan Tamil Malaysian families, and I immediately recognised the world she was writing in. It’s less straightforward than Melanin Rising, but also more personal to the artist – you can feel that these pieces are part of her working through her own past, for a brighter future. It’s what a lot of third-culture kids do – now we’ve reached a level of safety in Aotearoa, we unravel the intergenerational trauma that our parents refuse to acknowledge. No. 13 is all about what we do and don’t say, to ourselves and one another. And it’s clear that Abhi Chinniah, in her art, can no longer stay silent about any of it. Her work is evidence of a new norm in Aotearoa – one that blends belonging and identity, creating a new path forward. And in my favourite image of them all, a cacophony of marigolds eats a woman’s head. It’s a narrative that challenges the fact that even in the most recent census, there was a “New Zealand European” ethnic category, but not a “New Zealand Chinese”. An address of the monoliths and stereotypes we’re reduced to – that maybe, we’ve internalised. Because we are here. A defence of the individual. I can’t tell you how many times I’ve visited her exhibition, bringing friends and family to experience the same thing I have. We just are. This collection speaks to that, and Chinniah fought to make it happen. Over the past few weeks, we’ve had new conversations and opened old wounds – we’ve been moved by art that feels almost just for us. In a world where I don’t see myself often, Te Pūkenga Whakaata turned its walls into mirrors.
Peony Perfume Persists: The New Frontier of Scented Garments In the heart of China’s Shandong province, a quiet revolution is taking place. The ancient city of Heze (菏泽), long renowned for its peonies, is now at the forefront of a technological breakthrough that’s set to redefine the intersection of tradition and innovation in the world of fashion. At a recent women’s handicraft exhibition, all eyes were drawn to an extraordinary display from Cao County, Heze. A skirt that seemed to bridge centuries, combining the timeless elegance of traditional Chinese hanfu with cutting-edge textile technology. This wasn’t just any skirt – it was a garment woven from peony fibers, infused with a fragrance that could last for two years. The star of the show? Yao Chihang, the visionary behind the “Luo Ruyan” hanfu brand, chinese traditional cloth beamed with pride as she explained the intricate process behind this marvel. This innovation isn’t just a novelty; it’s a testament to the potential of merging ancient craftsmanship with modern technology.
Nowadays, more and more people are trying to make hanfu by themselves, and with the development of productivity, there are many new cloths that can be applied in hanfu making. But as long as we fully grasp the characteristics of these fabrics, the new fabrics can also be well used in the hanfu, based on following the shape of the hanfu. These new materials are used in the production of hanfu, which some people find inappropriate and feel that hanfu should be made entirely from materials already available in ancient China, wei jin dynasty hanfu and not from new fabrics that have emerged in modern times. Chiffon is a chemical fiber fabric similar in style to silk fabrics, light, breathable, easy to wash, inexpensive, and so on, and the thickness of different chiffon also varies, a large number of choices, popular with everyone, very suitable for making summer clothes. Next, let’s take a look at the pros and cons of some new cloth in Chinese hanfu making! Lace as a very good-looking fabric, at first used mostly for lace, but nowadays it is also very popular practice to make the whole dress with lace, it is not only a good-looking pattern, but also breathable and thin, used to make hanfu is also very suitable, can add some bright colors to the lower skirt. This fabric is very popular with everyone. This fabric is easier to wash, just take care to hand wash it carefully. The woolen cloth is a kind of woven fabric made of wool, cashmere, and other materials, there is a difference between worsted wool and rough wool, there are many kinds, suitable for autumn and winter wear, has the function of windproof and warm, but not conducive to washing. Corduroy, a fabric with longitudinal strips of fleece, has always been a favorite of many hanfu makers. Cuprammonium is a biodegradable, environmentally friendly fabric extracted from plants, with a silky feel, warm in winter and cool in summer, not easy to generate static electricity, soft and skin-friendly, and as new fabric, very popular with everyone. But this fabric also has the disadvantage of being easily soiled and not conducive to washing. Compared to other fabrics, coral fleece is actually more suitable for lining. For fall and winter, make an Ao (袄) or Bijia (比甲) with corduroy that is not only comfortable to touch, but also warm. It’s just that it’s prone to static electricity and absorbs too much water during washing, which is not much of a problem compared to its benefits. This colorful, extremely skin-friendly, lint-resistant, traditional chinese clothing for women and inexpensive fabric is very comfortable and warm when applied to the lining of an Ao or Bijia. There are also a very large number of fabrics that have appeared in modern times that cannot be recounted due to the length of the article. Although they are not as beautiful and skin-friendly as silk fabrics, they are convenient and inexpensive, and can also be used as cloth in Chinese hanfu making. In fact, the fabric of hanfu can not only choose cotton and linen silk, and other fabrics, but modern these emerging fabrics are also beautiful, can also be used in the production of hanfu. So you don’t have to worry about whether or not the cloth in Chinese hanfu can be used in modern fabric!
As long as it’s convenient, and as much as you like, it’s the best.