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.

Hanfu is the traditional Chinese costume and attire worn by the Han ethnic group. Three thousand years ago, when it first showed up in China, Hanfu robes were said to have belonged to ancient China’s famous Yellow Emperor, an enlightened ruler. Even though casual clothing like Zhongshan suits is more useful in current times, the Hanfu is regaining favour among young people in China these days. It has been a significant part of Han culture, and it remains a foundation to comprehending China’s traditional values. An ankle-length tunic and narrow-cuffed, knee-length skirt were paired with a bixi, a long, loosely-fitting piece of cloth that reached the knees, to form the Hanfu. Hanfu is made up of what? The Yi was worn over the change, and the bixi was worn over the ankle-length tunic. Since its inception, Han-Chinese apparel has undergone several transformations to keep pace with the changes. Silk scarves in red and green were on display. How can wear Hanfu in different ways? Underwear, an inner garment, traditional han chinese clothing and an overcoat make up a Han Chinese Garment set. Three layers of fabric cover 10 components: the sleeve, collar, hem, lapel, and belt. We can wear Hanfu in different ways. In addition, Hanfu practitioners wear socks, shawls, and jade belts. The jacket and shirt, the one-piece dress, or the jacket and pants are the three most common types of Hanfu. The jacket and skirt are the most basic form. The jacket and skirt, on the other hand, were popular with women. In time, robes replaced traditional attire. In addition, men wore ornate hats and ladies wore hairpieces to complete the appearance. The Hanfu style may vary from the bright and spectacular to the basic and humble, based on the dynasty and historical period. It is the goal of the Hanfu Movement to bring traditional Chinese costume design aspects into contemporary garment designs in order to raise awareness of Chinese culture, particularly among China’s young. Hair and make-up trends change with the era. In general, children’s Hanfu dress resembled that of their parents. For youngsters, cross-collar designs were chosen since they were thought to be soothing on their skin. Children wore a lot of separates, such shuhe (a cross-collared shirt with long sleeves and a pair of tied-waist pants). Banbi (a half-sleeved jacket) was also worn by itself. Why do Chinese Prefer to Wear Hanfu? Members of the Hanfu Society at several universities in China wear Hanfu to celebrate Chinese holidays, and they take this occasion to show their Hanfu clothing to others. Is it possible to sew Hanfu dress at home? A strong feeling of national identification seems to be gained by wearing Hanfu. The Hanfu garment is most often used as a costume piece. You can make a Hanfu dress at home just by following simple steps. The Hanfu dress is a traditional Chinese costume that you may build by yourself to celebrate Chinese culture or to attend a fancy dress party. Create a Hanfu dress template that contains the robe, cuffs, belt, overlap (lapel pieces that hang on the borders of the front of the robe), and collar, as well as the measurements for each item. In order to create the robe, draw an 80 by 18-inch rectangle on the paper. The sleeves of the robe should be 40 inches long and 18 inches broad. Right sides together, pin the cloth to the pattern pieces. The first design requires two parts, the second requires two, and the third calls for six pieces. Measure 40-inches long by 9-inches broad to make your collar and belt, as well as the overlap. Flip the robe and sleeve pattern pieces, then fold them in half, lengthwise, starting with the first. When you’re ready to unfold the cloth, make a pencil mark on the backside of the fold line. Assemble the robe by sewing the individual parts together with a stitching line of ½ inch. Make sure that the fold lines on the sleeve pieces and the robe pieces match properly. Stitch them together after pinning them first. Remove the stitching margins and inspect the garment. Fold the third pattern’s overlap sections in half. Attach each component by sewing it within the robe’s edges. You may use a pencil to make an outline where that measurement meets the overlap points on your robe. Your hip-to-shoulder measurement is the most important one. Remove this piece of cloth from the rest of the garment. In this case, you’ll need to add two inches to the right, four inches straight down, and a diagonal line to join to the left overlap point. A half-inch of the collar’s edge should be left open. The collar parts should be folded and sewn in place. Assemble your robe with the robe’s cutout from Step 5. It is important to align the collar’s centre to the robe’s centre. Attach the robe’s collar using thread and a needle. The cuffs should be folded in half to make them easier to put on. It is best to sew all of your robe’s collar and cuffs inside of it. Fold the robe’s hem in half and press it under again. Sew the Hanfu dress cuffs onto the ends of the sleeves. Make sure the hem is sewn down. If the hemline is too long, shorten it. Fold the exposed edge of the belt inside and out. It’s best to stitch along the long side of the belt. Steam the belt. Wear your Hanfu dress with the belt around your waist. Sew down the ragged edge. Crossed-collar with the right pattern, ropes around the waist, and loose-fitting garments with long, broad sleeves are the three defining characteristics of Hanfu. Hanfu may easily be identified due to its distinct appearance. People could readily tie their clothing thanks to the tie strings on the left and right fronts of the garments. In the first characteristic, Hanfu’s left and right shawl collars are crossed in a “crossed-collar” style. Also, the Right Design refers to the particular pattern in which one lapel covers another. In the second characteristic, Ties with strings and hidden buckles are known as Hanfu. Many nations in East Asia still use this form of dress, however other ethnic groups use both the Left and Right Patterns, but Hanfu only recognises the Right Pattern as an official option. There are very few buttons on Hanfu garments, in contrast to the present trend. It is not true, Hanfu has “buttons” that we refer to as “Hidden Buckles”. There is a common misconception that Hanfu wore a tie because buttons were not yet developed. In the third characteristic, Hanfu’s tiny and short sleeves make it ideal for school and work. Hanfu formal gowns are known for their long, broad sleeves. The sleeves of Hanfu are longer than the arms when worn with this kind of garment. When a shirt’s collar is tucked into the sleeve, a fabric knot button known as a Hidden Buckle may be found within. If you’re going for the “Shenyi” style, for example, you’re going to need sleeves that are at least four feet wide and almost to the ground. Wearing a Hanfu may help a person to become stylish and behave in a dignified manner, even though Hanfu is uncomfortable to wear on a daily basis. In today’s market, Hanfu is becoming more expensive as its price rises. Where I Can Buy A Hanfu Dress? Online stores have also increased their prices of Hanfu dresses. But I’m going to tell you about an online store where you can get a Hanfu outfit at an affordable price. The name of this online store is New Hanfu Store. It gives Hanfu dress at a very reasonable price with a great quality of fabric and design. Women’s 3-piece Song-style fashion Hanfu set. Let’s have a look at some of their top products. The combination of a large peony bloom with an anime fairy pattern is stunning and endearing. Light chiffon and polyester make up the fabric. This Hanfu Dress is very comfortable and breathable. Review of this item: Wearing this attire makes you comfortable and you look great. Women’s bright 4-piece Hanfu outfit in a casual design. Make your next vacation even more special with this lovely and adorable Song pattern design. Review of this item: It’s a stunning piece of clothing with a unique design. Women’s ruqun Hanfu in the style of vintage Wuxia. Flower embroidery and dew prints with a rainbow-coloured pattern make this a lovely piece. It comes in green or pink and has adorable cotton rose blossom embroidery. Silk and chiffon combine to create this airy dress. It has a silky feel and allows for plenty of airflow. It’s worth the money. Ruqun Hanfu printed with a retro bamboo motif for everyday use. Review of this item: The fabric of this Hanfu dress is light but not fragile, and the embellishments, such as the floral embroidery and the belt, give refinement. Elegant and modest, the design has a blue shading from bright to dark. You can wear it on vacation, too. Review of this item: Comfortable and flattering, it’s a great choice. Hanfu fans will appreciate these Wuxia-inspired pair outfits. If you’re looking to buy a present for your BF&GF or closest pals, this is an excellent option. Review of this item: It is very easy to wear and has a great design. 3D printing of the iconic Crane Tower in beautiful gradient tones. Vintage Chinese sea dragon totem Hanfu robe for men in the Loong motif. Elegant and simple, it comes in white and light marine blue. For young girls and boys, this is a must-have accessory. Review of this item: This dress’s material is very soft and supple. It’s hard to believe how appealing the colour combination is. Hanfu outfit for an eternal swordsman in the classic style. Simple but elegant embroideries based on an antique Chinese landscape picture. It’s a mix of white, light grey, and yellow-grey tint. Everything about it radiates grace and elegance. Review of this item: This Hanfu garment has a gorgeous and exquisite pattern embroidery. In China, Hanfu is a symbol of traditional culture and an item of traditional clothing. Like China’s glorious history, it’s still shining brightly now despite its former invisibility. Today’s China, which is open and welcoming, all visitors. Furthermore, we think that wearing traditional Chinese Hanfu costumes would provide you with a fresh perspective on Chinese culture.

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A blangkon (Javanese: ꦧ꧀ꦭꦁꦏꦺꦴꦤ꧀) or belangkon (in Indonesian) is a traditional Javanese headgear worn by men and made of batik fabric. There are four types of blangkons, distinguished by the shapes and regional Javanese origin: Ngayogyakarta, Surakarta, Kedu, and Banyumasan. It is believed that blangkon may be as old as the Javanese script, and inspired from the legendary story of Aji Saka. Aji Saka was also believed to be the founder of the Javanese calendar. In the story, Aji Saka defeated Dewata Cengkar, a giant who owned the land of Java, by spreading a giant piece of headdress that could cover the entire land of Java. Another theory is that the use of blangkon was adopted by the Javanese due to the combined influence of local Hindu and Islamic culture. Agung, Firdaus. “Blangkon di Antara Asal-usul dan Simbol”. The Muslim traders who entered Java were people from various places, including mainland Arab and Gujarati regions, and the blangkon is sometimes believed to be adapted from turbans; however, this is unlikely because the story of Aji Saka itself predates the arrival of Islam in Java. Tifani (2022-07-13). “4 Teori Asal-Usul Blangkon, Penutup Kepala Pria Khas Jawa”. This Indonesia-related article is a stub. This clothing-related article is a stub. You can help Wikipedia by expanding it. You can help Wikipedia by expanding it. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. This page was last edited on 21 November 2024, at 03:27 (UTC). Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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