The Hanfu, literally translating to the clothing of the Han people, is not just a garment-it’s a cultural icon encapsulating the ethos of ancient Chinese society. Hanfu has traversed time, from its origins during the prime of imperial dynasties to its repression in a China eager to modernize, and now its remarkable revival. In its fabric, weave, and flow lies a story of a civilization that has influenced the modern fashion world profoundly. This cultural phoenix’s rise in the 21st century is more than a fashion statement; it’s a blend of heritage and aesthetic, of old-world charm and contemporary sensibility. A vestige of grandeur, the hanfu has played a pivotal role in China’s tapestry of tradition for centuries. Come 21st century, this garment has experienced a renaissance as a symbol of cultural pride. Yet, Jul 24, 2023, marked a turning point in the life of hanfu, as China made choices that zipped the nation forward, leaving behind the weighty cloak of empire and its most tangible artifact-the hanfu. Hanfu today isn’t just for the occasional costume play; it has seeped into weddings, festivals, and, surprisingly to some, everyday attire. Indulge in the elegance of ancient Chinese fashion with the Women’s Chinese Hanfu Qixiong Ruqun Sheer Top Tube Dress Outfit, an exquisite embodiment of Tang Dynasty traditional apparel. Through social movements like Hanfu Hong Kong, younger generations find solace in the elegance of their ancestral threads-a reclamation that’s about cultural identity and personal expression. Purple, lending a regal and enchanting aura to anyone who wears it. Sized in Large (L), this traditional outfit is tailored to fit comfortably while accentuating the beauty of feminine curves. The delicate sheer top gracefully flutters with every movement while the distinct tube dress design pays homage to the classic Qixiong style, which was revered for its flattering high-waisted silhouette and flowing lines. Intricate detailing and authentic patterns adorn the dress, showcasing meticulous craftsmanship and a deep respect for historical accuracy. The sheer fabric of the top layer adds a touch of mystique, allowing for a subtle play of light and shadow to enhance the overall aesthetic. Crafted from premium materials, the Hanfu outfit ensures both durability and a soft, comfortable fit, making it ideal for cultural festivals, historical reenactments, or theatrical performances. Whether you’re attending a themed event or simply appreciate the rich cultural heritage of the Tang Dynasty, this Hanfu costume is sure to turn heads and bring the opulence of ancient China to life. Delving into hanfu’s fabrics, one resurfaces with stories of mulberry-harvested silk and the shimmer of satin, each material selected with purposed intent to confer status, occasion, or even ethereal beauty to the wearer. Any hanfu connoisseur will tell you that fabric choice and design are far from mere aesthetic decisions-they are narratives woven in silk and brocade. They are not just decorations; they are emblems of philosophy, nature, and myth, turned motifs that adorn individuals with more than just garb, but stories and ideals. In the kaleidoscope of hanfu designs, each pattern-whether it be the noble dragon, the nimble phoenix, or the serene lotus-speaks volumes. Emperors would dazzle themselves in dragon-embroidered longpao, while scholars might prefer the simplicity of the shenyi-a wraparound robe that emanates scholarly austerity. Today, hanfu enthusiasts revel in the panoply of styles that echo ancient mores, yet speak a contemporary language. Ancient China’s wardrobe was an open lexicon of one’s societal pedestal. From the regal robes fit for a sage-born ruler to the artfully tailored attire of a merchant-class fashionista, hanfu’s aesthetic continues to expand and include a spectrum of identities in present-day fashion dialogues. Modern hanfu renditions remain loyal to their hierarchical roots while allowing for personal touches. Amidst a burgeoning global interest in China’s past, pioneering designers and brands have taken up the mantle to navigate hanfu through the waters of international haute couture. Brands like Guzhuang have not just reinvented tradition-they have catapulted it onto the world stage, effortlessly being spoken of in the same breath as shifts in global fashion trends, such as those involving Demna Gvasalia’s geometrical valiance or Stella McCartney’s eco-conscious purity. Gia Kim, a celebrated hanfu creator, contours the classic lines with modern tailoring, sewing history onto the global catwalk, her collections being a testament to the fact that ancient beauty transcends time and place. The Ez sofei Women Chinese Traditional Ancient Stage Performance Costume Hanfu Dress is a beautifully crafted attire that embodies the elegance and cultural heritage of ancient China. This exquisite green Hanfu dress, available in size large, is designed to capture the grace of traditional Chinese fashion, making it an ideal choice for stage performances, cultural festivals, and historical reenactments. Accented with intricate patterns and delicate embroidery, the dress features a flowing silhouette that allows for graceful movement, echoing the poise of ancient Chinese nobility. Crafted from premium quality fabrics, the Ez sofei Hanfu dress is both comfortable to wear and visually stunning. The ensemble typically includes a full-length skirt and a coordinating top that highlights the distinctive cross-collar design, which is synonymous with Hanfu clothing. Thoughtful details such as the wide sleeves and tie closures add authenticity to the costume, ensuring wearers will stand out in their portrayal of Chinese tradition. Whether you’re an actress, dancer, or enthusiast of historical attire, this Hanfu dress is designed to offer a true sense of immersion into the world of ancient Chinese culture. Offline, events like the Hanfu Culture Festival, bringing together legions of aficionados, showcase the rich history and ongoing evolution of these garments. This resurgence has also been galvanized by new celebrations and rituals where people deck out in hanfu and partake in recitals of ancient poetry, tea ceremonies, and traditional music gatherings that were once at the brink of fading into silence. The digital age has acted as a catalyst for the hanfu movement, knitting together an intricate tapestry of enthusiasts that span the globe through social media and online forums. It’s a melodic and visual ode to the past, harmonized perfectly with today’s cultural fabric. Yet, the equilibrium they’ve found has led to something spectacular-modern hanfu that complements the cosmopolitan lifestyles of today’s trendsetters. Striking the right balance between staying true to tradition and embracing the new has seen designers walking a tightrope. This is not just about keeping the spirit alive; it’s about letting it dance fervently to the rhythm of innovation. Today, one might find hanfu spun with eco-friendly fibers, or patterns that pay homage to classical art intermingling with designs that capture the pulsating life of modern cities. In the halls of fiction and drama, hanfu has clothed not just the characters but also the very essence of narrative. Explorations within film, like those where The Witcher season 3 cast dons fantasy garments, speak to a wider audience of hanfu’s potential. Each stitch in a hanfu serves as a delicate spindle, spinning yarns of epic tales and epochal lore. It’s where the whisper of history meets the bold declamations of the contemporary-a stance that resonates deeply with a demographic forging a future in respectful nod to the past. Costume designers, from small theatres to the sprawling sets of international blockbusters, approach hanfu as both a challenge and a chance to connect with a legacy that extends beyond borders. Their craft becomes a conduit through which history is not only retold but also reimagined-resurrected anew in each scene and act. The KUFEIUP Women’s Ancient Chinese Traditional Hanfu Dress is a beautifully crafted ensemble that exudes elegance and historical charm. Sporting a delicate pink and light blue color scheme, this outfit is made from premium fabric that promises both comfort and style, transporting anyone who wears it back to the dynastic periods of Chinese history. The set includes a cardigan top and a flowy long skirt, each piece designed to pay homage to the exquisite traditional attire of ancient China. Perfect for cultural events, festivals, or as a unique addition to your wardrobe, the Medium size is tailored to fit gracefully, providing an authentic and flattering silhouette. Attention to detail is evident in every aspect of the Hanfu dress, with the cardigan featuring traditional Chinese knot buttons and flowing sleeves that enhance the outfit’s historical authenticity. The long skirt complements the top with its broad waistband that ensures a secure fit while allowing ease of movement. It is not merely a costume but a celebration of cultural heritage, offering wearers a chance to experience the beauty and grace of ancient Chinese fashion. The sanctity of marriage and the jubilance of celebrations find a reflective surface in hanfu. Whether you’re performing a classical dance, attending a cosplay event, or just appreciating traditional outfits, this Hanfu dress by KUFEIUP will turn heads with its timeless elegance and vibrant palette. Weddings arrayed in hanfu forge connubial imagery that is nothing short of a time-traveling experience, where couple and guest alike are ensconced in the elegance of bygone eras, allowing tradition to bless and bear witness to modern love narratives. First-hand testimonies from newlyweds who chose hanfu, show a penchant for incorporating something uniquely personal and culturally resonant into their special day-a fitting homage to the threads that bind individuals not just in matrimony but in the fabric of an extensive cultural tapestry. Lavish garments like hanfu deserve equally remarkable complements-and the panoply of accessories serves just that purpose. Contemporary jewelers and accessory designers look to hanfu for a muse, seeing it as a wellspring of inspiration that’s both inexhaustible and intriguing. From the hairpins reminiscent of a moonlit walk in ancient courtyards to the modern iterations of the elizabethan collar, accessories carry on the dialogue between the old and the new. They reinterpret traditional ornaments with a modern twist, crafting pieces that can adorn a hanfu or a blazer with equal grace. As the threads of globalization grow ever tighter, the hanfu trend shows no sign of unraveling. The fascinating intersection of hanfu with emerging technologies in textile manufacturing, injected with the genius of avant-garde designers, promises a vibrant kaleidoscope for the hanfu future. Predictive models envisage hanfu adapting ergonomic design, incorporating smart textile technology, and more importantly, shaping an inclusive narrative that transcends ethnicity and geography. Thought leaders and fashion futurists foresee hanfu breaking from its niche cocoon and fluttering into the broader sartorial consciousness. It may well become a wearable symbol of human heritage, a conversation between the arcs of history and the lines of latitude and longitude that map our world. The hanfu is more than a sum of its fabrics, patterns, and cuts-it is a testament to cultural resilience. Through the resurgence of hanfu, we glance back at the rich tapestry of Chinese civilization and forward to how heritage can interlace with future aspirations. The spread of hanfu from emperors to enthusiasts and onto the global stage speaks of an allure that’s transcendent, dynamic, and unequivocally timeless. This resurgence of the hanfu is a tapestry of triumph for tradition amidst modernity, a silhouette of the past casting a graceful shadow ahead into the future. With each hem and fold, hanfu continues to wrap history around the present, nourishing a legacy that endures and evolves-one knot, one stitch, one robe at a time. Hanfu, with its graceful flow and rich cultural heritage, seems to dance through the annals of history. In an engaging twist of trivia, did you know that the traditional attire, while steeped in centuries of tradition, can still hold its own in the face of modern cinematic appeal? Such a sartorial choice could certainly lend a story a regal air akin to the sagas of dynastic China. Imagine for a moment, swapping out the glitz of a possible hangover 4 adventure for the serene elegance of hanfu-inspired costumes weaving through a tale of historical intrigue. Much like the thrilling unpredictability of man city Vs liverpool, every stitch and pattern of hanfu tells a unique story of its own, sometimes revealing social status or regional distinctions in its intricate designs. As you dive deeper into the folds of hanfu’s timeless fabric, consider the unexpected parallels drawn with the unpredictable outcomes of gripping sports clashes. This spontaneity in history mirrors the exhilarating suspense one feels in the final minutes of a tied match, keeping spectators on the edges of their seats. There’s no denying the magnetism of hanfu’s aesthetic, something that rising stars and legal eagles like Dasha Nekrasova could attest to, embodying both dramatic presence and a deep-rooted sense of tradition. And just when you thought you had hanfu pinned down, it surprises you with its versatility; capable of embodying the dramatic flair of Madea family funeral cast characters, or the steadfast determination of a seasoned lawyer like Creighton waters. So next time you see the delicate silk of a hanfu robe, remember the multifaceted stories it carries, as rich and diverse as the history of China itself. The Oligage Hanfu Wig Headband is an exquisite accessory designed for women who wish to embrace the elegance of traditional Chinese hairstyles with a modern twist. This hair piece embodies the essence of antique Chinese hair styling, perfect for cosplay events, cultural festivals, or themed parties. The FG color variant complements a range of complexions, ensuring that the headband adds a touch of grace to any ensemble. Its premium black fibers are intricately woven to create a sophisticated and authentic look, matching effortlessly with a variety of Hanfu dresses and classical attire. This headdress is not only a fashion statement but also a nod to historic Chinese beauty standards, allowing wearers to showcase a unique and artistic hairstyle without the need for professional styling skills. Its durable materials ensure longevity and repeated use, making it a go-to accessory for any occasion that calls for a dash of cultural flair. Crafted for comfort and ease of use, the Oligage Hanfu Wig Headband comes equipped with a discreet and adjustable cosplay pad that securely fits around the head, providing a stable base for the hairpiece. Whether used for performance or as a distinctive addition to an outfit, this hair accessory is sure to turn heads and enhance the beauty of anyone who wears it.

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What is “Hanfu”? According to Dictionary of Old Chinese Clothing, the term hanfu literally means “Clothing of the Han People.” Chinese researcher Hua Mei, interviewed by student advocates of the Hanfu Movement in 2007, recognizes that defining hanfu is no simple matter, as there was no uniform style of Chinese fashion throughout the millennia of its history. Because of its constant evolution, she questions which period’s style can rightly be regarded as traditional. Zhou Xing, cultural anthropologist and professor at Aichi University, states that the term hanfu was not commonly used in ancient times, and referred to some of the costumes worn by Hanfu Movement participants as being historically inaccurate, as they contain modern design elements. Nonetheless, she explains that hanfu has historically been used to broadly refer to indigenous Chinese clothing in general. Like Hua, he noted that the term hanfu classically referred to the clothing worn by Han people in general, but he argued that there are differences between historical hanfu and the contemporary hanfu introduced by some participants of the movement. The Movement of Hanfu The broadly agreed modern Hanfu Movement may have begun around 2003. In November 2003, Wang Letian from Zhengzhou, China, publicly wore home-made shenyi-style hanfu. Wang Letian and his followers inspired others to reflect on the cultural identity of Han Chinese. In the same year of 2003, cheongsam bridal gown supporters of Hanfu Movement launched the website Hanwang to promote “traditional Han clothing”. They initiated the Hanfu Movement as an initiative in a broader effort to stimulate a Han Chinese cultural renaissance. Hanfu enthusiasts around the year 2003 started wearing hanfu in public, building communities of Hanfu enthusiasts and organized activities related to hanfu and traditional Chinese culture. In the early years of the Hanfu Movement, there were no existing stores to purchase hanfu. They made hanfu in small quantities, and mainly relied on hanfu forums and enthusiasts communities to advertise their products. As such, the first manufacturers and sellers of Hanfu were the early Hanfu enthusiasts who processed the necessary skills to DIY hanfu by themselves. Around the year 2005, the first online hanfu store appeared. In 2013, the first Xitang Hanfu Culture Week was held in the city of Xitang, Zhejiang province. Since then, more and more hanfu stores emerged both online and offline. Since then, it has been held successfully in subsequent years and is continue to be held annually. By 2020, according to a study done by Forward Industry Research Institute (a Chinese research institute), the number of hanfu enthusiasts in China has reached 5.163 million, creating a market size equivalent to 6.36 billion yuan (US$980 million), a proportional increase of over 40% compared to the previous year. Nowadays, the hanfu is gaining recognition as the traditional clothing of the Han ethnic group, and has experienced a growing fashion revival among young Han Chinese people in China and in the overseas Chinese diaspora.

Anyway, 2NE1 Crush album is keepin me awake, so it’s all good for now. Week 3 of KPA was K-Fashion or rather traditional fashion. Starting first with the Korean Hanbok. The modern Hanbok, worn as semi-formal or formal wear during traditional festivals and celebrations in modern day Korea, is a direct descendant of hanbok as worn during Korea’s Chosun Dynasty. In any case for my Week 3 MISSION, I decided to do a comparison between traditional Korean, Japanese and Chinese clothing. There are different types of Hanbok for women, men and children as well as further differences in the differentiation of class and status as would have been relevant in earlier Korean history. During the 500 years under the reign of Chosun Kings, the hanbok has undergone various changes, eventually evoloving to what may now be recognized as a typical Hanbok. Men’s Hanbok differs only in that instead of a chima, baji (pants) would be worn, additionally the outer coats are referred to as Po and Durumagi. Traditional women’s Hanbok consists of jeogori (jacket) and a chima (skirt) and jangot (outer robes). Children would wear the same as adults but, obviously, of a smaller size. Kimono are still worn in modern day Japan for traditional festivals, celebrations and/or special occasions. Traditionally, Kimono are T-shaped, straight lined robes that fall to the ankle, with collars and wide full length sleeves. Women’s Kimono, often consisting of more than 12 pieces, are far more complex, than men’s kimono, and often require assistance to be worn correctly. Men’s Kimono consist of no more than 5 pieces, often of a darker coloured fabric, although lighter colours may be worn for less formal occasions. The modern day Kimono has evolved from and is a direct descendant of the kimono worn during the Japanese Edo Period. Kimono, similarly to Hanbok, are worn wrapped around the body, generally towards the left side. However unlike Hanbok, the robe is secured by a wide belt known as an obi. Lasty Chinese Hanfu and Cheongsam(Qipao)/Cheongshan. The Manchu influenced Qipao/Cheongshan, developed during the Qing dynasty is still worn in China today, and is generally considered as China’s modern traditional dress. Hanfu, the traditional dress of the Han Chinese people, has a history of more than three millennia, but is rarely worn today in modern day China. The Qipao/Cheongshan in contrast to the Hanfu has been worn in China for approximately 350 years. Nowadays it too is worn on special occasions or for certain prefessions, however unlike Hanbok and Kimono, shortened versions of these clothes are designated as uniform in some schools. Unlike Hanbok or Kimono, it is a one-piece, body-hugging, sleeveless dress worn by women. Qipao or Cheongsam refers to what in English is sometimes called the mandarin gown. The male equivalent, the Cheongshan, which is worn with pants, literally mean long shirt and is traditionally a long loose fitting shirt often with knotted buttons down the center. Hanfu, similarly to the Kimono and Hanbok, consists of several pieces, arranged into an attire. As shown through the above pictures, the Hanbok, Kimono and Hanfu share a great many similarities. A complete Hanfu garment consists of: Yi (any open cross-collar garment, worn by both sexes), Pao (any closed full body garment worn by men), Ru (open cross-collar shirt), Shan (open cross-collar shirt or jacket worn over the yi), Qun/Chang (skirt for women and men), Ku (Trousers or pants). In fact, the Chinese Hanfu is cited as having laid the base for the Japanese Kimono, Vietnamese Ao Dai and the Korean Hanbok. China, an Asian super power during the Tang and Han dynasties, greatly influenced it’s neighbouring East Asian countries, both in language, ethics and fashion. If, however, we were to compare the three ancient traditional forms of East Asian dress (Hanbok, Kimono, Hanfu), certain differences, developed through centuries of fluctuating fashion trends, may be identified. Foremost, although all three forms of dress are, needless to say, elaborate and intricate in both design and style, the Japanese Kimono is easily the most elaborate, having the greatest number of separate pieces, especially in terms of the female Kimono. The jeogori (jacket) of the female Hanbok is noticeably shorter than the upper body pieces of the Hanfu and Kimono. Also the cut of the Kimono, more so than the Hanfu and Hanbok, is based around the beauty of straight lines, thus not necessarily following the natural curves of the body. Also the standard Hanbok, unlike the Hanfu and Kimono, does not have deep sleeves, but rather tighter fitting sleeves that end at the wrists. Although all three forms are wrap-around garments (in that they must all be secured with a knot), whilst a robe like garment is part of the Hanfua and Kimono, the standard Hanbok is made up of only a jacket (jeogori) and skirt (chima) or trousers (baji). Whilst the upper pieces of the men’s clothing are comparable in terms of cut, the men’s Kimono and Hanfu tend to generally be longer and more sweeping, the male Hanfu especially having greater similarities to its female counter-part. This is in contrast to the Chinese, Manchu influenced Cheongshan, which, as per the men’s Hanbok, consists of a shirt and trousers. In terms of men’s wear, whilst trousers are a standard component of the male Hanbok, pants may be worn with the male Kimono and Hanfu, but are not necessarily a part of the standard traditional male garb. It’s modern design, as worn today, having been developed comparatively recently in 1920 in Shanghai, it has more obvious western influences in both it’s cut and comparative simplicity. On the other hand the Chinese Qipao or Cheongsam is vastly different from the traditional female dress of both Korea and Japan. Being a one piece ankle length dress, it also differs from the Hanbok and Kimono in that it is sleeveless, the full length qipao including slits in the side of the dress from upper thigh to ankle, thus being significantly more revealing than other forms of East Asian traditional female dress. In the novelty of researching and discovering the varying styles of traditional dress in East Asia, it becomes clear the history, traditions, society and customs of each country are the central influences of each country’s fashion. Again in contrast the modern qipao in a body-hugging garment emphasizing the natural curves of the body, and although elements of both Hanbok and Kimono do indeed emphasise certain parts of the body, it is in a greatly different manner and extent in comparison to the qipao. Thus traditional dress continues to carry importance for its culture in the significance of each detail in the design of the clothing, encapsulating a country’s heritage, teachings, etiquette and in its fluctuating designs through time, reflecting also the history of the country. Man that was looooong.

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There’s so much beauty in the world, yet the Internet is full of rage. That’s what I was thinking about when the whole Substack drama went down in early January. And this happened right after my own personal drama with Substack! The whole thing made me exasperated, and I even considered leaving Substack at one point. It is also a big reason why I took so long to write this issue for you, dear reader. It is because I was so, so, chinese cheongsam qipao so tempted to comment about it and add to the boiling pot of fury. But what good is there to add to the existing outrage? Not to avoid Nazis, chinese qipao but to get away from the people screaming about Nazis. Take the photo above. There are so many beautiful things about China and her people. Here’s a beautiful woman in Peking opera hanfu. I’m exhausted by all the outrage, my friends. But all you see these days (in the Western media anyway) is hatred and sinophobia. It seems like everyone is trying to rally someone to get angry about something, to other a platform, a person or nation. And some of you may feel like you need to because you’re not a bad person so as a good person you should be on their side. But, but … what if we do the opposite? What if we put out messages of beauty instead of outrage?

Jisün (Mongolian term), also known as zhisunfu (Chinese: 质孙服) or Zhisun (simplified Chinese: 质孙; traditional Chinese: 質孫, also written as Chinese: 只孙 or Chinese: 直孙), zhixun (Chinese: 只逊), jixun (Chinese: 济逊), zhama (Chinese: 诈玛; Chinese: 詐馬 Persian: جامه, romanized: jāma) or Jisun (Chinese: 济孙), was a very important male Mongol garment during the Yuan dynasty. They were also known as Mongol “robes of honour” (khil’at). Yuan dynasty court . In China, the zhisun was introduced during the Yuan dynasty and was inherited by the Han Chinese during the Ming dynasty. In both the Yuan and Ming dynasty, the zhisun is a single-coloured court robe. The zhisun is a type of Mongol terlig. 63 The zhisun were made of textile woven with gold and silk of one colour. The term jisün means “colour” in Mongolian. The term zhama came from the Persian word jāmah which is translated as “garment” or “robe” or “coat” or “clothing”. The term zhisun originates from the Mongolian term jisün. In the History of the Yuan dynasty, the zhisun are defined as “a dress of the same colour” or “being of one colour” or “robe of one colour” or “dress in one colour” (Chinese: 一色服; pinyin: yisefu). The term zhixun was used in the Ming dynasty and originated from the term zhisun. The zhisun likely originated in early period of the Mongol rule; it was first introduced under the rule of Genghis Khan, but it became more elaborate after the foundation of the Yuan dynasty by Kublai Khan. In the Yuan dynasty, the zhisun was worn by the Yuan Emperors and officials. The zhisun was a ceremonial court dress which was bestowed by the Emperors to the higher-ranking officials, imperial relatives, those who had made great contributions and those who serve the emperors . It could only be worn when bestowed by the emperor as such it held an important place for every official’s political life in the Yuan dynasty; and if it was bestowed by the Emperor, the zhisun had to be worn. This dress code also combined the clothing characteristics of both the Han Chinese and the Mongol ethnicity. In 1321 AD, during the rule of Emperor Yingzong, the zhisunfu (Chinese: 质孙服) dressing code was officially formulated. In 1332 AD, an imperial edict stated that all officials and imperial guards who had been bestowed with zhisun were required to wear it during the imperial banquets, and those would pawn off their zhisun would be punished. Distinguished higher-ranking imperial officials, in particular, wore it when they would meet with the Emperors or when they would attend banquets. The participants of the jisun banquets had to be dressed in the same colour. The zhisun worn by the Han Chinese who would participate in the banquets organized by the Yuan imperial court were also bestowed by the Yuan Emperors. The zhisun could also be worn by lower-ranking singers, musicians, and security guards. In 1373 AD, the clothing of the imperial body guards was changed to the zhisun, a solid colour robe which had been inherited from the Yuan dynasty. However, it appears that there were two kind of zhisun during the banquets: the first type which was worn as a formal dress for the Yuan Emperors, his officials and the nobilities, and the second type which was worn by the servants. According to Collected Statutes of the Ming Dynasty and the Writings after a dream in Shining Spring (Chinese: 春明梦余录), the xiaowei all wore zhisun robe. According to the Collected Statutes of the Ming Dynasty, the Embroidered Uniform Guard who were on duty at the East and West City circuit and the other men in charged of whip-throwing, fan-holding, umbrella-like towel-holding also wore the zhisun. According to Understanding Elegance, the red or green robes which were made out of silk and which were worn by the Embroidered Uniform Guard was called zhixun; the zhixun was decorated with ground flowers. 29 The zhisun worn by the Yuan emperor and higher-ranking officials during court banquets typically had the same colour, design and form, with the workmanship and exquisiteness of ornaments as the difference. All the zhisun worn by Han Chinese during court banquets all the same form and design. The zhisun is described as being of a single colour. According to the History of the Yuan dynasty, the zhisun is described as not having a fixed design or form, and the summer design is different from the winter design. However, the zhisun was not made to have a fixed design or form. These robes were also different in design depending on the social classes of its wearer, but they were all referred as zhisun. For example, the emperor had 11 varieties of zhisun for the winter season and 15 varieties for summer while members of the nobility and the senior officials had 9 varieties of zhisun during winter and 14 in summer. 62-64 They were also embellished with precious stones and pearls. Wei, Luo (2018-01-02). “A Preliminary Study of Mongol Costumes in the Ming Dynasty”. The zhisun could also be made from variety of fabrics, including nasīj (or nasji; Chinese: 納石失; pinyin: Nàshíshī), silk, and wool (Chinese: 速夫; pinyin: sufu). Social Sciences in China. Shea, Eiren L. (2020). Mongol court dress, identity formation, and global exchange. Cho, Woohyun; Yi, Jaeyoon; Kim, Jinyoung (2015). “The Dress of the Mongol Empire: Genealogy and Diaspora of the “Terlig””. Acta Orientalia Academiae Scientiarum Hungaricae. Acta Orientalia Academiae Scientiarum Hungaricae. Oka, Ildikó (2015). “Mongol Clothing in the Yuan Period”. Westport, Conn.: Greenwood Press. Lane, George (2006). Daily life in the Mongol empire. Cleveland Museum of Art. Metropolitan Museum of Art. E., Watt, James C. Y. Wardwell, Anne (1997). When silk was gold : Central Asian and Chinese textiles. Allsen, Thomas T. (2001). “Robing in the Mongolian Empire”. Robes and Honor : the Medieval World of Investiture. Introduction to Chinese culture : cultural history, arts, festivals and rituals. Guobin Xu, Yanhui Chen, Lianhua Xu, Kaiju Chen, Xiyuan Xiong, Wenquan Wu. Stewart Gordon. New York. Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. Schlesinger, Jonathan (2017). A world trimmed with fur : wild things, pristine places, and the natural fringes of Qing rule. The legacy of Genghis Khan : courtly art and culture in western Asia, 1256-1353. Linda Komaroff, Stefano Carboni, Metropolitan Museum of Art. New York: Columbia University Press. Zujie, Yuan (2007-01-01). “Dressing for power: Rite, costume, and state authority in Ming Dynasty China”. Frontiers of History in China. This page was last edited on 22 November 2024, at 14:13 (UTC). Wang, Guojun (2020). Staging personhood : costuming in early Qing drama. 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. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Shubi (Chinese: 梳篦), also called as zhi (Chinese: 栉), is a generic term used for Chinese combs in China, which includes thick-teeth comb shu (Chinese: 梳) and thin-teeth comb bi (Chinese: 篦). Shubi originated about 6000 years ago in China during the late Neolithic period. Some Chinese combs dating from the Shang dynasty were found in the Tomb of Fuhao. Chinese comb also had and continues to hold unique cultural meaning and emotional value. Chinese combs in China were not used only for grooming purposes, they were also used holding and decorating hair. In ancient China, Chinese combs had a high special status, a high artistic value, was an important form of hair ornament in Chinese history. Chinese women often wore combs and fine-tooth combs in their hair buns. Both Chinese men and women wore decorative combs in their hair in ancient China. Chinese comb-making was also an important form of traditional Chinese art and business industry. The term shubi also refers to a form of hairstyle in ancient China. The term shubi (Chinese: 梳篦) also includes to two types of combs: shu (Chinese: 梳; also lit. The usage of the term zhi (Chinese: 栉) has relatively unstable. The use of the term zhi to refer both types of combs; i.e. thick-tooth combs and fine-teeth combs were only found in the pre-Qin dynasty literature. The term zhi was partly changed again by the word bi (Chinese: 篦) to only refer to thin-tooth combs after the Yuan dynasty. According to a legend, the Chinese comb was invented by one of the concubine of the Yellow Emperor, called Fang Leishi (Chinese: 方雷氏). However, the term zhi was partly changed by the word shu (Chinese: 梳) to refer to thick-tooth comb in the Sui and Tang dynasties. The invention of bi, the fine-tooth comb, is attributed to a Spring and Autumn period official called Chen Qizi who was put into prison after being found guilty. In prison, Chen Qizi developed lice on his head which made him itched intolerably. According to a legend, after the defeat of Chiyou, the craftsman Hao Lian, who knew how to make combs, was captured, imprisoned and given the death sentence. After being tortured by the prison wardens with bamboo planks, Chen Qizi discovered that the bamboo planks would be split into strips; he then packed these wooden strips together to create the original fine-toothed comb to clean his hair away from lice and dirt. The prison warden, Huang Fu, discovered that Hao Lian could make combs and advised him to make a comb to save his life overnight. The comb made by Hao Lian was presented to the Queen Luo Zu, but Hao Lian was already executed before an amnesty could be issued. After Hao Lian’s death, Emperor Xuan Yuan appointed Huang Fu to lead other craftsmen in comb-making based on the models left behind by Hao Lian. Since this time, Hao Lian and Huang Fu have been both considered as the founders of comb trade. Chinese combs were also an essential component of dowry in ancient China; they are also a symbolism of a happy life. It is held at a time which is considered auspicious at the homes of groom and bride respectively to symbolize a rite of passage. This practice is still performed in some ethnic groups in Singapore. Prenuptial hair-combing ceremony, also known as shang tou (Chinese: 上头), is a traditional Cantonese Chinese ritual which takes place on the eve of the wedding by the couples. Combs in some Chinese nationalities are considered a kind of taboo; for example, for the Tibetans, combs must be hidden in private places, people who wore combs in their hair were perceived as being impolite. It is believed to have been introduced in Singapore by the Cantonese. In the Han dynasty, Emperor Wendi gave combs to the leader of the Xiongnu, Maodun. People who were in the business of the selling or the making of combs in China enjoyed special rights in both ancient and modern Chinese industry. Chinese comb-making was an important form of business industry in ancient China. Some combs, such as the Changzhou combs, could only be used by members of royalty in ancient China. Nowadays, although the Changzhou combs are commonly used in everyday life, this form of Chinese combs are still considered as national and traditional treasures in China. In ancient China, Chinese people used shubi to maintain their health due to the doctors’ belief that every day hair combing was an important need in traditional medicine. Hair combing is still used for massaging the head to keep one’s healthy is still used in modern times China. Japanese combs, kushi, started to be used by Japanese people 6000 years ago in the Jomon era. In Traditional Chinese medicine, hair combing is perceived as an efficient means to remain healthy. During this period, the Chinese combs which were introduced in Japan were horizontal in shape. The design of the Chinese comb introduced in Nara period was different from stick-shaped hair prongs that had been used by the Japanese before. Chinese combs were introduced in Japan along with the introduction of Chinese culture during the Nara period. In Nara period, the Japanese combs, along with Japanese clothes and ornaments, were all influenced by the Sui and Tang dynasty. Some combs continued to be imported from China even in the later centuries, i.e. in the 18th or 19th century AD. Tang or Liao dynasty silver comb. Changzhou comb, double-edged fine-toot comb. วารสารศิลปกรรมบูรพา. Zhang, Linyi (2019). “Comparison of aesthetic styles of decorative combs in Japan and China”. Higham, Charles (2004). Encyclopedia of ancient Asian civilizations. New York: Facts On File. Sherrow, Victoria (2006). Encyclopedia of hair : a cultural history. Sherrow, Victoria (2006). Encyclopedia of hair : a cultural history. Westport, Conn.: Greenwood Press. Sherrow, Victoria (2006). Encyclopedia of hair : a cultural history. Westport, Conn.: Greenwood Press. Westport, Conn.: Greenwood Press. Asian material culture. Marianne Hulsbosch, Elizabeth Bedford, Martha Chaiklin. Amsterdam: Amsterdam University Press. This page was last edited on 23 June 2024, at 12:26 (UTC). 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. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Hanfu, the traditional attire of the Han Chinese, is a cultural treasure that spans thousands of years. Rich in history and symbolism, Hanfu comes in a variety of styles, each reflecting the aesthetics of different dynasties and social classes. Hanfu, the traditional clothing of the Han Chinese, encompasses a diverse range of styles that have evolved over thousands of years. In this comprehensive guide, we will delve into the fascinating world of Hanfu, exploring the many types available and unraveling the intricate layers that contribute to its timeless elegance. While it’s challenging to provide an exhaustive list due to the multitude of regional variations and historical influences, I can introduce you to some of the major types of Hanfu. The Ruqun is one of the most iconic and versatile types of Hanfu. Each type is associated with specific dynasties, social classes, or occasions. The Ruqun has been worn by both men and women throughout various dynasties and is characterized by its simple yet elegant design. This style was popularized by Tang Dynasty court dancers and has a dynamic and graceful appearance. The Beizi is a long, flowing outer robe that was often worn over other layers of clothing. Originating from the Tang Dynasty, the Quju features a distinctive asymmetrical skirt that is longer in the back and shorter in the front. It became particularly popular during the Ming and Qing Dynasties. Beizi can be plain or adorned with elaborate embroidery, making it suitable for both everyday wear and formal occasions. The Shenyi is a style that emerged during the Shang and Zhou Dynasties. Shenyi is known for its loose and comfortable fit, making it a practical choice for various activities. It features a cross-collar top with a wide, straight-cut lower garment. These two-piece ensembles consist of an upper garment (Shangyi) and a lower garment (Zhongyi). The Shangyi is typically a cross-collar jacket, while the Zhongyi can vary in style. Zhongyi and Shangyi combinations offer a range of possibilities for mixing and matching to create unique looks. A style with a straight, parallel-cut skirt that was prevalent during the Han and Wei-Jin periods. Zhiju is characterized by its simplicity and elegance. The traditional Hanfu ensemble is characterized by its multilayered structure, and the number of layers can vary depending on the specific type of Hanfu, the occasion, and personal preferences. What are the different layers of Hanfu? Generally, a complete Hanfu outfit consists of several layers, each contributing to the overall elegance and symbolism of the attire. These base layers provide a foundation for additional garments and contribute to the overall aesthetic of the outfit. The base layer of Hanfu often includes a Dahu, a wide-sleeved undershirt, or a Daxiushan, a robe with large, flowing sleeves. The middle layer typically consists of the Ru (short jacket) and Qun (skirt) combination, forming the core of many Hanfu styles. The Ru is often tied with a decorative sash or ribbon, adding a touch of flair to the ensemble. The outer layer varies depending on the specific Hanfu style. The Beizi, a long outer robe, is a common choice, especially for formal occasions. Accessories play a crucial role in completing a Hanfu ensemble. Other overgarments, such as capes or sleeveless robes, may be added for additional layers of complexity and visual interest. Traditional headdresses, such as the hairpin and crown, are often worn. Belts and sashes are used not only for practical purposes but also as decorative elements, accentuating the waist and adding detail to the outfit. Jewelry, including earrings, necklaces, and bracelets, adds a final touch of sophistication and cultural significance. Different colors in Hanfu carry specific meanings. Red symbolizes joy and good fortune, while blue may represent tranquility and wisdom. The choice of color can reflect the wearer’s social status, personal preferences, or the significance of the occasion. Elaborate embroidery is a hallmark of many Hanfu styles. Traditional patterns often depict auspicious symbols, flowers, and mythical creatures. The style of sleeves in Hanfu can vary significantly. Wide sleeves, known as “da xiu” (大袖), are a common feature, adding a sense of grace and elegance to the overall silhouette. Sleeve styles may change based on the wearer’s gender, the specific historical period, and the formality of the occasion. The intricate embroidery not only enhances the visual appeal but also conveys deeper cultural meanings. Hanfu, with its diverse styles and intricate layers, chinese cheongsam dresses represents a living testament to China’s rich cultural heritage. The various types of Hanfu and the art of layering showcase the adaptability and timelessness of this traditional attire. Whether worn for everyday occasions or special ceremonies, Hanfu continues to captivate hearts around the world, bridging the gap between the past and the present in a tapestry of colors, patterns, and symbolic significance.

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When people think of Chinese cultural wear, what often comes to mind is the qipao or cheongsam. This type of clothing was adapted from the Manchu ethnic clothing, that of the empire that ruled China during the Qing dynasty from 1644. Cultural wear in China has a long history, and what is overlooked is hanfu, the traditional clothing of the Han Chinese ethnic group. Cindy from Hanfu Story is seeking to be part of this and introduce the world to the beauty of hanfu. What is exciting is to see a new generation of Chinese people rediscover this traditional wear. Her collections span history-inspired styles as well as reinvented creations adapted for modern lifestyles. Yinsey Wang interviews Cindy about her journey so far, as well as influences. This inspiring business woman looks to foster greater inclusivity, dialogue and love of hanfu amongst the communities who appreciate this rich tradition. Cindy: I’d love to thank @tornandpolished for this extraordinary opportunity before anything else. I’m Cindy, born and raise in sunny Singapore, is an avid fan of ancient Chinese history and literature. I also majored in Chinese Literature and Language. YW: Tell us a bit about you and your background so far! YW: How did you get into hanfu? This contributed significantly to my love for Chinese classical culture. Among them, the one that impressed me the most was a historical based film namely “The King of Yue” and one of the Four Classic of Ancient China – “Romance of the Three Kingdoms”. As an avid follower of history and fashion, I decided to look up on the types of clothings donned by our ancestors. Cindy: My father, a fan of China historical films and martial arts novels, often told me about classical allusions when I was a child. YW: What is your favourite period of ancient China and why? Before the Anshi Rebellion to be more specific. Even today, I am still very fascinated about the fashion (especially make up) at that period of time and how people portray beauty back then. Cindy: Tang Dynasty is my favourite period of Ancient China! But what attracted me the most was its economic prosperity and gender equality. Compared with other dynasties before the Tang Dynasty and the ones after – Song, Yuan, and Ming dynasties – society acceptance towards woman in the Tang Dynasty were way more open-minded, and thus, women tend to have more freedom in their life choices, behaviour and dressings. YW: Why did you decide to start your own business in relation to hanfu? Cindy: The decision was made on one of our trip to China. We searched the whole ancient town to find it and the retailers there were surprised by a foreigner’s love for Hanfu. We were there for our pre-wedding photoshoot and we wanted a Hanfu themed outfit that our package did not cater. Two of which have encouraged me to start a business in relation to Hanfu and offered me collaboration. Cindy: I strive to introduce affordable and quality Hanfu to each and everyone, and hence the biggest challenge about my business is the ever increasing shipping costs. YW: What has been the biggest challenge about starting your own business? YW: What is your favourite type of hanfu and why? During the Wei and Jin Dynasties, women’s clothing inherited the features of Qin and Han Dynasties, with characteristics of ethnic minority costumes. With a pleated skirt, it accentuates a woman’s curves in the right places. Cindy: I’m so in love with Hanfu of the Wei and Jin Dynasties. Paired with a v-neckline wide sleeved blouse, it is so ethereal and romantic. It feels exactly like a fairytale. YW: What has been the best part of running your own business? Putting the customer first allows me to truly understand the customer’s experience with Hanfu. I love it when my customers share their experiences with me. Cindy: My clients!! Definitely. My clients are the ones that motivates me greatly. Cindy: I stay in touch with my culture by traveling to different China historical sites on an annual basis, reading on Chinese literature and taking up Chinese classical dances occasionally. YW: How do you stay in touch with your culture? Cindy: In the next five years, I aspire to grow my revenue and stay well ahead in the community while exploring new business opportunities. Not only do I hope to develop financial goals, I’d also like to focus on social goals through giving back to the society. YW: Where do you hope to see your business in the next five years? I’d love to work on projects that empowers gender and racial equality. Being a plus size myself, I also seek to be more size inclusive so that each and everyone can have a hanfu for them.

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What was ancient Chinese fashion like? This infographic shows how Women’s dress fashion evolved in China throughout the age, and shows how much each new ruler sought to impose their style on its Chinese denizens. How did it evolve as Dynasties changed and replaced each other? In 1644, a dramatic shift in ruling occurred in China. The Manchus took over from the Hans and started the Qing Dynasty. One consequence of this epic battle of dynasties, that is still visible today? A new form of clothing, the Qipao, – which is what we now associate with China – came to replace the traditional dress of the Han people, the Hanfu. Read on and click through to learn more about the evolution of Chinese clothing throughout the Dynasties. Ancient Chinese Fashion timeline of Women’s clothing -This week’s infographic was made by Nannaia, in an effort to document the evolution of Chinese Women’s clothing across the ages. 🏮 Ninchanese is an incredible app for learning Chinese! ” I actually graduated from the University of Edinburgh with a MA in Chinese. I’ve used Ninchanese daily, and it has helped me a lot! Over the years in China, qipao plus size each new ruling Dynasty was intent on imposing their style to leave a trace. None really dared to revolution the Chinese traditional style of clothing however, until the Qings arrived. A battle of Dynasties: Hanfu vs. The Qipaos, not really Chinese? Qipaos, especially the modern, 1920s Shanghai-inspired, form-fitting Qipaos, are the first type of dresses that spring to mind when one thinks about traditional Chinese clothing. However, this form of dress was actually brought in by the Manchu-ruled Qing Dynasty in the 17th century (1644) and is therefore relatively “new” by Chinese standards. The original Chinese traditional dress was, in fact, the Hanfu, 汉服 (literally Han clothing), also know as Hanzhuang (漢裝) or Huafu (華服). The Qing Dynasty was one of the longest lasting ones in Chinese history (around 300 years), and the last dynasty before China became a republic, which may be why many mistake the Qipao for the Chinese ethnic dress. The Hanfu is said to have appeared during China’s first Empire, about 5,000 years ago and then remained the outfit of choice in China for the next thousand years (its main appearance remaining more or less same over the years, save for a few details). Until the Manchus took over, cheongsam qipao dress that is. If you want to know more about the Hanfu origins and style, read this and this introduction to Hanfu clothing. Reinstating the Hanfu style? While Chinese actresses often wear Qipaos to world events, a movement started in 2003 to reinstate the Hanfu as China’s traditional outfit. Some are even pushing for daily wear. The Hanfu is even considered to have inspired the Japanese Kimono and the Korean Hanbok. See here and here for pictures of modern-day Hanfu-wearing. Which do you like best? The Qipao? The Hanfu? Which would you wear? Stay in touch with us on Facebook, Twitter, Instagram, and Pinterest. Try the best way to learn Chinese today. Ninchanese is free to use!

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The Traditional Hanfu Kimono reflects the quintessence of Han dynasty elegance with its flowing sleeves and interlaced collar. This spacious garment envelops you in comfort while maintaining a stunning appearance, thanks to its deep navy hue. Embroidered lotus flower patterns enhance the poetic beauty of this piece, making it a timeless addition to any wardrobe. Experience its enchanting charm and journey through the rich history of China. Crafted from soft polyester, this Hanfu provides exceptional ease, allowing for total freedom of movement. Perfect for various occasions, this kimono is not only visually striking but also incredibly comfortable, making it an ideal choice for both casual gatherings and special events. Indulge in a day of luxury and tradition with our Hanfu Kimono, designed to elevate your wardrobe seamlessly. Stand out from the crowd and express your unique style with this exquisite piece. Our Hanfu Kimono is meticulously crafted to ensure unparalleled quality and durability. Made from premium polyester, it offers lightweight comfort and breathability, while intricate embroidered designs showcase exceptional craftsmanship. The traditional tailoring methods used reflect cultural heritage, ensuring that each piece is a true representation of art and fashion combined. This stylish outfit is ideal for special occasions, festivals, or practice in martial arts, catering to enthusiasts of all kinds. Featuring elegant designs such as yin yang tattoos and traditional plant motifs, our collection also includes various Chinese-inspired items like lanterns and culinary tools, perfect for anyone looking to celebrate their heritage or make a fashion statement. Discover the allure of the Traditional Hanfu Kimono, qipao traditional a perfect blend of cultural heritage and modern style. Whether you seek a unique piece for personal use or a significant gift, our Hanfu Kimono is a splendid choice to express your passion for culture and style.