On the 22nd November 2003, an electrical power worker from the Chinese province of Henan, Wang Letian, walked around his home city of Zhengzhou wearing a traditional Chinese costume called the Hanfu. Wang intended to promote traditional Chinese culture by generating interest in traditional Chinese garb. At the time, Wang’s actions were unusual, with the Hanfu being largely confined to film sets and tourist attractions. Nevertheless, Wang received significant attention in China, and has often been cited as the originator of the current Hanfu craze sweeping China today. Wang’s goal of promoting Chinese traditional culture appears to have been fulfilled in recent years, with the costume becoming a mainstay of social media platforms popular with Chinese millennials. This has often sought to emphasise the uniqueness of China’s identity as well as presenting China as a civilisation state rather than a nation-state in the Westphalian sense. The popularity of the costume coincides with a wider discussion over the state of China’s identity, which marks a break from the previous focus on China’s economic development. By delving into China’s past, the rise of the Hanfu movement and the debate over China’s identity thus symbolises the contradictory nature of the legacies of China’s imperial dynasties, most notably the Ming and Qing dynasties, as well as the role that these have played in shaping the present Chinese perception of China. This broadly incorporates all forms of Han clothing prior to the 17th century. The term Hanfu (汉服) generally refers to the clothing of the Han race that makes up the majority of China’s population. As with many concepts from the early years of China’s history, the origins of the garb has partially been shrouded in myth and legend, with the claim that the Hanfu was the costume of the legendary Yellow Emperor, the sage king of ancient China. Nevertheless, it has been traced to the time of the Shang Dynasty of 1600 BC and 1000 BC. As a result, it has been difficult to trace the exact origins of the garb since it has been difficult to separate myth from reality. This initially took the form of a knee length silk tunic, known as a yi, secured with a sash and a narrow ankle length skirt called a chang, which was worn with a length of silk called a bixi that reached the knees. The emergence of the Hanfu movement has been representative of the latest shift in how China’s imperial legacies have been perceived. The style of the Hanfu was subject to change over time until the beginnings of the Qing Dynasty in 1644, when the costume fell out of fashion in favour of Manchu garb such as the cheongsam. As a result of the apparent failings of what Wang Gungwu termed the Confucian ‘emperor state’, Chinese reformers from the ‘Self Strengthening Movement’ to the Communist Party of China sought to utilise Western ideologies and concepts to modernise China, most notably the concept of the nation state and the communist and nationalist doctrines. The early years of the People’s Republic of China emphasised China’s ideological identity as a leading communist nation rather than China’s previous cultural state. In keeping with the earlier trends of China’s modernisers, Mao saw China’s traditional culture and the Confucian orthodoxy as the reason behind China’s backwardness. Previously, these were seen as a source of shame, most notably during the Mao era in the mid 20th century, with China’s traditional culture being blamed for China’s humiliation during the 19th and 20th centuries. This saw the abandonment of the ideological goals of the Mao era in favour of a focus on China’s economic development. The perception of China’s imperial legacies and traditional culture shifted after Mao’s death in 1976 and the subsequent period of reform and opening-up initiated by Deng Xiaoping. All of these contributed to a wider identity crisis within China, with the promotion of Western popular culture through globalisation being perceived as eroding China’s identity. As a result, China lost one of its main organising principles, which was further compounded by the collapse of communism in Eastern Europe and Russia in 1989 and 1991 and the subsequent onset of Post-Cold War globalisation. To remedy this, the Communist Party of China (CPC) turned towards Chinese nationalism as a unifying force. The Tokyo shrine’s controversy was due to its commemoration of several Japanese Class-A war criminals from the period, including its wartime leader, Hideki Tojo. This initially manifested itself in the disputes with Japan over the legacies of the Second Sino-Japanese War of 1937 to 1945, most notably in the adverse Chinese reaction to the recent visits of several prominent Japanese political figures, including former Prime Ministers Junichiro Koizumi and Shinzo Abe, to the controversial Yasukuni Shrine. All of these formed the roots of the later perceptions of China’s past and identity. This also saw a Chinese revival of the Confucian doctrine that had been suppressed during the Cultural Revolution. In recent years, China’s imperial legacies and past achievements have been utilised as a source of Chinese national pride. The use of these legacies marks a break from the previous utilisation of China’s past for political goals, with China’s golden ages replacing the use of the ‘Century of Humiliation’. These changes have also been a result of a renewed interest in the state of China’s identity, which has been one of the core objectives of what has been termed as the ‘Third Revolution’ under Xi Jinping. The CPC has used these legacies as part of a wider effort to build support for Chinese policies at home and abroad, by presenting modern China as the latest stage of ‘five thousand years of Chinese civilisation’. This was articulated in Liu Mingfu’s 2015 bestseller The China Dream, which called for China to embrace a uniquely Chinese destiny as opposed to seeking convergence with the developed world. While China’s perceived golden ages of the Han, Tang, and Song dynasties have often been invoked by the CPC, there has also been a growing interest in the more contentious aspects of China’s imperial legacies. One of the notable recurring features of this has been the perceived uniqueness of Chinese identity. This has been most notable with the debates over the Ming and Qing dynasties. The emergence of the Hanfu movement, while primarily being utilised as a symbol of China’s renaissance, has also been expressive of China’s Han identity. This has been linked to the wider discussion over the legacy of the Ming Dynasty. The Hanfu movement being the most recent manifestation of the debate over the nature of China’s identity and past legacies. This initial promise was seemingly extinguished by the inward turn that China’s rulers took in the second half of the Ming Dynasty’s rule in the 16th and 17th centuries, symbolised by the dismantling of the Treasure Fleet after its’ return. As the last ethnically Han rulers of the Chinese Empire, the Ming has traditionally been seen as a dynasty that began its rule with great potential but ultimately fell short of its promise. As a result, this has often been interpreted as China foregoing any effort to create an overseas empire like the later European powers would do, and instead turned towards the increasingly difficult task of controlling China’s borders in the face of the challenges posed by the Mongols and the Manchus. In recent years, there has been an effort by amateur online historians to rehabilitate the tarnished legacy of the later years of the Ming dynasty. These have often sought to present Ming China as a progressive force that was the most powerful nation of its’ day. If the Treasure Fleet symbolised the outward-looking promise of the early Ming dynasty, the Great Wall can be seen as a symbol of the inward turn of the Ming dynasty’s later years. The Qing Dynasty has also become part of the more contentious aspects of China’s imperial legacies. Such an interpretation presents the Manchu invasion of China as an end of the progressive governance of the Ming, which condemned China to backwardness. The rule of the Qing Dynasty has often been seen as a period of alien rule, with China’s Manchu rulers distinguishing themselves from their Han subjects. One such distinction came in the form of a series of laws concerning clothing. This included regulations making the queue hairstyle compulsory, known as “cut the hair and keep the head or keep the hair and cut the head” (留髮不留頭，留頭不留髮) as well as requiring officials to wear Manchu garb. These rules have been presented in the recent discourses on this period as being a part of an effort by the Manchus to suppress Han culture including traditional clothing such as the Hanfu. As a result, the popularity of the Hanfu has been presented as a rediscovery of Han imperial culture. This perception would have adverse consequences for the Qing that culminated in the events during the dynasty’s twilight years in the 19th century. As well as being seen as a period of alien rule, the Qing Dynasty has often been presented as an age characterised by China’s humiliation, marked by China’s defeat in the First Opium War of 1839. The later Qing period was an era beset by conflict and rebellion as well as several efforts to modernise the Qing Empire that ultimately failed. These experiences have also been seen as one of the primary motivations for China’s push to become a Great Power as well as being invoked in more contentious periods in China’s foreign relations. These rules would further reinforce the perception of the Qing emperors as a privileged foreign elite in the eyes of the Han majority, who had still not fully accepted their rule, particularly in China’s southern regions which were the last strongholds of the Ming loyalists. The linkage between the popularity of the Hanfu and the contentious legacies of China’s imperial past were illustrated by a 2013 memorial to Ming loyalists at Wuxi. This was further underlined by similar pilgrimages made by the Hanweiyang and Jiangyin Hanfu associations. In commemorating these events, the pilgrimages emphasised the role of Han identity, with the Ming loyalists being the last bastions of Han rule in imperial China. As a result, the present Hanfu craze as well as these legacies have been a wider expression of China’s Han identity, which has posed questions for the state of China’s present identity. While the popularity of the Hanfu movement has been seen as a symbol of China’s past achievements, it has equally been the result of a discussion of the more contentious elements of China’s early modern period. While the origins of the Hanfu movement are rooted in Wang Leitian’s use of the costume nearly twenty years ago, the proliferation of it has been a comparatively recent development. These developments have been expressed by the Hanfu craze in several ways. Before the rise of social media, the Hanfu revival was largely confined to small groups of enthusiasts, and it required a greater amount of individual effort to penetrate. While the garb was initially popularised in the early 21st century through novels and period dramas, social media applications served as the driving force behind the present Hanfu craze, enabling enthusiasts to spread their passion for the costume on a far greater scale than before. Possibly the most notable example of this was the 2019 TV series The Untamed, which was adapted from the Chinese fantasy (Xianxia) novel Mo Dao Zu Shi by Mo Xiang Tong Xiu. The popularity of The Untamed shows one of the ways by which the Hanfu was popularised. The series has been cited as a notable factor behind the popularity of the Hanfu, with viewers of the series seeking to acquire costumes and props worn by the cast. One of these comes in the demographics of the movement, which primarily consists of Chinese millennials. Through the lens of cultural transmission, it is possible to identify the trends that the Hanfu movement represents. The demographics of the Hanfu movement also indicate a divide in attitudes between generations, as well as with the Chinese government. As a result, they have often sought to express their own unique identity, with the Hanfu being one of the means to do so. This was demonstrated by an attempt to make the Hanfu part of China’s official national costume in 2008. although it was rejected by the government. The influence of this generation has led to comparisons between them and the baby boomer generation in the developed world, with Chinese millennials being perceived as the new baby boomers in terms of size and influence. Hanfu’s popularity is a testament to the economic clout and influence of China’s millennials. As a result, the popularity of the Hanfu is an illustrative expression of the influence of this generation, which will be a notable feature of the near future, with Chinese millennials having the potential to shape trends even more than the baby boomers had before them. The Hanfu craze has also been a feature of the wider backlash against globalisation. This has been a result of a countermovement against the spread of Western as well as non-Chinese forms of Asian popular culture, which had contributed to China’s Post-Cold War identity crisis. While the primary forms of this reaction have typically been anti-capitalist or nativist in character, in this case, it has been more cultural in nature. This raises contentious contradictions within the today’s conceptualisations of Chinese identity. In this sense, the popularity of the Hanfu is part of this wider nativist attempt to promote the traditional imperial culture of the Ming Dynasty. This has been notable in the backlash against other forms of Chinese clothing, such as the qipao, which has been seen as foreign ‘Manchu’ garb. Conversely, the Hanfu is now being presented as a uniquely Chinese form of clothing. Han and Chinese are often now perceived as largely synonymous. This has been apparent on the same online platforms that did much to popularise the Hanfu. The popularity of the Hanfu has partially been a result of a renewed interest in discussing the nature of China’s imperial past as well as its national identity. One such difference is in the nationalistic tone that they take. While these legacies have often been invoked by Chinese officials, as demonstrated by the earlier refrain of ‘five thousand years of civilisation’, these have also been subject to discussion by an emerging group of amateur online historians, who have created their own discourses on these legacies that differ from official narratives in several ways. While the official Chinese stance has become more nationalistic in recent years, the online discourse has emphasised the Han aspect of Chinese identity, which has led to them being characterised as ‘Hanist’. Alongside the commemoration of Ming loyalists battling the invading Manchus in the 16th and 17th centuries, this tendency manifested itself in the Huang Haiqing slapping incident in Beijing in 2008. Huang, an avid consumer of nationalist histories online, physically attacked Yan Chongnian, a prominent authority on the history of the Qing Dynasty, which was motivated by what Huang perceived as Yan’s whitewashing of the period in his studies of it. While these activities have largely been confined to online forums such as the Hanwang, this strand of nationalism has also made its presence known offline. Such incidents have illustrated how the contentions of the Ming and Qing periods still stir nationalist fervour within China today. This perception also led Huang to liken Yan’s work with those of Holocaust deniers such as David Irving. The Hanfu movement’s emergence thus provides the pageantry for the wider Hanist nationalist movement. What has also been notable for both these developments is that China’s millennials and netizens rather than the CPC have been the driving forces behind them. In addition, this interest has seen the utilisation of China’s history as a template to predict China’s path in world politics. In addition, this push has also demonstrated the growing influence of Chinese millennials, who have propelled this interest in China’s traditional Ming clothing and culture. The rise of the Hanfu craze and the associated online discourses have shown the influence that China’s imperial legacies have had upon the perceptions of China’s identity today. And this generation will also continue to play a greater role in shaping China’s future course. Alongside this, the discussion in shaping China’s identity has also seen the emergence of a Chinese discourse that has largely grown independently of the CPC. In addition, these discourses and the popularity of the Hanfu have also shown the common path taken by newly confident and prosperous societies in that they look towards past glories to tap into an older identity as well as a guide for China’s future. While this demonstrates the agency of Chinese netizens, it shows that their voices will be nationalist rather than liberal in character, as illustrated by the rise of the ‘Hanist’ discourse. As a result, the trends symbolised by the popularity of the Hanfu are not solely an exercise in nostalgia; they also represent a pursuit of a modernity that is uniquely Chinese in character, which differs from the established Western ideals of modernity. Dr Tom Harper is a researcher specialising in China’s foreign relations. The ‘Hanist’ nationalist path that China’s millenials seek to take promise to have wide-reaching consequences for the world – as well as for China itself. He received his PhD at the University of Surrey.

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Today, I’d like to introduce to you two kinds of hairstyle course of Hanfu that can be matched with hair crown. It can be used for everyday travel or taking photos. 6. The rest of the hair is used to cover our slightly bald hairline. 9. Half of the hair is wrapped on the ball. Put on the headdress and finish the first daily hairstyle of Hanfu. 11. Finally put on the hair net and it’s finished. 2. Take out a wisp of hair on both sides, first take a strand of hair around the top of the head, and flow out a pair of “ears”. 3. It’s the same on the other side.

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Ancient Chinese Hanfu is a type of traditional clothing worn during the Han dynasty (206 BCE-220 CE) in China. It is known for its beautiful and elegant design, which reflected the culture and values of the Han people. Hanfu consists of a long robe called a zhongshan, which falls to the ankles and is secured by a sash around the waist. The sleeves are wide and flowy, making it easy to move around in. There are many different styles of Hanfu, each with its own distinct characteristics. The collar is high and straight, giving the wearer a dignified appearance. Hanfu was not just a form of clothing, but also a way of expressing social status and cultural identity. For example, the Huafu style is characterized by its bright colors and intricate embroidery, while the Shanxi style features unique folding techniques and asymmetrical designs. Different styles were worn by people of different classes, and certain colors and patterns were reserved for specific occasions. Today, Hanfu has experienced a resurgence in popularity in China and other parts of the world. In recent years, modern qipao top there has been a growing movement to promote Hanfu as a more mainstream fashion choice. This has led to the establishment of Hanfu societies and organizations, as well as the development of new designs that blend traditional elements with modern fashion trends. Overall, Ancient Chinese Hanfu is a fascinating and beautiful aspect of Chinese culture that continues to inspire and captivate people around the world. Many people see it as a way to connect with their ancient cultural heritage and express their individuality through fashion. The loose-fitting design allowed for ease of movement, making it ideal for activities such as martial arts, dance, and other physical activities. In addition to its cultural significance, Hanfu also played a practical role in ancient Chinese society. The use of natural materials such as silk, cotton, and linen also made Hanfu comfortable to wear in China’s hot and humid climate. Hanfu was not only worn by the Han people, but also by other ethnic groups throughout China’s history. Each group developed its own unique style of Hanfu, reflecting their unique cultural traditions and values. This marked the beginning of a shift towards Western-style clothing, which became increasingly popular during the 20th century. The decline of Hanfu began during the Qing dynasty (1644-1912), when Manchu-style clothing became fashionable among the ruling class. Despite this, there has been a renewed interest in Hanfu in recent years, both in China and abroad. Many people see it as a way to reconnect with their cultural roots and express their individuality through fashion. It can also be seen on the streets of major cities, with young people incorporating elements of Hanfu into their everyday fashion. Overall, Ancient Chinese Hanfu is an important cultural artifact that represents the rich history and traditions of China. Today, Hanfu is often worn for special occasions such as weddings, festivals, and cultural events. Its beauty and elegance continue to inspire designers and fashion enthusiasts around the world, ensuring that this timeless garment will remain relevant for generations to come.

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This Qiyao hanfu set consists of an inner top, outer garment, and skirt, with an overall design that is simple yet elegant, showcasing a perfect blend of ancient luxury and modern fashion. The print designs on the inner top and outer garment are also exquisitely crafted, with a fresh and dynamic interplay. The delicate green flower embroidery on the collar of the inner top adds a touch of freshness and delicacy to the overall look, while the vibrant orange floral prints on the cuffs inject vitality and highlights into the hanfu. These intricate print patterns make the entire hanfu set more lively and interesting, adding a unique charm to the wearer. The combination of the delicate flower embroidery on the skirt hem and the printed skirt body is truly stunning. The meticulous handling of the flower embroidery complements the printed skirt, showcasing a gentle and beautiful effect. Whether it is for everyday wear or special occasions, this Wei Jin Qiyao hanfu exudes a unique charm and confidence for the wearer.

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Abstract: Hanfu Gang is a project aimed at educated, young fashion lovers (primarily 16 to 26 years old) who are interested in Hanfu, the traditional clothing of ethnic Han Chinese people who ruled China for most of its history. People wore the style every day until it was slowly replaced by a modern, Western clothing style after the end of the Ming dynasty-as the Qing dynasty only allowed females to wear Hanfu-and it was replaced by the modernization that came with the establishment of the Republic of China. For a long time, people saw it only as a costume for Chinese Opera and period drama until the early 2000s, when the younger generation started to revive this traditional clothing. In the beginning, only Hanfu enthusiasts wore it for important holidays and only a few were seen wearing it in public. Hanfu has been through thousands of years of evolution. My target audience is curious because they have seen this clothing style on the internet, or because they are fashion enthusiasts, or because they are afraid of experimenting with their alter­native fashion. After many years of promoting Hanfu as an important part of the ethnic culture, more and more people have started wearing it, and some daily.

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Hanfu, the traditional clothing of the Han people, has seen a resurgence in China. Its elegance, history, and cultural significance make it a fascinating aspect of Chinese culture for travelers. If you’re visiting China, learning about Hanfu offers more than a fashion lesson-it’s a window into ancient traditions and modern revival. Hanfu (汉服) refers to the traditional clothing worn by Han Chinese for over 4,000 years. Why is Hanfu Popular Again? It’s characterized by flowing robes, wide sleeves, and intricate patterns. Unlike the more commonly known qipao, Hanfu has a richer, older history that represents different dynasties and social classes. Flowing Silhouettes: Hanfu consists of layered robes, often tied with sashes. Wide Sleeves: Wide sleeves allow free movement and add elegance to the attire. Historical Patterns: Expect motifs like dragons, phoenixes, and flowers. In recent years, Hanfu has become a growing trend among young Chinese people. When walking through cities like Beijing or Hangzhou, it’s common to see people wearing Hanfu on special occasions or simply for a photo session in parks. This revival goes beyond fashion; it’s about reconnecting with traditional culture. Why is Hanfu Popular Again? Cultural Pride: Many Chinese citizens view Hanfu as a way to reconnect with their roots. Social Media Influence: Instagram and TikTok have played a big role in spreading Hanfu’s beauty globally. Hanfu communities and events have sprung up, celebrating this ancient attire. Cultural Renaissance: Alongside Hanfu, other traditional customs are also making a comeback, like tea ceremonies and poetry recitations. If you’re planning to visit China and want to immerse yourself in Hanfu culture, there are several key destinations and experiences you shouldn’t miss. Dress in Hanfu to explore ancient palaces or scenic parks and feel like you’ve stepped back in time. Many Chinese tourist attractions now offer Hanfu rentals. Forbidden City, Beijing: Walk the ancient halls of China’s imperial palace while dressed in traditional attire. Chengdu’s Kuanzhai Alleys: Experience Hanfu in the charming old streets of Chengdu, famous for its Sichuan culture. West Lake, Hangzhou: Rent Hanfu to wear while strolling around this serene, picturesque lake. These festivals are perfect for travelers seeking an authentic cultural experience. China hosts various Hanfu-related festivals where enthusiasts gather to showcase their attire, take photos, and participate in cultural activities. Luoyang Peony Festival: Attend this annual festival in Luoyang and see thousands of people dressed in Hanfu among the blooming peonies. If you decide to wear Hanfu during your trip, it’s essential to understand the etiquette to respect the culture. Xitang Hanfu Culture Week: This festival held in a water town brings together Hanfu lovers from all over China. Research the Basics: Learn a little about Hanfu styles from different dynasties. Pose Respectfully: Keep in mind the elegance of Hanfu when taking photos. Be Mindful of Events: Some events may require specific styles of Hanfu. Treat it as a Costume: Hanfu holds deep cultural significance, so don’t treat it like cosplay. Wear Modern Accessories: Keep the look traditional by avoiding modern shoes, handbags, or jewelry. Avoid casual poses that may seem disrespectful. Guangzhou’s Shangxiajiu Street: A shopping haven with stores specializing in Hanfu. For travelers wanting to take home a piece of Hanfu, there are many stores-both physical and online-where you can purchase an authentic set. Chengdu’s Jinli Ancient Street: Browse through Hanfu stores amidst a backdrop of traditional Chinese architecture. Taobao: China’s largest online shopping platform offers an extensive range of Hanfu. Hanfu offers a unique way to engage with China’s cultural heritage. As a traveler, wearing Hanfu during your visit can deepen your understanding of China’s history while providing an unforgettable experience. A Hanfu dress, complete with matching accessories, serves as a beautiful souvenir and a reminder of your connection with Chinese culture. By embracing Hanfu, you open the door to exploring other Chinese traditions, from food and tea culture to festivals and historical reenactments. Taking part in a Hanfu experience also gives you the chance to bring back a special memory. Hanfu is more than just clothing-it’s a living piece of Chinese heritage that travelers can actively experience. It enhances your trip beyond the usual tourist attractions, offering a deeper sense of place and history. Whether you rent a set for a day, join a Hanfu festival, or purchase your own as a souvenir, embracing this beautiful tradition adds a new layer to your China journey. So, on your next trip, why not step into history and see China through the elegance of Hanfu? Ready to explore Hanfu culture on your next trip? Contact us at Travel China With Me for a tailor-made itinerary that brings you closer to China’s rich traditions.

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Hope I posted in the right subreddit. I don’t particularly care for manchurian dress, but it seems that they have been incorporated so seamlessly into Chinese society that people don’t raise an eyebrow when they see it on the streets. In a similar way, the Japanese and the Koreans are also used to seeing kimonos and hanbok in everyday life. I should note that by hanfu I’m referring specifically to attire in the Han dynasty, seen here on a dude and a woman. EDIT: Thanks for the responses, both positive and negative. I’ve decided to go for it. I’m thinking about buying a couple of hanfu outfits every year (the outer layers and inner layers can be mix-and-matched) to build up my wardrobe so that I can wear a hanfu outfit to work maybe once a week, paired with my normal 21st-century haircut and shoes. But instead of wearing the theatrical pieces that I linked to, I’m making my own.

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Talk to me here! This blog began as CS based but has widened to whatever else I like – currently a lot of Leverage, Ace Attorney, and Dracula (as well as other classic lit substacks). Late 20s, she/her. Fic and meta writer, on AO3 by the same name. I ramble in my tags. Talk to me anytime, I’m sporadic about being on here but I enjoy conversation! Read them, chinese traditional clothing male half the time they’re longer than my actual posts. Also writing prompts if anyone feels so inclined. Powered by Tumblr. Minimal Theme designed by Artur Kim.

Hanfu (simplified Chinese: 汉服; traditional Chinese: 漢服; pinyin: Hànfú) is the traditional styles of clothing worn by the Han Chinese. Traditionally, hanfu consists of a paofu robe, or a ru jacket worn as the upper garment with a qun skirt commonly worn as the lower garment. There are several representative styles of hanfu, such as the ruqun (an upper-body garment with a long outer skirt), the aoqun (an upper-body garment with a long underskirt), the beizi and the shenyi, and the shanku (an upper-body garment with ku trousers). In addition to clothing, hanfu also includes several forms of accessories, such as headwear, footwear, belts, jewellery, yupei and handheld fans. After the Han dynasty, hanfu developed into a variety of styles using fabrics that encompassed a number of complex textile production techniques, particularly those used to produce silk. Hanfu has influenced the traditional clothing of many neighbouring cultures, including the Korean hanbok, the Japanese kimono (wafuku), the Okinawan ryusou, and the Vietnamese áo giao lĩnh (Việt Phục). 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. Up to a certain extent, hanfu has also influenced some elements in Western fashion, especially those influenced by Chinoiserie fashion, due to the popularity of Chinoiserie since the 17th century in Europe and in the United States. Silk remains a core element of Hanfu and Chinese traditional clothing.