The transformation of Hanfu clothing from its traditional roots to contemporary designs illustrates the adaptability of this cultural attire. Traditional Hanfu, with its distinctive flowing robes, intricate patterns, and emphasis on harmony and balance, has been reimagined in today’s fashion world. This fusion has led to a diverse range of Hanfu-inspired apparel, suitable for everyday wear and special occasions alike. Contemporary Hanfu designs often feature zipper closures or elastic fabrics, catering to modern convenience without sacrificing traditional appearance. Modern interpretations often incorporate new fabrics, colours, and styles while retaining the essence of traditional Hanfu aesthetics.Designers and enthusiasts are blending elements from different dynasties, such as the Han, Tang, and Song, with modern fashion sensibilities. In-depth analysis of the significant phases through which Hanfu clothing has passed hints at a broader socio-cultural phenomenon. This resurgence is part of a larger “guofeng” movement, which seeks to embrace and promote cultural elements indigenous to China, including music, art, and literature, alongside traditional fashion. The revival of Hanfu in the 21st century, for instance, is not merely about clothing but a reflection of a growing interest in and appreciation of Chinese history and traditional values among the youth. The patterns and designs of Hanfu clothing have evolved significantly through the centuries, echoing changes in societal norms, technological advancements, and aesthetic preferences. By the time of the Tang dynasty, a broader palette of bright colours and elaborate patterns emerged, reflecting the cosmopolitan culture of the era. The Ming and Qing dynasties saw a preference for more subdued colours and intricate embroidery, symbolising sophistication and elegance. Hanfu clothing: Traditional attire of the Han Chinese, characterized by its robe-like garments, wide sleeves, and crossed collars. Tang Dynasty Hanfu: Known for its brightness, diversity, and elaboration; women’s Hanfu from this era often featured high-waisted dresses and wide sleeves, signalling the openness of the Tang society. The revival of Hanfu clothing has led to the establishment of clubs, communities, and events dedicated to Hanfu culture, indicating its significance beyond mere fashion.

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Daojiao fushi (simplified Chinese: 道教服饰; traditional Chinese: 道教服飾; pinyin: Dàojiàofúshì), also known as Taoist clothing, are religious clothing and adornment worn by devotees and practitioners of Taoism, an indigenous religion and life philosophy in China. 233 Taoist ritual garments (sometimes referred as daoyi (Chinese: 道衣; pinyin: dàoyī; lit. Han Chinese traditional clothing and holds clear Taoist cultural meaning. Chinese culture attaches great importance to “cap and gown” (Chinese: 冠服; pinyin: guānfú) are seen as important signs of levels of etiquettes; it is also a visible marker of the Taoist identity. Different forms of clothing will be worn by Taoist priests in accordance to ritual types and obvious distinctions are found in the attire of Taoist priests based on their different positions to the altar. 222 When performing rituals and important rituals, Taoist priests wear ceremonial attires which appear to be aligned with elements of Chinese cosmology; these ceremonial attires are therefore strong spiritual intermediaries acting on the part of the Taoist devotees community. Taoist clothing are visible markers of the Taoist identity. There were also codes which would stipulate the appropriate Taoist attire to be worn during both ritual performance and when being off duty. 233 The Taoist ritual clothing not only inherit from Han Chinese’s Hanfu but also show clear Taoist cultural meaning. 222 The arts found on the clothing are deeply influenced by Chinese culture. 197), the Eight Immortals: the Eight Trigrams, the Twenty-eight Lunar Mansions and the 12 animals of the Chinese zodiac. They can also be decorated with auspicious symbols, such as dragons, butterflies, bats, clouds. This section needs expansion. They can also be decorated with animals which are related to Chinese mythology, legends and stories, such as the crane bird which represents transcendence. You can help by adding to it. An explanation to the origins of Taoist ritual clothing (Chinese: 道衣; pinyin: dàoyī; lit. China as their clothing were embroidered with patterns of flowing pneuma which are similar to clouds, depictions of the celestial real and the underworld. 455-456 Another hypothesis is that the Taoist ritual clothing was markers of various ranks of priestly attainments similar to the formal clothing system used in ancient China to identify the members of the nobility and the senior bureaucracy. 222 To thank the deity for protecting the world, the Yellow Emperor designed the Taoist ritual dress based on the deity and reasoned that these heavenly clothing would be the most appropriate attire to wear when approaching the heavens during prayers. According to the Taoist tradition, the ritual clothing originated since the era of Yellow Emperor; according to the legend, one day the Yellow Emperor saw a deity dressed in golden robe adorned with colourful clouds and a golden crown. 222 Therefore, the Daoshi (Taoist priests) wear the attire of the gods. Taoist traditions were systematized during the Six dynasties period. 456 Early taoist clothing were not fully developed and it is the Northern and Southern dynasties that the preliminary Taoist dress code was formed. Since the Liu Song period during the Southern dynasties, Lu Xiujing began to reinterpret the doctrine of Taoist’s doctrine of adaptation to the social hierarchical system by basing himself on the ancient Chinese crown and dress system and by combining the religious needs, thus developing a new attire system.This system became the earliest systematic dress code of Taoist clothing. In the Lishizhenxiantidaotongjian 《历世真仙体道通鉴》, it is described that “Xiujing’s Taoist dress is very beautiful, like the moon and star, like the rainbow and flower”. Since then, the dress code of the Taoist clothing continued to develop until it included different styles, patterns, and colours based on different status and occasions. There were many forms of Taoist priest clothing in the Song dynasty. Many variety of Taoist ritual clothing were also described when Taoist clothing was systematized. 21 In the early Southern Song, a style of Taoist priest robe is described as: “the broader silk braid of the Taoist priest robe was seen as more stylish, with the breadth being about three to four cun, and the length more than two zhang, so that that dress made of silk velvet could be wrapped back and forth around the wearer’s waist several times”. 21Another form of Taoist priest was the Hechang (lit. Daofu (Chinese: 道服; pinyin: dàofú; lit. 21 In the Song dynasty, the daofu was very popular. In The Current Regression of Diet and Apparel by Shi Shengzu, it was observed that the “apparel system of the three ancient Chinese dynasties could still be found among Taoist priests”. 21 It was greatly appreciated by some hermits and scholars during this period and was mentioned in some poems written by Wang Yucheng being described as “the silk wadding cap, coarse clothes and black muslin scarf” and Fan Zhongyan who described the Taoist priests as dressing themselves sprucely. 21 There were many forms of daofu in the ancient China. 21 Some scholars, such Shi Manqing (994-1041), and some officials in retirement also liked to dressed in daofu. In the Qing dynasty, Taoist priests wore dark blue robes. Nowadays, tradition-based taoists will often wear the traditional robes and liturgical clothing for formal religious and ritual occasions; while Zhengyi priests and taoists priests outside mainland China tend to wear Western clothing in their daily lives. The traditional clothing worn by the Taoist community is connected to pre-modern Chinese clothing and styles. In the Ming dynasty, the daofu is a wide-sleeved, crossed-collar robe which closes to the right and has dark edging at the edges of the collar, sleeves, and placket. The traditional taoist robes can also be worn as a daily lives clothing by the Quanzhen monastics in mainland China. The Ming daofu is similar to the daopao, except for the addition of edges decoration on the robe. Belts like dadai (大带) and sitao (丝绦; i.e. a ribbon or a thin rope made of silk) is also used around the waist when wearing the daofu. In the collar edge, a collar protector known as huling (simplified Chinese: 护领; traditional Chinese: 護領; pinyin: hù lǐng; lit. A daofu with a huling sewn onto the collar and dadai worn around the waist, Ming dynasty portrait. Some forms of taoist robes are also referred as crane robes (hechang, 鶴氅). A daofu with a dadai belt worn around the waist, Ming dynasty portrait. Daopao in the form of hechang has been recorded since the Northern Song dynasty. Jin dynasty unearthed artefacts of daopao in the form of hechang have been excavated from a late 12th century tomb of a Taoist named Yan Deyuan, near Datong in Shanxi province; these robes are decorated with cranes, which are associated with the Taoist idea of transcendence since at least the Han dynasty and possibly prior to the Han dynasty. It is worn by middle-ranks Taoist priests; it is red in colour and has motifs at the back and front, on the sleeves. The Taoist’s priest daopao are commonly worn by the Taoism priests. 457 Theses motifs decorations can include, the bagua and cranes. Wang Changyue, Qing dynasty. The jiangyi is a sign of the higher priestly rank and is worn by grandmasters. It was worn at least since the Jin dynasty with unearthed artefacts having been excavated from a late 12th century tomb of a Taoist named Yan Deyuan, near Datong in Shanxi province. Jiangyi (Chinese: 絳衣; pinyin: jiàngyī), also known as “robe of descent” which refers to either the descent of a priest from the altar or of the spirits to the altar, is a common form of Taoist priest’s clothing. It is made of embroidered silks and is composed of a large square of satin fabric folded into two to form the shoulder line; the shoulder lines continues to the hem of the sleeves. Taoist’ priest; it is usually fastened across the front with 2 silk ties which are sewn just above the waist level. It is typically trimmed with border decorations. Common motifs on the jiangyi include: the sun, moon, Three Heavens, Sacred (Golden) Tower and Flying cranes; Stars and Constellations; Wu yue (True forms of the Five Sacred Peaks); Mountain Peaks and Cosmic waters. The square fabric shape symbolizes the concept of the earth, which is square in Chinese cosmology. When the priests opened his arms, the square silhouette of the jiangyi becomes fully visible and the motifs which typically the heaves became visible; therefore, by wearing the jiangyi, the daoshi embodies the conjunction of heaven and earth. Jiangyi are often found in the five symbolic colours of the universe (i.e. black, red, green, yellow or white). The robe is slashed in the middle to form the collar of the robe. Daoist priest’s robe (jiangyi), China, 20th century. The Quanzhen monastic taoist priests and nuns wear a wide-sleeved, cross-collared gown called daoyi (道衣; lit. Zhengyi taoist priest wearing jiangyi, Ming Dynasty. The sleeves of the daoyi is referred as “cloud sleeves”; they are wide, open at the ends, and their sleeves are so long that it is past the fingers when extended but can be even longer. The deluo (得罗) is a cross-collared gown with large sleeves. In the Quanzhen order, the dagua is worn as one of the ordinary clothing while the deluo is a formal clothing. 457 The blue colour is a symbolism for the east and represents having been descended from the first patriarch of the Quanzhen school, Donghua dijun. It is worn by Taoist priests of the Quanzhen order is a formal ritual dress which is indigo in colour. 457 In large temples (e.g. Baiyunguan in Beijing), the deluo would be worn by monastics on festival days; the deluo would have wide sleeves which could reach 45 cm. Their daopao is cross-collared at the front, and the sleeves are so long that only the fingers can escape from the sleeves. In the Wengong temple in Hanzhong, the cross-collar daopao is the standard form of attire and is referred as daogua (Chinese: 道褂; lit. It is made of thick garments and is blue or black in colour. Patchwork robes is a form of ritual dress; it is made of various pieces of old clothing sewn together are worn by the Taoist priests of the Quanzhen school of Hong Kong. The daogua can be found in 3 types: dagua (Chinese: 大褂; lit. Cihang cap Cihang cap is the High Taoist priest’s headdress of the Quanzhen school of Hong Kong which is worn exclusively for rituals such as The Anterior Heaven Ritual for Feeding, Saving and Refining Ghosts. When the High Taoist priest acts as the gods’ proxy and expounds Taoist scriptures and practice, he would have the “Five-emperor” lotus petal-shaped headdress tied to the front of his cap. The five lotus petals are embroidered with images of the Five Emperors of the Five Directions. Heye Jin (荷叶巾, lotus leaf headscarf) It is similar to the zhuangzijin (庄子巾) in shape but has ruffles likes a lotus leaf, thus gaining its name. Haoranjin It looks like a long hood. The upper back is slightly raised to symbolize transcendence. Huyuan hat (混元巾)/ guanJin (冠巾) It is a round, hard-shelled hat with holes in the top of the hat to reveal the hair bun. Jiuliang Jin (九梁巾, lit. It is a form of headwear worn by Zhenyi priests. It is the most formal headscarf in Taoism. 222 It is a hat with 9 slits in the front of the hat which grows like the ridge of a roof. Sun hat They are worn by Taoist priests who work under the hot sun in summer; some Taoist monks wear it to differentiate themselves from other members of the society by hollowing the top of the hat to make their hair visible or by painting the brim of their hats with Taoist patterns, such as the Bagua and Taiji, or they would write name of the Taoist temple where they lived. The number 9 is the largest number in Taoist and represents the “Heavens above”; therefore wearing it represents the unity of heaven and man. Xiaoyao Jin (逍遥巾) A square (or round) headscarf; it is wrapped in a hair bun and tied with two long headbands. It is liked by the young Taoist priest. Yizijin (一字巾) A type of hairband. The bottom of the scarf is square-shaped while the upper part is triangular in shape like a roof. There is a jade on the front region of the scarf which can help to adjust the scarf wearing in proper direction. Zhuangzijin (庄子巾)/ Chonghe scarf/ Nanhua scarf It is worn by the Taoist priests from Quanzhen school of Hong Kong. Cloud shoes are the shoes worn by the high Taoist priests only. The name of the shoes come from the cloud embroidery patterns fond on the shoes. Depictions of the Taoist pantheon, Eight Immortals, Eight trigrams, the Twenty-eight Lunar Mansions and the 12 animals of the Chinese zodiac were characteristics designs of the Ming and Qing dynasties. These shoes are bright red. National Museum of Ireland. Cheng Dachang also described the “fur coat” as having an inclined collar and being crossed lapels which is similar to the long beizi found in his time (i.e. in Southern Song), the fur coat is however different from the beizi as the back and front of the fur coat are connected under the armpits while the beizi are unconnected. The encyclopedia of taoism. Gwynne, Paul (2017). World religions in practice : a comparative introduction (Second ed.). Fabrizio Pregadio. Richmond: Curzon. Bo Xue Yuan” Millennium Crane Cloak Xijing Hua Chang”. Little, Stephen (2000). Taoism and the arts of China. Chicago: Art Institute of Chicago. Shawn Eichman (1st ed.). Journal of the Color Science Association of Japan. Zheng, Xiao Hong; Fang, Ping (2019). “Enlightenment of Cyan Use in Taoist Costumes on Modern Fashion Design”. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Forêt, Philippe (2000). Mapping Chengde : the Qing landscape enterprise. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Honolulu: University of Hawai’i Press. Komjathy, Louis (2013). The Daoist tradition : an introduction. Museum, Victoria and Albert. Victoria and Albert Museum: Explore the Collections. Zhuo, Xinping (2018). Religious faith of the Chinese. St Petersburg: Three Pines Press. Herrou, Adeline (2016). A World of Their Own : Daoist Monks and Their Community in Contemporary China. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 31 January 2024, at 13:19 (UTC). 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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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. The star of the show? At a recent women’s handicraft exhibition, all eyes were drawn to an extraordinary display from Cao County, Heze. This wasn’t just any skirt – it was a garment woven from peony fibers, infused with a fragrance that could last for two years. A skirt that seemed to bridge centuries, combining the timeless elegance of traditional Chinese hanfu with cutting-edge textile technology. Yao Chihang, the visionary behind the “Luo Ruyan” hanfu brand, 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.

In recent years, the popularity of Hanfu has surged across China, particularly evident during events like the Jinhu Hanfu Cultural Consumption Season. Hanfu has become more than just a garment; it’s a cultural statement, often eclipsing even the weather in conversations. People flock to ancient capitals like Hedou, clad in exquisite Hanfu attire, to indulge in traditional foods, capture memorable moments against iconic landmarks, and eagerly share their experiences on social media. As Professor Huang Qiang, a renowned expert in clothing history, explains, references to Hanfu can be found in ancient texts dating back to the times of the Yellow Emperor and Yao-Shun era. Hanfu, by definition, refers to traditional Chinese attire that dates back to ancient times. Each dynasty in Chinese history contributed unique styles to Hanfu, reflecting the era’s aesthetic and social norms. From the deep-collared “Shenyi” of the Qin and Han dynasties, which symbolized modesty and hierarchy, to the flowing “Baoyi” robes of the Wei and Jin periods, which exuded elegance and freedom, Hanfu evolved alongside China’s rich history. The Tang dynasty introduced a color-coded system where the hue of one’s attire indicated social status-a system vividly captured in Bai Juyi’s poetry lamenting the tears staining the green robes of a lowly official. However, the Hanfu worn today differs significantly from its historical predecessors. Modern Hanfu, often labeled as “imitation traditional clothing” by experts like Professor Huang Qiang, blends traditional elements with contemporary influences. It lacks the precise historical accuracy of its predecessors and is more of a reinterpretation guided by modern sensibilities. Many modern Hanfu designs lack clear historical markers, such as specific dynastic influences or social hierarchies, and are tailored more for aesthetic appeal than cultural fidelity. This shift raises questions about the authenticity and educational value of modern Hanfu as a cultural artifact. According to Professor Huang, distinguishing between authentic historical attire and modern replicas can be challenging. What started as a niche interest has blossomed into a mainstream cultural phenomenon, with sales skyrocketing annually. Guo Zaiquan, founder of Qifengge Hanfu, notes a significant shift in Hanfu’s popularity over the past two decades. Guo observes regional preferences in Hanfu sales, with Southern styles from the Song and Ming dynasties proving more popular among buyers. Hanfu’s appeal extends beyond mere fashion; it embodies a cultural revival driven by national pride and historical nostalgia. Despite its growing popularity, the modern Hanfu movement faces challenges, particularly concerning authenticity and cultural representation. As Hanfu becomes more commercialized, there’s a risk of diluting its historical and cultural significance for the sake of market trends and consumer appeal. This regional variation underscores Hanfu’s adaptability and enduring allure across different demographics within China. Balancing preservation with commercialization is crucial to ensuring Hanfu retains its educational and cultural value. Looking ahead, the future of Hanfu appears promising yet uncertain. Its evolution-from ancient attire to contemporary fashion statement-reflects broader societal shifts towards cultural revival and appreciation. As China continues to assert its cultural identity on the global stage, Hanfu serves as a powerful symbol of the nation’s rich cultural heritage and artistic achievements. This resurgence underscores the importance of balancing tradition with innovation, ensuring that Hanfu remains a vibrant and meaningful expression of China’s cultural legacy for generations to come. As Hanfu gains mainstream popularity, concerns about its commercialization and authenticity become increasingly pertinent. While this adaptation has introduced Hanfu to a wider audience, it has also sparked debates among scholars and enthusiasts about the fidelity of these representations. Modern interpretations of Hanfu often prioritize aesthetic appeal over historical accuracy, leading to a diluted understanding of its cultural significance. Scholars like Professor Huang Qiang emphasize the importance of educational initiatives to promote a deeper understanding of Hanfu’s historical context. Public events and exhibitions that accurately depict historical attire can play a crucial role in bridging the gap between modern interpretations and authentic historical garments. Such initiatives not only educate the public but also foster a sense of cultural pride and heritage appreciation. Entrepreneurs like Guo Zaiquan have capitalized on Hanfu’s popularity by establishing cultural centers and online platforms dedicated to promoting traditional attire. These efforts not only stimulate economic growth but also contribute to the preservation and dissemination of Hanfu culture. Moreover, the commercial success of Hanfu has led to a burgeoning industry that encompasses design, production, and retail. The mass production of Hanfu-inspired clothing by non-Chinese manufacturers, often without proper acknowledgment of its cultural origins, raises ethical concerns. However, with commercialization comes challenges of cultural appropriation and misrepresentation. It underscores the need for cultural sensitivity and respect for intellectual property rights in the global fashion industry. Furthermore, Hanfu’s revival has sparked interest beyond China’s borders, attracting enthusiasts and scholars worldwide. International interest in Hanfu workshops, academic conferences, and exhibitions underscores its potential as a global cultural phenomenon. This cross-cultural exchange not only promotes cultural diversity but also enriches global understanding of traditional Chinese attire. Sustaining Hanfu’s cultural integrity requires a balanced approach that embraces innovation while safeguarding authenticity. Additionally, fostering a community of informed consumers who appreciate Hanfu beyond its aesthetic appeal is crucial for its long-term preservation. In conclusion, Hanfu’s resurgence represents more than a fashion trend; it symbolizes a cultural revival driven by historical pride and artistic expression. Collaborations between historians, designers, and educators can ensure that modern Hanfu designs are rooted in historical accuracy and cultural significance. As China continues to assert its cultural identity on the world stage, Hanfu serves as a powerful emblem of the nation’s enduring legacy and global influence. By navigating the complexities of commercialization and globalization with cultural sensitivity, Hanfu can transcend borders and generations, ensuring its place as a cherished cultural heritage for years to come.

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On Friday, July 28, Lan Su Chinese Garden will host its first-ever fashion show, Dress Han: Night of Hanfu Fashion, from 7 to 9 pm. “Dress Han: Night of Hanfu Fashion at Lan Su is a momentous occasion that showcases the creativity and beauty of Chinese culture,” stated Venus Sun, Lan Su’s vice president of culture and community, in a press release. Dress Han will showcase the centuries-old attire of the Han Chinese, with original Hanfu creations by renowned Chinese American designer Kerry Yu and Oceana Blue (as well as Hanfu-inspired music composed by Taiwanese American visionary Dr. Yuan-Chen Li). Hanfu (which means “Han clothing”) has been experiencing a renaissance in China. According to CNN, it is not uncommon to see wide-sleeved robes and crossed collars common to Hanfu in major Chinese cities. Outfits can cost anywhere from $30 to a few thousand dollars. While Hanfu began as a niche online obsession, today’s Hanfu events can attract over a thousand attendees. Fifty-six ethnic groups (55 of which are minorities) are officially recognized by China, with Han being the majority group (making up 92% of the nation’s population). Willamette Week’s reporting has concrete impacts that change laws, force action from civic leaders, and drive compromised politicians from public office. General admission is $40, while member tickets are $25. Support WW’s journalism today.

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Which came first Hanfu or Kimono? The history of Hanfu can be traced back to the Han Dynasty, where it began to take its recognizable form. As a traditional Chinese dress, Hanfu has its roots in various dynasties, with influences seen as far back as the Shang and Zhou periods. Hanfu originated in ancient China, predating the Kimono, which developed later in feudal Japan. Several variants such as the Shenyi, Zhiju, and Aoqun were prominent among the Chinese people. Over time, Hanfu has undergone significant transformation, with each dynasty adding unique elements to its design. Emperor Wu of Han was particularly significant in making Hanfu a symbol of Han Chinese identity. The fabrics used for Hanfu were often intricately woven silks, showcasing the advanced silk-weaving techniques of ancient China. The attire was also gender-specific and signified one’s social status, from peasants to the royal family. The colors and motifs also had symbolic meanings; red represented joy, while blue symbolized integrity. Unlike Hanfu, Kimono is not tied to one specific ethnic group or period in Japanese history. While Hanfu had a longer history, Kimono started gaining prominence in Japan around the 8th century, during the Heian period. The design of Kimono was significantly influenced by the Chinese Tang Dynasty fashion, although over time it evolved to reflect uniquely Japanese aesthetics. Originally, Kimono was known as “kosode,” a term referring to small sleeves, distinguishing it from other clothing styles at the time. The garment was more simplified than Hanfu, focusing on straight lines and the T-shaped cut. The garment’s length and sleeve size often varied based on the wearer’s age, marital status, and occasion. Cultural exchange between China and Japan has a long and rich history. As early as the 5th century, Japan sent diplomatic missions to China, known as Kentōshi, to learn from its advanced civilization. Among the things imported were Chinese philosophy, art, and, of course, clothing styles. Hanfu is well-known for its elegant and flowing designs, which often represent the philosophies and aesthetics rooted in Confucianism and Daoism. The most traditional forms of Hanfu include garments like Shenyi, Pao, Zhiju, and Aoqun. These styles often consist of a top garment that crosses over the body diagonally and a bottom garment that could be either a full-length skirt or trousers. The fabrics used in Hanfu typically involve luxurious materials such as silk, linen, and occasionally brocade. This led to the adaptation and incorporation of Hanfu elements into early Japanese clothing, which eventually evolved into what we now know as Kimono. Patterns and motifs on these garments usually depict traditional Chinese elements like dragons, phoenixes, and floral designs. Unlike Hanfu, Kimono often uses a belt, known as an Obi, to secure the dress around the waist. The fabric used in making Kimono can vary greatly, ranging from cotton to intricate silks. Unlike Hanfu, which can have various vibrant colors, Kimono colors often relate to the seasons or the wearer’s age and marital status. Patterns might include natural elements like cherry blossoms, birds, or rivers. Both Hanfu and Kimono have a rich history and are deeply integrated into their respective cultures, often worn during traditional ceremonies and festivals. While Hanfu generally has more variations in terms of garment types, Kimono is more rigid in its T-shape design but has more flexibility in sleeve and body length. Kimono has a more simplified design compared to Hanfu, consisting of straight seams and wide sleeves. In the context of Chinese history and culture, Hanfu is far more than just an item of clothing; it is a cultural symbol with deep roots. Hanfu has been strongly influenced by Confucian ideals, representing virtues such as respect, dignity, and decorum. Traditionally, Hanfu is worn during various cultural and religious ceremonies, including Chinese New Year and weddings. The style of the Hanfu can even represent one’s social standing, from the ordinary citizen to the scholars and nobility. It is also the costume of choice for traditional Chinese performances like Peking Opera and various forms of Chinese dance. Over time, Hanfu has made a resurgence in modern China as a way to reconnect with cultural identity. Social media campaigns and Hanfu movements advocate for the revival of this traditional dress as a way to promote Chinese heritage. Kimono holds a revered place in Japanese culture, symbolizing the country’s traditions, aesthetics, and social codes. Modern adaptations include simplified versions for everyday wear and luxurious, ornate designs for special occasions. Like Hanfu, Kimono is not just daily wear but a representation of cultural beliefs and norms. In recent years, the Kimono has also undergone a form of modern revival. Many fashion designers have also incorporated Kimono elements into modern clothing lines, ensuring that it remains an evolving yet preserved art form. Young people in Japan are readapting the Kimono in new ways, including using modern fabrics and styles, while keeping the traditional essence intact. Both Hanfu and Kimono serve as potent cultural symbols for their respective societies, encapsulating historical, spiritual, and social elements. However, they reflect different sets of values and philosophies. Moreover, both garments have experienced a revival in modern times, albeit in slightly different contexts. Hanfu’s resurgence is often seen as a part of a broader “cultural renaissance” in China, seeking to revive traditional Chinese culture. On the other hand, Kimono has evolved to integrate modern elements but is more often than not worn in its traditional form during important cultural ceremonies. While Hanfu often symbolizes Confucian virtues like respect and ritual, the Kimono embodies the Japanese aesthetic ideals of simplicity and natural beauty. The Hanfu movement in contemporary China is an ever-growing phenomenon. Many are not just wearing Hanfu during special occasions but also incorporating it into everyday life. Fueled by social media platforms like Weibo and cultural organizations, young people are embracing Hanfu as a way to reconnect with their cultural roots. Designers are experimenting with combining modern fashion elements and traditional Hanfu designs, creating hybrids that appeal to a younger audience. The government has also shown support, recognizing the garment’s cultural significance and promoting it through various channels, such as traditional festivals and museums. While the Kimono is less commonly worn on a day-to-day basis in modern Japan, its cultural significance remains undiminished. Hanfu subcultures have sprung up, each with its own unique take on this ancient attire, ranging from the historically accurate to more innovative adaptations. Special occasions like weddings, Coming of Age Day, and traditional tea ceremonies still call for the wearing of Kimono. Fashion shows in Tokyo sometimes feature Kimonos alongside western attire, highlighting its enduring appeal. Importantly, Japanese schools sometimes include Kimono-wearing lessons, demonstrating the garment’s deep-rooted significance in the culture. Designers from around the world are increasingly incorporating elements from these traditional garments into their collections. Runway shows in fashion capitals like Paris and New York sometimes feature models wearing outfits inspired by Hanfu or Kimono, often blended with western design principles.This trend reflects the broader phenomenon of cultural globalization, where distinct cultural elements can cross borders and become part of a global heritage. The Hanfu revival movement in China has gained momentum over the last decade. Global fashion has not remained untouched by the influence of Hanfu and Kimono. Today, you can find Hanfu shops both online and in big cities like Beijing and Shanghai. Colleges in China are offering courses on Hanfu history, design, and cultural significance, further integrating it into modern education. Annual events like Hanfu fashion shows, and even a Hanfu Cultural Festival, attract thousands of people. Additionally, Hanfu enthusiasts often organize community events and festivals, sometimes collaborating with local government bodies to showcase the attire and its cultural relevance. One noteworthy example is the usage of Kimono during the Tokyo Olympics opening ceremony, where the attire was showcased as an emblem of Japanese culture. Kimono continues to maintain a strong cultural presence in Japan, specifically through its role in modern events and ceremonies. Additionally, international celebrities visiting Japan often participate in Kimono-wearing experiences, and these instances are widely publicized, amplifying its global recognition.

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For the past two months, “traditional Chinese clothing” has been in the spotlight on social media and a topic of discussion, and not without a flurry of confusion and anxiety from some deep soul-searching. While many mainland Chinese were baffled or even lashed out against their American-born brethren on the issue of a white young woman wearing Shanghai-style qipao as “cultural appropriation,” dismissing their “Democratic political correctness culture gone too far,” they had their own similar case with traditional clothing being appropriated by someone of superior social power – except this time the category isn’t racial, it’s political. It all started with Leung Chun-Ying, former Chief Executive of Hong Kong and now Vice-chairman of the Chinese People’s Political Consultative Conference (CPPCC), appearing in a gentleman’s hanfu outfit the “International Chinese Costume Festival” in Causeway Bay, Hong Kong on April 7, 2018. “The Western suit and tie shouldn’t be the only formal and business dress,” Leung addressed to the public, “in our day and age, formal dress in international events and venues also includes traditional attire in their country of origin.” And then on the very next day, the Communist Youth League of China (CYLC) announced a major online and in-person celebration event called “China Huafu day” to be held on April 18, 2018, and is co-organized with BiliBili, the Chinese video and streaming service with a viewer-based video annotation system based on Japan’s Niconico Douga. During Hu-Wen administration from 2003-2013, what advocates called “hanfu” was described in official media as “antiquated clothing of the Han Dynasty (2 c. Leung’s timeliness with endorsing the Hong Kong festival and Communist Youth League’s China Huafu Day announcement event seems almost uncanny, as they are unrelated organizations under separate political jurisdictions, but both point to an indicative change to the Chinese Communist Party’s attitude towards the dress. ” and were sneered by officials and social opinion-at-large, and were ironically targets of “nationalistic” mob attacks in Chengdu of 2010, having mistaken the origins of the dress as Japanese rather than Chinese. BCE to 2 c. In contrast, under the Xi administration’s mandate in pursuing the “Chinese dream (zhongguo meng) of the glorious Chinese national (zhonghua minzu) restoration,” hanfu was little if no longer publicly and violently discriminated against, and saw a steady rise of regional government and large industry events. The media began to soften after the viral spread of yet another incident in 2012 where a Yongkang high-school girl was sent home because the principal deemed her conservative outfit of a broad-sleeved, cross-collared top and ankle-long skirt to be “strange and outlandish clothing,” attracting alarm and public denouncement of the school administration for discrimination against the expression of one’s cultural heritage. The appearance of a group of musicians in hanfu playing on bianzhong (orchestral bells) and other classical court music instruments during US President Trump’s state visit to China on November 9, 2017 was the first instance where the dress was adopted as a symbol of Chinese cultural heritage and presented in a state function by the People’s Republic government. Short of a full written or verbal proclamation by Xi or a member of the Chinese central leadership affirming the Hanfu Movement’s mission in official recognition of the term as “Han ethnic traditional dress (Han-minzu chuantong fushi),” it seems that almost all is but said and done, and that their objective has already been achieved by default. Except that the name of the Youth League’s event was a stark, unsubtle reminder that it was not. While “China Huafu Day” leverages itself on numerous authoritative bodies and occasions to bolster hype and support from the hanfu community, the hasty announcement of the festival a mere ten days prior to the event and landing on a working day (Shangsi is a traditional festival but not a civic holiday) caught many off-guard and ill-prepared for a trip to Xi’an or even to prepare photos for submission. Hua is a much more ambiguous and contentious term to wrest with. Han is one of them. While in dynastic history it is a term being synonymous to the Han ethnicity and its central court culture, its modern usage is Liang Qichao’s neologism called “Zhonghua Minzu (lit. The idea was fiercely countered by many older intellectuals as “Han chauvinism,” a term Mao Zedong coined to warn of the imposition of Han majority values and cultural imperialism on the ethnic minorities, especially in regards to policy-making. Because of the history of the Zhonghua minzu rhetoric and the CYLC as a national organization representing the Party’s ethnic principles and inclusion for all to participate in its event, the invisible obligation for a ‘national costume’ celebration for all ethnicities has warped not only the event but the object in the spotlight – hanfu, to be called “huafu” instead – to represent and include all those within the Zhonghua modern state. The reluctance for the Communist Youth League to call the rose by its name shows the embarrassing position state institutions have on Han cultural propriety and ethnic policy: By calling the hanfu event “Hua” ensures the inclusion of all peoples of China in this celebration of heritage, but at the same time reopen the fruitless “national costume debate” from ten years ago, when a range of prominent citizens from scholars to National People’s Assembly representatives urged to revive hanfu as the “national dress (guofu)” of all China, setting a clothing standard for a multitude of situations from academic regalia to displays of Chinese culture in international venues like the Olympic Games (the Beijing Olympics was a little over a year away then). Despite its initial goodwill, the CYLC’s rhetoric is bound by a national obligation and rhetoric of inclusivity for the other ethnic minorities, but has paradoxically become a burden and conducer of cultural appropriation of the highest order. Had the event been simply been labeled as an exhibition of ethnic Han culture, however, it would paradoxically enough garner the accusation of Han chauvinism, as drumming up a “proprietarily Han” festival was said to attract suspicion of alienation or even forced assimilation of minorities and their culture when the intention is the opposite. It does not take a Western critical eye to identify the root of this problem, and netizens have clearly expressed their concerns and dissatisfaction on platforms such as Zhihu, Baidu Hanfu Bar, and WeChat QQ. Hardliner Hanists will put it even more bluntly: Doing so is “culturally appropriative” and self-Orientalising, where the Communist Party (or anyone thinking along such ideas) becomes allegorically the “White” actor as to the “Native” Han authenticity. To hanfu supporters, having a festival that celebrates all ethnic dress in China but calling the clothes of the Han as “Hua” simply reiterates the dead-end discussion a decade ago. Despite these restrictive sensitivities and contexts, BiliBili and other main organizers strived to stay true to the mission and purpose of the event: to celebrate the wearing of hanfu, the traditional dress tradition of the Han Chinese brought back into daily practice thanks to a decade of persevering promotion by individuals of every social strata. As seen in Figure 2, the organizers make a conscious and deliberate balance between the objectives of the hanfu movement (to disassociate the qipao with the Han) and national ethnic policy (to have minority inclusion and respectful representation). This is why on posters promotional material, the cross-collared robe and skirt is unambiguously haralded despite the “inclusivity” fine print, included in the terms for the ‘offline event’ convention to be held in Xi’an. While this change came from a culminated process of early promoters now entering prominent influence in the workforce and accumulation of successful private industry ventures like the Xitang Hanfu Festival for the past 4 years, the fact that the Party is showing support now, during the meteoric rise and possibly the height of Xi Jinping’s power and personal reputation, is a less-than-subtle semblance to how hanfu could’ve been legally the national dress of China but was totally thwarted because of one political event. Party involvement – A bad omen for repeating history? To veteran Hanfu promoters who have long wrestled with Zhonghua minzu cultural affirmation policy, the sudden turnaround by the Party towards supporting the movement (despite its awkward way with the hua part) sounds almost too good to be true. 1906-1914), Revolutionaries calling for the toppling of the Manchu imperial court and establishment of a Han nation-state have a fashion subculture for “pre-Qing ancient dress” – what we call hanfu today, and very much illegal at the time, punishable on threat of death (although nearly impossible to enforce by then). For many who studied or took asylum in Japan, the kimono was purchased and worn as a substitute product, and pondered on China’s possibilities at a time when Japanese dress and textiles began to find its way on the international stage from the overpowering Westernizing force from the Meiji Restoration. On the dawn of the Revolution in 1911, there have been reports of ‘men in Ming-style Confucian scholar caps and robes’ meeting and celebrating the independence armies marching in. The first Republican formal dress code was drafted in June and then published in August 1913, for use in Confucian and other state rituals and functions – its first use being the Heaven Sacrifice at the Temple of Heaven in Beijing on December 23, 1913. It was widely believed that support for Han dress came to an abrupt halt when Yuan declared himself Emperor in 1915, when “ancient customs and ancient dress” were directly linked with the grossly unpopular return to monarchy, and after Yuan’s death in 1916, only extremely rare examples like Confucian scholar Chen Huanzhang continued promoting its use – but for the rest of the Republican era, only the Confucians and some parts of Chinese academia wore the cross-collared form of antiquity in addition to the traditional usage by Daoists, Buddhists, and theatrical troupes. This Han dress fad (and its grand vision for a politically and sartorially Han China) was small compared to the pressures of Western dress from the Treaty Ports and Manchu-Qing dress of the old guard (many kept wearing them despite most men cut their queues) but perhaps had more promise than we may have witnessed through the scant memoirs and newspapers at the time, according to a study by Li Jingheng in 2014. While the prospects for a “Han China of its 18 provinces” fell apart with Sun Yat-sen transferring presidency to Beiyang Army commander Yuan Shikai in March 1912 thereby preserving Qing borders and multiracial inclusivity (Sun himself started touting for “Five Races under One Union” in accordance), the push for Han dress was still strong. Yuan Shikai’s dress code survived with the Nationalists’ retreat to Taiwan, where Chiang Kai-shek made a revision in 1967 during the “Chinese Traditional Renaissance Movement” in counter to the Cultural Revolution on the mainland, changing the outfit for government officials to the cheongsam and Manchu horse jacket on top while removing most imperial patterns and simplifying designs on non-governmental staff regalia, where it is still the standard today. In daily life on both sides of the strait, however, Western dress eventually prevailed since Yuan’s downfall. The story of Yuan Shikai and his re-introduction of Han dress through establishing the dress code and the spectacles of ritual (as witnessed through the camera lens) is often cited by most Chinese today as telltale signs of monarchistic revivalism and its “feudal dregs” of imperial values – the very target of their all-too-recent Revolution in 1911. For most Chinese readers and netizens watching Xi Jinping showing support to hanfu as part of his “China Dream” plan in exporting Chinese tradition as a “soft power” symbol through the Belt and Road initiative, all the signs for a “second coming” seemed to be there. Unlike popular interpretation, Li Jingheng argues that the greatest failing of the Han dress pursuit in the 1910’s was not because of Yuan Shikai and his path to totalitarianism, but in that the people establishing a direct correlation between the dress and a biased interpretation of Yuan’s actions, which made a tragic turn for the nascent sub-fashion. “Han dress” and “national essence (guocui)” became hijacked onto the war chariot of monarchism.”(Li 2014 3-4) Rather than attacking monarchism and criticizing totalitarian regimes, the people shifted their target toward symbols that the institution had cladded itself on – and in this case, long-standing Chinese heritage became unfortunate scapegoats and strawmen of political happenstance that otherwise would have been positively perceived and normally develop. “Remember the ‘former tongpao (hanfu advocates)’ you know or may have heard of. Or, amidst the arguments from within the circle, they have been forced to the opposition against hanfu and traditional Chinese culture – surely you know of such people? As you read this little passage, there are people who are undergoing the same thought process as those a hundred years ago. Less than a week after Huafu Day on the other side of the world, Jeremy Lam’s critical statement on Keziah Daum’s prom photo sparked yet another popular debate on Asian dress in Western fashion. To many mainlander Chinese, cultural appropriation and American PC-culture was a foreign concept – and others felt that Lam was defending “the wrong tradition” to begin with and called to distinctify the Chinese Americans from themselves. By comparing the concerns of cultural appropriation by Asian Americans with cultural hijacking of the Mainland Chinese, we see variations on the tune of misinterpretation and misuse of a culture’s image by an authority – whereas in the American case clearly a racial profiling (“whiteness”) denotes the oppressing subjectivity, the Chinese case is much more subtle with “popular backlash against unwanted intervention” – the Communist Youth League and “huafu,” in the previous example given. There are quite a few who have rescinded from wearing hanfu because of all the abuse they experienced with no way to counter them, heads hanging low in despair. There is much to gain from each side’s experiences and approaches. While American Chinese may balk at the approach of deliberately making their own dress culture as a spectacle and commoditizing it for all to buy and consume – the very offense in most “cultural appropriation” cases, à la American Apparel or cheap dollar-store hallowe’en costumes, to the mainlanders it has been also the most effective way in putting a stop to it, by way of proactively providing high-quality articles of the dress, meticulously designed and produced compared to the zip-up costumes made with plastic and synthetic fibres that fill the wardrobes of photo and tourist trap rental studios and rendering them obsolete with market competition. On the other hand, mainland Chinese could learn a thing about cultural sensitivities and consuming a culture as ‘exotic entertainment’ – even if that object of cultural consumerism could be nominally “their own.” It is commendable in celebrating the heritage of the ethnicity that makes up 92% of the Chinese population alongside the various minority groups as equals, but as long as “tradition” stands as a categorical antithesis or counterpoint to the “modern” or “real life,” then even the most faithful and passionate advocate still stands as an Other exploiting the graves of the ancestors, for protests from the dead lay deaf among the living. Juni Yeung is a Master’s in Comparative and Public History from the Chinese University of Hong Kong, and will soon graduate from the Department of History at the University of Toronto.

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Traditional Chinese clothes, also known as Hanfu (汉服), holds a special place in Chinese history and culture. Hanfu refers to the traditional attire worn by the Han Chinese people, chinese hanfu pink and greem the largest ethnic group in China. It is characterized by loose-fitting robes with flowing sleeves and distinctive collar styles. The term “Hanfu” itself translates to “clothes of the Han people.” Hanfu reflects the essence of traditional Chinese aesthetics, showcasing elegance, modesty, and harmony. From the graceful Hanfu to the iconic Qipao, and the lesser-known Tangzhuang, Zhongshan Suit, Pienfu, Ruqun, Moxiong, and Magua, each garment carries its unique charm and significance. Traditional Chinese clothes is a treasure trove of culture, history, and artistic expression, showcasing the elegance and aesthetics of ancient China. By preserving and celebrating traditional Chinese clothes, we can continue to appreciate the rich heritage that has shaped Chinese culture for centuries.

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From the grandeur of the Qin and Han dynasties to the cultural refinement of the Wei and Jin periods, the magnificence of the Sui and Tang eras, and the structured aesthetics of the Song and Ming dynasties, each era reflects the spiritual beliefs and philosophical ideals of Chinese civilization. The Hanfu dress, as the crystallization of Han culture, intricately intertwines with these exceptional periods, linking the present generation with the legacy of their ancestors. This revival of Hanfu extends beyond being merely a garment; it encompasses the original lifestyle and temperament intrinsic to Han culture. Many enthusiasts express a profound sense of familiarity upon donning Hanfu for the first time, attributing this connection to the immersive influence of history and culture. Instead, it represents a journey to reclaim an elegant Chinese way of life and rekindle the memories of a millennium-old heritage. In a diverse contemporary society, the resurgence of Hanfu and traditional culture is not an endeavor to salvage cultural remnants, nor is it an attempt to solidify the past. Hanfu, as a cultural phenomenon, radiates a resplendent allure that enhances the splendor of traditional China. Among the classic styles of Han ethnic clothing, the “Yishang” distinguishes itself. The resurgence of Hanfu finds its brilliance in the collective effort of individuals like you and me, breathing new life into this timeless attire. One of the prominent styles of Hanfu, featuring an upper garment (ru) and a lower skirt (qun) with a cross-collar and right lapel. The details of Ruqun vary, with some featuring a deep cross-collar extending to the armpits, wide sleeve edges, and a waistline-a style often considered as inner clothing. In its initial stages, “Yi” involved cutting fabric into two pieces draped around the body. This style comprises an upper jacket (ao) and a lower skirt (qun). The lower skirt is paired with horse-faced pleats or regular pleats, creating an ensemble that influenced the clothing of other Chinese ethnic groups. A style of Ruqun where the skirt and the tie are positioned at the chest, creating a “Qixiong” or “even chest” effect. The long-sleeved jacket has a cross-collar with right lapel and often features pleated sleeves. Originating in the Sui Dynasty and flourishing in the Tang Dynasty, the Qixiong Ruqun exhibits cascading and elegant pleats, often with a straight lapel. Another Hanfu style described as a short outer garment without a collar (or with a turned-down collar), open at the front, with sleeves extending to the elbows. Derived from the classical text “Li Ji” (礼记), the “Lianyi” represents a specific cutting style where the upper garment and lower skirt are separately tailored and then sewn together. This includes various styles such as Zhiju (直裾), Quju (曲裾), Lanshan (襕衫), and Zhuzi Shenyi (朱子深衣). The Banbi has varied meanings across different historical periods, but in contemporary terms, it often refers to short-sleeved garments. A straight-hemmed gown with the upper and lower parts stitched together. Characterized by the garment’s front being longer than the back, Quju involves a unique design where the front lapels overlap. Specific variations of Quju have been identified in tombs like Ma Wang Dui. The gown does not have side slits, and it features a right lapel, drawing inspiration from garments found in the Ma Wang Dui tombs. Originally a ceremonial garment for nobility, Shenyi features white or jade-colored fabric with a cross-collar, wide sleeves, and colored edges. The gown is divided into twelve panels, including large and small lapels, back panels, and side panels. Emerged during the Tang Dynasty, Lianshan features a round collar, large sleeves, and a horizontal panel at the bottom, resembling a skirt. Scholars, government officials, and local scholars commonly wore Lianshan during the Song Dynasty. This includes styles like Daopao (道袍), Yuanling Pao (圆领袍), Zhiduo (直裰), Beizi (褙子), Pifeng (披风), and Changyi (氅衣). In ancient times, this cutting method was referred to as “Bu Danyi” (布单衣), modern qipao and it involved a single piece of fabric. Daopao is distinguished by its graceful appearance and was commonly worn by scholars and officials during the Song Dynasty. A gown with a right-lapel, large sleeves, and a length reaching below the knees. Originating from ancient times, Yuanling Pao became a prevalent official attire during the Sui and Tang Dynasties, influencing neighboring countries like Japan and Korea. Known for its broad and long style, Zhiduo is a loose-fitting long robe worn by scholars and officials during the Song Dynasty. It has a cross-collar, and its length surpasses the knees. Often worn as an outer garment, Beizi has a right lapel, straight collar, and straight-edge bottom. This style features a round collar, long sleeves, and a right lapel. It can be long or short, wide or narrow, and typically has open slits on both sides. Suitable for both men and women, Pifeng features a right lapel, wide sleeves, and side slits. The Pifeng is often paired with other casual attire. It is distinct from a cloak, which is worn over the shoulders without sleeves. Similar to Pifeng, Changyi was favored by Daoist scholars during the Jin Dynasty. Also known as Hechang (鹤氅), this traditional attire has wide sleeves, a right lapel, and a distinctive style with long straps that tie the garment. Also known as Zhongdan (中单) or Danshan (襌衫), Zhongyi plays a pivotal role in coordinating and accentuating the overall attire. In addition to these styles, the Hanfu wardrobe is complemented by the essential “Zhongyi” (中衣), serving as an intermediary garment worn between the inner and outer layers. As a fundamental element, Zhongyi is indispensable for formal occasions, akin to the role of a dress shirt in a Western suit ensemble. In conclusion, the revival of Hanfu is a cultural resurgence that transcends the boundaries of mere fashion. It is a collective effort to rediscover and embrace a unique and elegant Chinese way of life, intertwining the past with the present. As enthusiasts don these garments, they become living embodiments of China’s rich history, carrying forward the legacy of Han culture with grace and dignity.