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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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Can i wear hanfu

a woman posing while sitting on a chairFrom 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.

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woman in black shirt holding black ropeThe Tang Dynasty, often regarded as a golden era of Chinese history, represents a pinnacle in both intellectual and material achievements of ancient China. This period witnessed the flourishing of Hanfu clothing, characterized by its elaborate designs and luxurious materials. These patterns often incorporated wavy lines, creating a sense of movement and fluidity. Realistic depictions of flora and fauna replaced the previously dominant celestial and mythical themes, although traditional motifs like dragons and phoenixes remained prevalent. Tang Dynasty attire is renowned for its extensive use of floral and plant motifs, which were lively, symmetrical, and intricately detailed. The overall design ethos of Tang clothing mirrored the era’s spirit of openness and artistic freedom. The Tang Dynasty’s clothing styles reflected the period’s economic prosperity and cultural openness, bolstered by thriving foreign trade and long-standing peace. As the epicenter of economic and cultural exchange in Asia, Tang China assimilated and integrated elements from Indian and Persian cultures, enriching its own cultural tapestry. Tang Dynasty clothing was marked by its opulence and openness. This synthesis is evident in various art forms, including murals, stone carvings, silk embroidery, and, notably, in the elaborate designs of Tang Dynasty clothing. Women’s fashion, in particular, featured bright colors and lightweight, even translucent materials. The famous Dunhuang frescoes provide vivid depictions of Tang women’s attire, showcasing high buns, open chests adorned with red silk, thin yellow blouses, long green skirts, and red belts. It was not uncommon for women to wear garments that bared the chest and arms, a style reminiscent of modern evening wear but more modest in its coverage. The diversity of Tang Dynasty clothing is striking, with numerous totems of mythical creatures and animals, alongside intricate floral and arboreal embroidery. These elaborate designs significantly influenced subsequent dynasties’ garment designs and continue to inspire modern fashion, blending traditional aesthetics with contemporary styles. Additionally, it was fashionable to incorporate paintings by renowned artists into one’s attire, transforming clothing into a canvas for fine art. Other colors, however, were freely used. In the Tang Dynasty, golden yellow was reserved exclusively for the emperor and the royal family, symbolizing imperial authority. Among the general populace, a vibrant array of colors was common, with some women’s dresses featuring more than five hues. To distinguish government officials, specific colors like pure purple, red, cyan, and green were designated for their uniforms. Simpler, solid colors were preferred by scholars and intellectuals. The silk weaving technology of the time was highly advanced, allowing for intricate embroidery and detailed patterns tailored to individual preferences by skilled artisans. Tang Dynasty clothing utilized various materials, including silk, cotton, linen, and wool, with silk being the most favored for its lightness, softness, and comfort. The Tang Dynasty’s clothing designs were not just a reflection of the era’s prosperity but also a testament to its innovative spirit. The integration of foreign influences and the move towards more naturalistic designs represented a significant departure from previous eras, fostering a unique and enduring aesthetic. This period’s fashion legacy continues to be celebrated and reinterpreted in modern times, demonstrating the timeless appeal of Tang Dynasty artistry.

Chinese fashion hanfu

tourists wearing hanbok in gyeongbokgung palace - hanfu skirt 個照片及圖片檔Hanfu, literally ‘Han clothes’, is one of the traditional types of Chinese clothing. In recent years, when Chinese people talk about Hanfu, they usually mean a long flowing robe with loose sleeves and a belt at the waist. The term “Hanfu” refers to the historical dress of the Han people for all of history before the Qing Dynasty, when the Manchus reigned. The belt sash was often decorated with jade. However, Hanfu is a diverse term including different styles of clothing from different dynasties. It is considered a symbol of authentic Chinese culture, reflecting Confucian scholars’ aspirations towards rituals, music, and moralistic ideals. It is said that Hanfu can be traced back more than 4,000 years, when the legendary Yellow Emperor’s (2698-2598 BC) consort, Leizu, made clothes with silk. However, no archaeological evidence has been unearthed to support this. In the Xia Dynasty (2070-1600 BC), top-bottom clothes prevailed. The yi was a narrow-cuffed, knee-length tunic tied with a sash. The shang was a narrow, ankle-length skirt. The basic form of the Hanfu was established in the Shang Dynasty (1600-1046 BC)… Due to limited technology, there were only two primary colors: red and green. Outside a knee-length apron or bixi (/bee-hsee/ 蔽膝 ‘cover the knees’) was worn. In the Western Zhou era (1045 – 771 BC), Kings of the Western Zhou Dynasty set up a strict hierarchical system linked by blood lineage and ethical norms based on families. Clothes were used as a status symbol to accentuate their privileges, which had a substantial impact on clothes and ornaments, owing to great differences between the nobility and the common people. Hanfu sleeves were made wider, and the outer tunic was closed with jade decorations or a sash. The cross-over collar appeared. Other ethnic groups’ clothing, such as hufu (clothes of northern ethnic groups such as the Huns), was established and blended with Hanfu. During the Qin and Han dynasties, few changes were made to the details of the Hanfu. Shenyi (one-piece clothing) and Mianfu (a religious court dress of ancient emperors and officials) emerged in the Eastern Zhou period (770 – 221 BC). The shenyi was still the favored style of dress for the Han people and the Huns alike. It was stipulated that the third-rank officials and above wore green silk pao and shenyi, and the common people wore white linen pao during the Qin Dynasty. A new kind of formal dress, the pao (袍), a robe made of linen, prevailed. The Sui and Tang dynasties were “China’s golden age”, when the Han culture broadened. Based on their predecessors, a clothing style combining elements of the Hanfu and the hufu became common. Women’s clothes became more relaxed and revealing than their previous counterparts, owing to women being less restricted by the Confucian ethical codes. The clothes of the Song Dynasty largely continued the style of the Tang Dynasty. More decorations and embroidery were applied. The Yuan Dynasty was the first foreign-ruled era in China. The Hanfu in this period adopted features from the Mongolian rulers’ national dress. Women in the Song Dynasty wore beizi (褙子,similar to capes). Men not only wore the traditional Han-style round-collar pao, but also wore the Mongolian zhisunfu (jisum in Mongolian). This featured an yi (upper garment) that reached the knees with narrow sleeves and a short shang (lower garment). The Ming Dynasty was the last Han-led dynasty. However, lots of Mongolian-style attire and hats still prevailed, as did clothing changes from the Song era. The emperor wanted to restore the whole Han culture and tradition, including restoring all the clothing fashions of the Tang Dynasty. Confucian codes were re-popularized and women’s clothes were prone to being more conservative. In 1644, the Manchus started ruling China, and a dramatic shift in hairstyling and clothing occurred. The upper outer garment was shorter and the lower garment was longer, and the outer coat became longer to shorten the exposed skirt’s length. Three types of clothes coexisted together in the Qing Dynasty: Han traditional clothes (i.e. Hanfu), Manchu clothes, and part Western-style clothes in the late Qing Dynasty. At the very beginning, the Manchu leader required all the Han people to wear the Manchus’ long gown, or cheongsam, but this restriction loosened soon afterward. Hanfu was a symbol of traditional Chinese culture. It also had a far-reaching influence on the clothing in other neighboring Asian countries, such as the Japanese kimono, the Korean hanbok, and the Vietnamese Áo giao lĩnh. Chinese clothing started to be adopted by the Japanese in the 5th century. Traditional Japanese clothing is the kimono. The other term for it is gofuku, which means “clothing of Wu”.

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a black and white photo of many boats in the waterReflections | Qipao out, hanfu in? Hanfu changed over the centuries – do they take styles from one era or mix and match them to create a “traditional costume”? The qipao and its menswear equivalent, the changshan, traditional cheongsam are increasingly rejected in China as being sartorially representative of the Chinese people. One reason is because they are derived from the traditional clothing of the Manchus, the non-Han Chinese rulers of China’s last imperial dynasty, the Qing (1644-1912). The word “qipao”, literally “banner robe”, makes a direct reference to the Manchus, who are also known as the Banner People (Qi ren), so named for the quasi-militaristic organisation of the whole Manchu society into the Eight Banners. Besides, the qipao of today are Western-influenced in their construction and only 100 years old, a little young to be considered traditional for many Chinese. The traditional clothing of the Han Chinese (Han ren), the dominant ethnic group in China which accounts for 92 per cent of the population, has gone through multiple iterations over several millennia. The form-fitting and shorter versions are even more recent. What commoners wore differed from the fashions of the high-born. The way Han Chinese clothing looks from the front is similar to a bathrobe, as is the way it is worn. However, it is vital that the left panel wraps across to the right, not the other way round, so that the finished look resembles a lower-case “y” when seen from the front. In ancient China, the left-over-right neckline was the way the Huaxia people (precursors of the Han Chinese) distinguished themselves from their “barbarian” neighbours. But the one constant across time and social class was the criss-cross, left-over-right collar. Confucius (551-479BC) was recorded in The Analects as saying that if it had not been for the wisdom and policies of Guan Zhong, a prime minister of a powerful feudal state, they would be ruled by barbarians and would wear their hair loose and their garments fastened right-over-left, the way “uncivilised” people did.

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Chinese hanfu dti

Temple in ZhujiajiaoHan Dynasty clothing refers to the hat and clothing system of the Han Dynasty. After the strict governance of the Qin Dynasty, Liu Bang, who rose to power from a common background, aimed to give the people a break and did not make significant changes to the general systems, including the clothing system, which largely followed the Qin Dynasty. It wasn’t until the second year of Emperor Ming of the Eastern Han Dynasty’s Yongping era (59 AD) that a formal and comprehensive regulation was established. The hierarchical status of clothing during the Han Dynasty was primarily reflected through hats and ceremonial sashes. Therefore, the hat system was particularly complex, with as many as 16 types. There were also strict regulations for shoes during the Han Dynasty. Ritual attire required wearing flat shoes (xu), court attire required wearing (lü) shoes, and outdoor attire required wearing sandals (ji). When women got married, they were supposed to wear wooden clogs, which were painted and tied with colorful ribbons. Different official ranks had different hats. He once used the high hat of Confucian scholars as a chamber pot. During the early period of Emperor Gaozu of Han, Liu Bang himself had a limited understanding of the symbolic role of clothing. Later, upon the persuasion of Shusun Tong, he asked Shusun Tong to establish ceremonial rites. The black ceremonial robes of the Qin Dynasty were adopted for sacrificial ceremonies, but there were no strict rules for general clothing. After about 70 years of economic recovery, during the reign of Emperor Wen of Han, the national strength had become abundant. The queen’s skirt did not touch the ground, emphasizing frugality. During Emperor Wen’s 23-year reign, the economy further prospered, leading to the “Wenjing” era. However, Emperor Wen only wore “弋绨yì tí、革舄gé xì、赤带crimson belt”. Due to economic development and prosperity, the clothing culture gradually shifted from frugality to luxury. The attire of the wealthy in the capital surpassed the royal standards, with fabrics like brocade, embroidery, and other luxurious silks, originally reserved for the empresses, becoming common among wealthy merchants and guests. The continuous growth in textile production and the introduction of luxurious items such as pearls, ivory, amber, and tortoiseshell through silk exports stimulated an increase in the standard of dress and living. This was viewed as a blurring of social hierarchy by Confucian scholars. Therefore, Confucian scholar Jia Yi advised Emperor Wen to establish a clothing system based on Confucian traditional thoughts, but Emperor Wen did not implement it. It was not until the seventh year of Emperor Wu of Han’s Yuanfeng era (104 BC) that he decided to correct the lunar calendar and change the clothing colors to yellow to signify being appointed by heaven. In the second year of Emperor Ming of the Eastern Han Dynasty’s Yongping era (59 AD), a decree was issued to adopt the “Zhou Guan,” “Li Ji,” and “Shang Shu·Gao Tao Pian” for ceremonial vehicles, with the court officials following the Xiahou clan’s suggestions. The ceremonial attire system of Emperor Ming included hats, clothing, shoes, and sashes. The main types of clothing during the Han Dynasty included robes, straight single-layered garments (shenyi), short jackets (ru), and skirts. This marked the beginning of the comprehensive implementation of Confucian clothing and ceremonial systems in China. Due to the advanced textile and embroidery industries during the Han Dynasty, wealthy families could wear beautiful clothes made of silk and satin. Ordinary people wore short jackets and long trousers, while the poor wore coarse cloth short jackets. Han women wore both two-piece dresses and long robes, and there were various styles of skirts, with the most famous being the 留仙裙 (liú xiān qún). Straight Hem or Curved Hem? During the Spring and Autumn and Warring States periods, clothing largely followed the Shang Dynasty’s style but with slight modifications. The style was slightly looser than that of the Shang Dynasty. Curved hem robes appeared, distinguishing themselves from straight-hem clothing by having a continuous lapel. This changed the traditional method of having a slit at the hem, with the left lapel extended and wrapped around the back, secured with a belt. They were usually tied at the waist, traditional chinese wedding clothes with some adorned with jade ornaments. Clothing during the Han Dynasty could be divided into curved hems and straight hems. Curved hem, popular during the Warring States period, was still used in the early Western Han Dynasty but became less common during the Eastern Han. Generally, men wore straight-hemmed clothing, which was not suitable as formal ceremonial attire. During the Qin and Han periods, curved hem clothing was not only worn by men but also the most common style for women. Multiple layers of clothing were worn, with each layer’s collar visible, sometimes reaching up to three layers.

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Hanchao hanfu

Prometheus 05 - Layout Exploration clean concept design graphic design layout minimal typography uiAs spring arrived in April across Beijing, it wasn’t just the multitude of blooming flowers that caught the eye. Last month, as crowds flocked to the city’s major tourist hubs, such as Yuyuantan, Daguanyuan, and the Summer Palace, scattered amid the spring blossoms were women in extravagant hanfu designs. In a phenomenon that is rapidly growing in popularity over the last two years, spring now also signals nostalgia for hanfu, an umbrella term for a wide range of traditional or traditionally inspired Chinese clothing. Their vibrant, elaborate ensembles are now often another subject for photographers to capture, along with the season’s symbolic flowers. But it isn’t just another fad. In particular, Cao County in the eastern Shandong province has not only garnered widespread attention for its burgeoning traditional attire industry; it is also home to several affiliated industries such as accessories, photography, design, as well as hair and make-up. Some companies now even allow employees to wear such elaborate outfits to work, and hanfu start-ups are popping up all across the country. According to one report, from 2015-2020, China’s annual hanfu sales grew from 190 million yuan ($28 million) to 6.36 billion yuan. More knowledgeable buyers pay close attention to the finer details of their outfits for a more refined aesthetic. The estimate for 2021 exceeded 10 billion. They buy ornamental hairpins, get their make-up done, book photographers, and take part in events and festivals. Though interest in traditional attire began in China in 2003, the industry saw little growth until a few years ago, when it witnessed a sudden surge in popularity. The most ardent enthusiasts open their own stores, sign up for classes to learn hair and make-up styles, and participate in fashion shows. Inexperienced enthusiasts buy outfits purely based on the photos sellers use online, only to receive poor quality and ill-fitting imitations. Despite the growth, however, experts believe the industry is yet to mature, and that consumer pitfalls still abound. A Gen Z hanfu enthusiast, Nannan grew up watching period dramas and decided to buy the traditional outfits shortly after joining the workforce. Her first attempt did not go well. Nannan says she didn’t mind since she didn’t consider it everyday wear. She bought a Ming dynasty design but the fabric was slightly wrinkled. It only mattered that it looked good. But while buying hanfu, appearance isn’t everything. For example, if the undergarment of a summer outfit modeled on the Song Dynasty (960-1279) is made of extremely thick, unbreathable fabric, it’ll be soaked through by the end of the day, causing its colors to fade or change over time. If they are to be worn as daily clothing, they must be functional garments. Quality issues don’t end there. Given hanfu’s status as a symbol of traditional culture and fashion, more and more enthusiasts have begun to pay attention to an outfit’s authenticity, particularly the form and fit. A 2020 report from domestic e-commerce giant Taobao showed that the Ming, Song, and Tang dynasties were the most popular subcategories amidst the hanfu range on offer. Acquiring quality goods, however, is easier said than done. Yun Qing from Hangzhou believes that traditional designs must be corroborated through comparison with actual historical artifacts; the authenticity of anything else cannot be trusted. “Truth be told, archaeological research does not support many of the hanfu choices popular among Gen Z today – such as Tang-style hezi (strapless undergarments) and skirts; so-called ‘Wei and Jin period’ style garments; or Song-style pants with elasticated waistbands. But companies are willing to make them because they’re attractive, convenient to wear, and popular with consumers,” says Yun. She underscores that a buyer must first ensure that the garment’s design is true to the time – then consider the fit. This means carefully examining the sewing pattern produced by the merchant. “I won’t put money down if the merchant won’t show me a two-dimensional pattern – otherwise, the fit is bound to be flawed,” she says. An ordinary outfit costs around 300-500 yuan. It is common for small-scale online shops to sell such designs 45 days in advance and still fail to deliver the finished garment to the buyer on time. Apart from quality issues, another aspect that has hindered the market is the long production cycle for hanfu designs. Sometimes, an order may even take as long as one or two years to complete. And, the moment a particular design gains traction online, it strains the production capacity even more. For example, when orders of leading online brand Lanruoting’s viral design cijian chunse (Here be Spring) were severely delayed, people joked online that they may not get their deliveries until autumn. They, too, are bogged down by slow production cycles – it often takes several months to two years. Ensembles from high-end brands like Minghuatang cost close to 10,000 yuan, while Nanjing Yunjing’s individual garments can sell for several hundred thousand yuan. If you don’t want to rent clothes for such a huge life event, then your only choice is to wait a year or two for the dress to be completed. To hedge against the long waiting period, workshops mostly only accept group purchases and wait months until orders reach a certain threshold before launching production. As long-term enthusiast Yueyue explains, “Minghuatang’s wedding dresses are much sought after. Another issue that frustrates newbies who finally acquire hanfu is the laborious process of maintaining the outfit. In such a system, however, deals break all the time. “I spent more time ensuring it didn’t get wrinkled than I did wearing it,” commented one buyer on social media. Photography accounts for a significant chunk of the hanfu market. Sellers present the use of fabrics like silk as justification for their high prices but, though they are comfortable to wear, they’re also very fragile, and come with stringent washing and ironing instructions. To get the most out of the experience, buyers can’t afford to be stingy about accessories, hair, and make-up. “Good accessories are like the cherry on a sundae – few people will buy hanfu without also investing in accessories,” says Nannan. Big brands, such as Poetic Oriental Beauty, also specialize in historical costume photography. Using these rare items, she can transform her appearance and achieve different styles. The most expensive ornament in her collection is a 200-yuan hairpin like something out of the novel “Dream of the Red Chamber,” which pairs particularly well with Ming Dynasty hanfu. Accessory vendors, however, are few and far between, with the vast majority comprising small family workshops. She is the proud owner of a four-storey dresser full of traditional accessories. Most items can be reproduced by part-time zanniang, or hairpin artisans – for around 100 yuan each. A major brand of hanfu head ornaments, Wanbaode, sells wedding crowns for 200,000 yuan, and hairpins for over 1,000 yuan. Meanwhile, hair accessories that are made using complex techniques that are recognized as forms of intangible cultural heritage – such as ronghua (“velvet flowers”) or chanhua (“wrapped flowers”) – require more time and are therefore more expensive. Rather than buying finished products, Yueyue often prefers DIY kits. For each type of accessory, she makes two at a time. To better understand the hair and make-up styles of different dynasties, Yueyue spent thousands of yuan on a special course in the coastal Jiangsu province, to learn two to three styles from each dynasty. “Just a single delicate flower is very difficult to make. “Whether I was scammed or not is a matter of personal opinion. There is no consensus on what constitutes “good” hair and make-up. What I care about is the work; I wouldn’t sign up for any class just because the instructor is a famous stylist,” she says. “If you wear hanfu for a while, you’re bound to pick up some skills,” she says. She even created a separate social media account to share photos of her hanfu and document her hair and make-up creations. Yun Qing learned the art from online tutorials. These photos are usually taken free-of-charge by professional photographers in a quid-pro-quo arrangement, since they get to practice their photography skills and build their portfolio. Some spend impressive sums hiring photographers from professional studios. Their IPO, through which they hoped to secure a top spot in domestic photography studios, has been pending since 2020. But, for enthusiasts who prefer a more subtle aesthetic, the work commercial studios produce is considered tacky and derivative. And though this offset of the industry is growing at a dizzying pace, it still suffers from service quality and business model issues. Poetic Oriental Beauty has drawn criticism in recent years, which largely revolve around poor experiences during shooting, bad photoshopping, and false advertising. Established in 2003, Poetic Oriental Beauty has built their brand on hanfu photography. Asked about the state of the industry today, he says bluntly, “Turning a profit is no easy feat. Analyzing market trends over the years, the development of the hanfu industry can be approximated into four stages. Wang Han has worked in this industry for many years and previously operated his own hanfu brand. The next three years saw whirlwind growth. New brands and workshops proliferated online. From 2008-2017, a period of sluggish development followed, during which the industry slowly gained traction, and supply chains gradually formed. As the trend continued to sweep the nation, downstream industries and investors with deep pockets started buying in. In 2020, however, things started to change. Price wars ensued, and bigger brands with investment backing solidified positions, such as Shisanyu, Chonghui Hantang, and Shi’er Guangnian. Though a wave of new businesses emerged, just as many shut their doors. Most brands are so small that even if they are considered high-end, the only employees they can afford are the owner as the cutter, and the owner’s wife as the model. However, shoes, bags, accessories, hair and make-up are still largely manufactured in small workshops; only a few major brands have established large-scale factories. Founder of the famous brand Huajianxi offered a telling glimpse in a post online, which they have since deleted. For many, the prospects are slim at best. “In 2021, I took on two new jobs – both of which have proved to be far more profitable than operating a hanfu store,” they wrote. Another brand, Lanruoting, closed down last year. Though Lanruoting’s operations did not continue into the second half of 2021, it far surpassed its rivals in terms of sales for the whole year, coming in second in the affordable market niche. Despite the buzz, it ceased production in July last year. According to Wang, the choices for hanfu businesses which aren’t backed by investor capital are limited. Either they build factories to bring down prices and boost production, or they opt for a high-end made-to-measure strategy, offering exclusive experiences. The other option is to branch out and offer a wider range of casual daywear incorporating hanfu-inspired elements. This would tie in well with the rise of guochao, or “China chic.” For the moment, however, the low-end hanfu market is all but saturated. A version of this article originally appeared in Kaiboluo Caijing. Yun Qing, Yueyue and Nannan are pseudonyms. It has been translated and edited for brevity and clarity, and published with permission.

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There are so many plants in the greenery. One of them is Japanese camellia. So camellias are blooming.German philosopher Hans-Georg Gadamer believed that culture is the blend of past and present. This idea resonates with young Chinese people who are increasingly interested in reconnecting with their heritage and distinguishing themselves through cultural symbols. Other scholars have expanded on this, suggesting that individuals can reinterpret and innovate traditional cultural forms to meet current needs while preserving their classic aspects. This trend is evident in the rise of guochao products, ranging from special gifts to everyday items like cosmetics and even toothpaste. Guochao, which literally means “national tide,” refers to products, from fashion to food, infused with traditional Chinese cultural elements. Recently, clothing with guochao elements has been categorized as xinzhongshi or neo-Chinese style. According to Xu Dong, founder of 23-year-old qipao brand Lingxifang in Beijing, neo-Chinese style combines modern updates with classic Chinese aesthetics. In the first quarter of 2024, a financial report from Kuaishou, a leading short video and e-commerce platform in China, showed that orders for this style had increased by 700 percent year on year. According to statistics from the China National Textile and Apparel Council, in 2023, the neo-Chinese style clothing trade surpassed 10 billion yuan ($1.4 billion). Wang Hongchao, head of the Chinese Department at Shanghai Normal University, told newspaper Wenhui Daily that clothing is a key medium for cultural inheritance and self-expression. In the fashion industry, designers of traditional Chinese clothing, such as the qipao and hanfu, the traditional dress of the Han Chinese, as well as designers of modern outfits, are embracing neo-Chinese style. The popularity of the neo-Chinese style reflects modern people’s understanding of traditional culture and their innovative spirit and cultural confidence. Traditional designers are simplifying or removing elements that are no longer practical or cost-effective, making the clothes more convenient and streamlined. Meanwhile, designers of contemporary gear are incorporating traditional elements like embroidery, patterns and silhouettes to infuse elegance and classic charm into their creations. She also selected bamboo fiber as the main material, aligning with young people’s growing environmental awareness. To appeal to younger generations, Xu launched a series of qipao in vibrant colors inspired by the wall paintings of the Mogao Caves, a famous Buddhist art site in Dunhuang, northwest China. In addition to the qipao, other traditional garments like hanfu are undergoing considerable changes. Hanfu clothing is diverse, sexy qipao coming in many styles. Some traditional garments, already simple and convenient, are easily integrated into modern wardrobes by China’s younger generations. They often mix and match these with contemporary clothing. For instance, modifications to the qixiong ruqun-a type of hanfu featuring a long, two-pleated dress with an embroidered belt and wide skirt-include shortening the skirt length to just above the knee, simplifying the belt embroidery, and reducing the width of the skirt to create a sleeker silhouette. Examples include pairing a blouse with a mamian, a pleated skirt from the Ming Dynasty (1368-1644), jeans with a bijia, a sleeveless vest from the Yuan Dynasty (1271-1368), or a dress with a yunjian, a cloud-shaped cape originating from the Qin Dynasty (221-207 B.C.). These trendsetters are now seen everywhere, from museums and tourist attractions to the streets and workplaces. In the modern fashion market, the rise of neo-Chinese style has led to a wave of adaptations in everyday clothing, especially for career women, according to Zhan Wentong, chief designer at LANCY, a leading Beijing-based brand focused on contemporary urban women. Under the hashtag xinzhongshi chuanda (or “neo-Chinese style matching outfits”) on the wildly popular Chinese lifestyle and e-commerce platform Xiaohongshu, tens of thousands of users share their creative combinations. Zhan told Beijing Review, adding that the popularity of this initial release has prompted the brand to create another collection for the autumn and winter season. This design highlights the elegance of ancient Chinese tea culture and complements the feminine grace. For the spring and summer collection, Zhan chose a floral design featuring the white Camellia-a flowering plant often associated with tea-tasting rituals-as the central motif. Confident in the future potential of neo-Chinese style, Zhan is now exploring more traditional Chinese elements for use in clothing, especially techniques listed as national intangible cultural heritage. Although the term “neo-Chinese style” has only recently become popular, modern designs that embody this style have been present on the international stage since the last century.

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a woman standing near the tree while wearing a hanfu dressUK Han Culture Association (UKHCA) is a registered charity (No.1173700) aiming at preserving and reviving the traditional Han Chinese Clothing Hanfu and its culture excellence. It provides inductions on the Hanfu clothing system and practical dress up experience, and creative ways of blending the traditional Han culture into the modern English way of living. Duanwu Festival (known as the Dragon Boat), Qixi Festival, Mid-Autumn Festival (known as the Moon cake) and many more. 我们是英伦汉风协会(简称:汉风社),是一家在英国立志于面向全欧洲推广汉服,在海外传播华夏文化,交流东西方理念的公益组织。 2008年,我们在英国伦敦成立,主要成员为旅英留学生和英国华人华裔。 几年来,志同道合的我们策办了几十场包括节庆演出,节日典礼活动和一系列的结合英国背景的汉文化宣传,如视频短片、文化讲座等,志在促进中英文化交流,传承传统文化。 We organise regular events to wear Han people’s clothes – Hanfu, and participate in the activities according to the lunar calendar, and attract participants mostly those interested in the traditional Chinese culture. We also receive invitations from universities, schools, Confucius Institutions and charities to deliver seminars and workshops about Hanfu and the relevant culture and history, organize classes and perform Hanfu shows, dance and musical instruments. Hanfu is the traditional clothing of the Han Chinese – the major ethnic group in China. Renaissance in modern day in China, mainly led by highly-educated youngsters. King Huangdi era. Hanfu was strictly banned along with other Han traditions after the nomadic nation Manchu in the north of China has established the Qing dynasty in 1645. However Hanfu is still an inseparable element in China’s culture identity. By bringing back Hanfu, this movement is aiming at eventually reaching an overall revival of the traditional Han Chinese Culture.

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