Why I Won't Wear Hanfu. Perhaps the most well known ...Chinese style embroidered vest, embroidered phoenix flower. Comfortable inner wear, unique texture. Bloomers with traditional flower prints, unique charm. Fusion of exotic styles, lively and fashionable in daily life. The inner shirt is made of wrinkled satin, which is comfortable and close-fitting. The harem pants are printed with traditional flower patterns, which are lively and everyday. Bead embroidery and gold beads are decorated on the collar and waist of the vest, like bright stars in the desert, lighting up the overall look. Nice dress and fast delivery. We support delivery to over 80 countries and regions worldwide. You can see the shipping time and cost on the checkout page. For more shipping information, please check the Shipping Policy. We have a 7 day return policy, which means you have 7 days after receiving your item to request a return. You’ll also need the receipt or proof of purchase. To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. If approved, you’ll be automatically refunded on your original payment method. We will notify you once we’ve received and inspected your return. Please remember it may take 3-5 days for your bank or credit card company to process and post the refund. For more detail, please check the Return Policy. Give us a shout if you have any other questions. Suitable for all kinds of activities and performance platforms. Comfortable and breathable fabric, soft and smooth. It is very suitable for daily life, work, leisure parties, and other occasions. High-quality assurance, suitable for all kinds of activities and performance platforms. Perfect for daily life, indoor, outdoor, work, date, cheongsam male and party. Suitable for any occasion in late spring, summer, and early fall. The Tang Dynasty costume Hanfu dress in the Fashion Hanfu store is not only a dress but also a splendid traditional culture of the Chinese nation for three thousand years.

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Photo Gallery - International Societies for Investigative Dermatology 2023The set features a square-necked, half-sleeved short shirt paired with a short Ma Mian skirt, capturing the quintessence of traditional Ming attire while catering to the tastes of the modern wearer. The overall soft pink palette is a study in subtlety and refinement, with varying shades of light pink florals set against an apricot-pink background, offering a design that’s understated yet exquisite in its detailing. The buttons are not mere fasteners; they are the finishing touches that enhance the shirt’s delicate charm. The short shirt is a canvas for floral embroidery, boasting bouquets of lilies, gardenias, and lily-of-the-valley, interspersed with elegant silver floral buttons. The Ma Mian skirt introduces modern elements such as a side zipper and adjustable waist buckles, ensuring ease and comfort in everyday wear. These thoughtful additions do not detract from the skirt’s traditional silhouette; rather, they enhance its functionality, sexy cheongsam dress making the grace and poise of Hanfu attire accessible to the rhythms of contemporary life. The mid-sleeve design brings a visual sense of coolness, perfect for the summer heat, while the shorter length of the shirt accentuates the waistline, cheongsam top 3xx crafting an illusion of height and a flattering figure.

Items & Feature Casual style hanfu shirt & pants set for women. 2.54 cm; Please make sure the product’s measurements will fit your daily wear size, or view the complete Size Guide Chart to get more help. Recommend Hand-wash with your favorite mild detergent; Cold or warm water, maximum temperature 40°C. When washed, shake off any excess water and let them air dry. With modern fashion design, cute floral and fish embroidery, and simple white & pink hanfu for summer daily wear. Guarantee: If the item has any small and big quality issues, we will offer free return or refund for you. Shipping: Once the package is in transit, you will receive an email notification of the shipping status and location, traditional chinese hanfu dress also you can directly Track Shipping online. Learn more about the Return & Refund Policy. Love this casual hanfu songku! Modern style 2-piece set songku hanfu, design with cute fish and flower pattern. Very flattering and super soft material!

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2001The answer is hanfu.The full name of Hanfu is “the traditional costume of the Han nationality”, also known as Huafu, Han clothing, etc. Hanfu is a kind of national costume, and the “Han” in Hanfu means the Han nationality. As the main ethnic group among the 56 ethnic groups, the Han nationality naturally has its own clothing. Each ethnic group has its own clothing system and clothing characteristics, such as Miao costume, Mongolian costume and so on. The purpose of the revival of Hanfu is to evoke our national identity and convey traditional culture, rather than to highlight ourselves, let alone to be used as a tool to attack others! In my opinion, we must respect and inherit traditional and national things, but more importantly, we can make traditional things better adapt to modern life through our own strength, so that more people can see it, touch it and fall in love with it! As the main ethnic group among the 56 ethnic groups, the Han nationality naturally has its own clothing. Each ethnic group has its own clothing system and clothing characteristics, such as Miao costume, chinese cheongsam dresses Mongolian costume and so on. In the course of thousands of years of development, Han costume also has a perfect system and distinctive characteristics.

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The shuitianyi is a popular, but rare fashion phenomenon, which appeared in the middle and the late Ming dynasty and remained popular in the Qing dynasty. Kasaya or Baina, which was made when monks would make clothes out of a variety of useless clothes. The shuitianyi may have originally originated from poor people, who would use whatever leftover clothing they would have at hand for saving purposes, and was initially only popular among poor women. It was later adopted by aristocratic women during Ming dynasty who found it beautiful, and they began to cut cloth (even from entire brocade) voluntarily into a design shape and sew it into an aristocratic form of the shuitianyi. While the shuitianyi was a popular form of fashion for women in the Ming dynasty, men during this era would also wear baina clothing. In Beijing opera, the shuitianyi is worn as a costume called sanse dao beixin (Chinese: 三色道背心; pinyin: sānsè dào bèixīn; lit. It originates from Buddhist clothing and represents the ragged clothing of Buddha. The sanse dao beixin is characterized by a diamond-shaped pattern which is created through patchwork. 177 It can be used by actors who perform as male or female monks and as Taoist characters. A version of the shuitianyi worn by children is called baijiayi. 177 While both male and female roles used it; however, there are differences between the man’s and woman’s sanse dao beixin. The female version looks like a knee-length pifeng as it features a centre-front opening and a collar band which ends at the mid-chest level; however, royal chinese traditional dress hanfu it differs from the pifeng due to the absence of sleeves. The man’s version is floor-length and the collar band has a straight lower edge; it is also tied with a sash without the back of the garment being caught in the sash, which is the manner monks wear their vest. The main difference between a pifeng and a beixin is the presence or absence of sleeves. 177 When male monks characters wear it, it indicates that they have outstanding martial arts skills. A pifeng has long sleeves while beixin is sleeveless. See page beizi and bijia for more details. Uncoverings. 35: 69-89 – via Art Index (H.W. Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. Hanson, Marin F (2014). “”One Hundred Good Wishes Quilts”: Expressions of Cross-Cultural Communication”. New York: Columbia University Press. Yin, Zhihong (2019). “Study on the Evolution and Development of Baina Clothing to Shuitian Clothing in the Ming and Qing Dynasties”. 368. Atlantis Press. pp. Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Vol. Gao, Yingpei (2018). “Application of Patchwork Art Form in Traditional Costumes: A Case Study of Baijia Clothes”. 10: 98-100 – via ProQuest. Journal of Landscape Research. Bonds, chinese qipao Alexandra B. (2008). Beijing opera costumes : the visual communication of character and culture. Honolulu: University of Hawaiʻi Press. This page was last edited on 15 November 2024, at 08:51 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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

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Paofu (Chinese: 袍服; pinyin: páofú; lit. Chinese: 袍; pinyin: páo; lit. 90 for short, is a form of a long, one-piece robe in Hanfu, which is characterized by the natural integration of the upper and lower part of the robe which is cut from a single fabric. The term is often used to refer to the jiaolingpao and the yuanlingpao. 234 while it was worn mainly by men, women could also wear it. 10-13 With time, the ancient shenyi disappeared while the paofu evolved gaining different features in each succeeding dynasties; the paofu continues to be worn even in present day. 12 It initially looked similar to the ancient shenyi; however, these two robes are structurally different from each other. The term paofu (袍服) is composed of the Chinese characters pao《袍》, which literally means “robe”, wedding hanfu and fu《服》which literally means “clothing”. The character pao《袍》is the same character which is used as an abbreviated synonym of paofu. Chinese robes of various origins and cuts, including Changshan, Qipao, Shenyi, Tieli, Zhisun, Yesa. The Chinese character《袍》can be found in ancient texts dating prior to the Qin and Han dynasties, such as in the Lun Yu《論語》. According to the Guangyun, the character《袍》can also refer to the changru (simplified Chinese: 长襦; traditional Chinese: 長襦; pinyin: chángrú; lit. The term changru which appear in the ancient texts has been described as the precursor of the chang ao by scholars. There are different types of paofu, which can be referred by different names and terms based on its style, cut, length, and specific features. 12 yunpao (Chinese: 縕袍; lit. Baoyi bodai – a simple, loose-fitting robes with long, open sleeves, a style worn by men which provided a carefree look to its wearer. The term changpao is a generic term which refers to robes which are long in length and can include different forms of long robes, such as the ancient shenyi, the yuanlingpao. Longpao (龙袍) – dragon robe. Jiaolingpao – long robe with a cross-collar closing which closes to the right; worn since the Zhou dynasty. Xi (襲) – an ancient term used to refer to the paofu which closed on the left side in a style called zuoren (左衽袍) as defined by the Shuowen jiezi. The paofu and the shenyi are both one-piece robes as an result. It was typically worn by a deceased person. 10 and therefore, there is the presence of a middle seam where the two parts were connected together. 14 However, the difference between those two is the cut and construction of the garment. The paofu, on the other hand, has its upper and lower part made out of a single fabric leading to the absence of middle seam between the upper and lower part. Typically the paofu closes on the right side in a style called youren and was a very important symbol of cultural identity for the Han Chinese. It was also a possible for some living Han Chinese to adopt paofu with a zuoren closure in geographical areas which were ruled by foreign nationalities. In the Zhou dynasty, paofu was one of the basic clothing worn by the Han Chinese people, along with the Chinese trousers, called ku. The paofu could also be found closing on the left style called zuoren. To form the sleeves, 2 additional pieces of fabrics were sewed together at the shoulder regions of the garment. The style of paofu which was widely worn in this period is the jiaolingpao, which was a long robe with an overlapping front closing on the right side, a style called jiaoling youren. It was left open in the front, and it could be closed at the waist with a tie or with a belt. The jiaolingpao became a prominent form of attire in the Han dynasty; it was mainly worn by men, although it was sometimes worn by women. Even with the rising popularity of jiaolingpao, women continued to wear shenyi. Other pieces of fabric could be added to make the width at the sides bigger or to create the overlapping front of the robe. It was also the uniform of government officials. 12 In the Han dynasty, jiaolingpao was typically worn by the members of royalty and by the aristocrats as an outerwear. 529 The jiaolingpao could be found in different length; the jiaolingpao, which could reach down to the ankles, were usually worn by scholars or elderlies whereas knee-length jiaolingpao were worn by warriors and heavy labourers. 217 Elderlies started to wear the ankle-length jiaolingpao after 206 BC. Around the 206 BC, the jiaolingpao worn by elders had large sweeping sleeves which would be tied tightly to the wrist. 234 It was padded or quilted for warmth. 217 The sleeves were typically very wide and would become cinched at the wrists. The jiaolingpao in the Han dynasty had linings; and it could be called jiapao or mianpao based on whether it was padded. 12-13 The collar was jiaoling youren, and it was cut lower than the shenyi, and it was also low enough to expose the undergarments of its wearer. 234 It was also typically decorated with an embroidered dark-coloured band at the collar, front hem, and at the wrists. By the Wei, Jin and Northern and Southern dynasties, the jiaolingpao of the Han dynasty evolved into the baoyi bodai (simplified Chinese: 褒衣博带; traditional Chinese: 褒衣博帶; pinyin: bāoyībódài; lit. The baoyi bodai was a type of loose paofu with long ribbons for men. 14 Loose type of clothing was often worn during leisure times as found in the depictions of the Seven Sages of the Bamboo groove where men had their upper clothing open, allowed their inner garment to be exposed, a knotted belt or sash which would tied to the upper garment at the chest level, and their skirts and lower garment would be held by a belt made of clothing which would be knotted at the front of the lower garment. The baoyi bodai-style appears to have been a Northern Chinese style instead of a Southern Chinese style. 14 The baoyi bodai gave its wearer a casual and simple appearance. Loose jiaolingpao with flowing, loose sleeves was a popular style among men from diverse social strata in the Eastern Jin and in the Southern dynasties period; a bixi was sometimes attached to the waist of the paofu. 315 The baoyi bodai-style eventually became fashionable in the South. The baoyi bodai style also appeared on the images of Buddha which dates from the late 5th century AD. The popularity of the baoyi bodai style was very high, and it eventually replaced the Indian-style clothing (i.e. sanghati) which used to be depicted on the Buddha. 315 The baoyi bodai style appears to have been a direct consequence of Emperor Xiaowen’s Sinicization reforms in 486 AD. This section needs expansion. 14 referred as yuanlingpao or panling lanshan. However, qipao wedding dress Tang dynasty women also continued to wear long and loose jiaolingpao which was tied and knotted with a large sash at the hipline. This section is empty. You can help by adding to it. You can help by adding to it. This section is empty. You can help by adding to it. This section needs expansion. You can help by adding to it. This section needs expansion. You can help by adding to it. The kimono was based on a type of Chinese pao which was popular in the 8th century AD Japanese court. In Ming dynasty, the jiaolingpao continued to be worn by commoner men; it was worn with an undershirt, loose trousers (ku), and a sash around the waist. The po influenced by the Han dynasty either had a straight collar crossing at the front, which is referred as jingnyeong gyoim (Korean: 직령교임; Hanja: 直領交衽; RR: Jiknyeonggyoim), or had a straight collar which does not overlap at the front, which is referred as jingnyeong daeim (Korean: 직령대임; RR: jingnyeongdaeim); the sleeves of the Chinese-style po were also long enough to cover the back of the hands; the robe could reach the ankle-level or longer, and could even trail on the ground. During the Goguryeo period, a form of paofu, which was the precursor of the durumagi, was adopted and worn by the upper class of Goguryeo in various forms for ceremonies and rituals. Chinese-style po (Korean: 포; Hanja: 袍; RR: po; MR: p’o) influenced by the Han dynasty coexisted together with the native Korean po during the Three Kingdom period. Bonds, Alexandra B. (2008). Beijing opera costumes : the visual communication of character and culture. Chinese’s yuanlingpao; it was introduced from the Tang dynasty was introduced during the Silla period. Honolulu: University of Hawaiʻi Press. Burkus, Anne Gail (2010). Through a forest of chancellors : fugitive histories in Liu Yuan’s Lingyan ge, an illustrated book from seventeenth-century Suzhou. Yuan, active Liu. Cambridge, Mass. Hua, Mei; 华梅 (2004). Chinese clothing. Heather, Langford (2009). The textiles of the Han Dynasty & their relationship with society (Thesis). Australia: The University of Adelaide. 于红. Beijing: China International Press. Snodgrass, Mary Ellen (2015). World Clothing and Fashion An Encyclopedia of History, Culture, and Social Influence. Zhou, Fang (2019). “On the Differences between the “Paofu” and “Ruqun” Types of Men’s Costumes in the Cave Murals of Dunhuang–《Dunhuang Research》”. Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. New York: Columbia University Press. Ma, Xiaofang (2018). “Study on the Aesthetics of Han Chinese Clothing Culture in the TV Play q Nirvana in Fireq”. Proceedings of the 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Atlantis Press. Encyclopedia of Korean Folk Culture. The Museum of Far East Antique Bulletin 70. Östasiatiska museet. Hoboken: Taylor and Francis. Snodgrass, Mary Ellen (2015). World Clothing and Fashion : an Encyclopedia of History, Culture, and Social Influence. Dien, Albert E. (2007). Six dynasties civilization. New Haven, Conn.: Yale University Press. 5000 years of Chinese costumes. Zhongguo fu zhuang shi yan jiu zu. Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. San Francisco, CA: China Books & Periodicals. The Art Bulletin. 84 (2): 222-245. doi:10.2307/3177267. Tsiang, Katherine R. (2002). “Changing Patterns of Divinity and Reform in the Late Northern Wei”. Early medieval China : a sourcebook. Sun, Ming-ju (2002). Chinese fashions. Wendy Swartz, Robert Ford Campany, Yang Lu, Jessey Jiun-Chyi Choo. Mineola, N.Y.: Dover Publications. Sun, Ming-Ju (2007). Japanese kimono paper designs : coloring book. This page was last edited on 10 September 2024, at 13:06 (UTC). Lee, Samuel Songhoon (2013). Hanbok: Timeless Fashion Tradition. By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

Square Graphics for Ming's Garden [2022] ad ads advertisement advertising design event events graphic design marketing social media social media post wedding weddingsHanfu 汉服, the traditional clothing of the Han Chinese, has a rich history that dates back thousands of years. With its elegant designs and intricate details, hanfu has become increasingly popular in recent years. The Ruqun has been worn throughout all Chinese Dynasties from even before the Han Dynasty, to the Late Qing. Ruqun is one of the most iconic styles of hanfu and one of the most popular for its flattering silhouette and is an excellent choice for newcomers to Hanfu as it’s arguable one of the easiest styles to wear. Qun 裙 Skirt. It consists of a Ru 襦 (blouse or jacket) worn on top and a Qun 裙 (long skirt) worn on the bottom. Poqun, Style of Ruqun during the WeiJin Dynasties, note the many layers of Ru! The Ru 襦 depending on the dynasty could be crossed collared, or open collared, tucked in or untucked. The skirt styles and names also depended on the era, but were always long skirts. The sleeve width of the Ru 襦 varied as well, ranging from extremely wide sleeves of the Northern Southern Dynasties (420 AD – 589 AD) to the slimmest sleeves of the Sui Dynasty (581 AD – 618 AD). During the WeiJin Dynasties (220 AD – 420 AD), the Qun 裙 took on a wide A-line shape, made of wide strips of cloth pieced together to create a striped effect. During the Song Dynasty (960 AD – 1279 AD), a slimmer skirt with a dizzying amount of pleats called Baidiequn 百迭裙 or “hundred pleat skirt” was popular to wear with the Ruqun combination. This was called a Poqun 破裙 or “broken skirt”. Following the same basic formula as the previous Ruqun 襦裙, Qixiong 齐胸 means “chest high” and refers to the skirt being tied over the bust. During its popularity, the Ru 襦, more commonly called Shan 衫 during the Tang, ranged in collar styles and sleeve length and width. In the Sui, the Shan 衫 had rounded collars extremely skinny sleeves that went well past the hands (original sweater paws!). Some forms of the Shan 衫 during the Wu Zhou Period (Empress Wu Zetian’s reign, 690 AD – 705 AD) took on drastic “W” shaped cuts to reveal cleavage, a popular trend during the Empress’s Rule. Thus, Qixiong Ruqun 齐胸襦裙, chest-high shirt-skirt combination. The Qun 裙, went through much more of an amazing evolution. By the High and Late Tang, the Shan 衫 had a much deeper collar and wider sleeves that gave an air of elegance. Starting in the Sui and Early Tang, these chest high skirts were made up of many strips of fabric, creating stunning striped patterns. During the Middle and Late Tang, floral prints on skirts were favored as the dyeing capabilities of the flourishing empire drastically improved. A common accessory you’ll see with many Qixiong Ruqun outfits from the Sui, to sometimes in the Song Dynasty, was the Pibo 披帛. Some of these early Qixiong Ruqun also had Shoulder straps, which I assume is a much missed aspect by the ladies of the later Tang. A long, decorative shawl draped over the shoulders, or around the elbow, silk qipao or tucked into your skirt– Wherever you wanted it to go! One of the most beautiful accessories in Chinese history, it never fails to give you an ethereal air of a goddess. Skirt combination! But Aoqun 袄裙 typically refers to styles of shirt worn over the skirt, not tucked in, a popular style from the Late Song (960 AD – 1279 AD) to Ming Dynasty (1368 AD – 1644 AD). During the Ming, the Aoqun 袄裙 was by far the most popular style of dress for both commoners and royalty alike. With the Ming Dynasty’s now world renowned textiles and sewing capabilities, new styles of shirts emerged. Standing collar shirts, called Liling Shan 立领衫 or Liling Ao 立领袄, were worn by almost every woman across China; a fashionable and modest shirt, reflective of the Ming’s air of regality. Mamianqun 马面裙, “Horse Face Skirt”. With the advent of metallic buttons called Zimukou 子母扣, standing collar styles (by far the most iconic characteristic of Chinese clothing) became widespread. Mamian 马面 are made with a thicker, brocaded fabric than the Baidiequn 百迭裙 which is usually a lighter, daily skirt. The designs of the Mamian 马面 range depending on the time period of the Ming Dynasty. During the earlier half of the Ming, when shorter styles of Ao 袄 were in style, the brocades on the skirts would rise all the way to the knees. During the later half, as longer styles of shirts with standing collars like Changshan 长衫 “Long Shirt” began to appear with the invention of metal buttons, the designs of the Mamian 马面 were reduced to floor-grazing decorative trims. Shenyi 深衣 is a style of hanfu that worn during the earliest dynasties: Spring & Autumn Period, Warring States, Qin, and Han. The Shenyi 深衣 is typically a one-piece robe that wraps around the body once or multiple times, literally translating as “wrapping the body deep within the clothes”. The Shenyi was popular from 770 BC – 220 AD, and made a comeback in the later Song and Ming Dynasties’ menswear, making it one of the longest standing forms of traditional dress in Chinese history! There were no undergarments during these early years so having that security and extra coverage was extremely important for both nobles and commoners alike. These two versions of Shenyi were interchangeable between sexes as there were no strict emperor-made rules about womenswear and menswear during the earlier dynasties. There are two main forms of Shenyi 深衣: Zhijupao 直裾袍 “straight hem robe”, or Qujupao 曲裾袍 “curved hem robe”. Both robes were fastened with a belt called Dai 带, and could either be made of magnificent brocades, or simple cloth depending on your wealth. Zhiju 直裾 remained mostly the same throughout its popularity in hanfu fashion, but Quju 曲裾 varied in amount of wraps around the body, ranging from multiple to a singular wrap. As long as it held the robe closed! Long, dangling charms that hung from the Dai 带 would make a charming twinkle noise as the wearer walked and helped keep the flaps of the Shenyi from flying up. A fun accessory seen commonly with Zhiju 直裾 and Quju 曲裾 was the Jinbu 禁步 “waist ornament”. Depending on the material they were called different names, but the most popular style of Jinbu 禁步 for Shenyi hanfu is the Yupei 玉佩 “Jade Ornaments”. Originally described as Hufu 胡服 or “foreign fashion”, the Yuanlingpao 圆领袍 has become an integral part of historical fashion for not only China, but Korea, Japan, and Vietnam. Now for a popular unisex item in both ancient and modern times, the Yuanlingpao 圆领袍 is a delightfully comfortable round collared robe that reminds us of the sheer magnitude of the Silk Road; this garment is proof of foreign influences prevalent during Tang China (618 AD – 907 AD) including cultures from Gandhara, Sogdia, Turkestan, Persia and Greece. Yuanlingpao 圆领袍 was only worn as an inner undergarment. It is tied with a leather belt at the waist and commonly paired with black boots, and don’t forget your hat! Although this is typically a male attire from the Tang to Ming Dynasties, women during the Tang Dynasty considered it extremely fashionable to dress like the boys! A variety of headwear was worn throughout the Tang Dynasty, but by the most popular was the Futou 幞头, a black rectangular cloth tied to the front and back of your head over a rounded hair cage. Women loved to don the same round collared robe, boots, and belt and play polo or soccer just like the men did. Tang lady wearing yuanlingpao and with cute makeup! During the Song Dynasty (960 AD – 1279 AD), the Yuanlingpao took on a similar form with wider sleeves and during the Ming (1368 – 1644), the Yuanlingpao were decorated with large square patches called Buzi 补子to denote court status. The Yuanlingpao 圆领袍 remained popular in both commoner and royalty closets until the Qing Dynasty but of course varied over the centuries. There are a ton of great resources out there like @ziseviolet on tumblr, traditional chinese clothes who is my favorite resource for new hanfu lovers! We’ll dive into the intricacies of each dynasty soon. This merely covers the basics, especially if you’re new to the scene. Each dynasty has so much to offer and every decade in Chinese history seems to have a new fun trend!

Woman Portrait Snowy Winter DayWhile celebrating the festivities in China, one may notice that many – male and female, young and old – may be seen wearing elaborate headpieces and silky, flowing robes with billowing sleeves embroidered with lotus flowers and dragons. Upon seeing this attire worn during the celebrations, some people may become confused as they may be more familiar with the qipao, the other Chinese national dress. The grandeur of their attire imbues them with an almost divine presence reminiscent of mythical beings from an ancient era. Although some elements may be similar, these garments are Hanfu. In China, Hanfu is considered the authentic style of historical clothing from any era when the Han Chinese were in power. Additionally, they may mistake the ornate robes for the Korean hanbok or the Japanese kimono. On November 2003, Letian made a public appearance wearing a handmade shenyi-style hanfu. After witnessing this event, Zhang Congxing, a Singaporean-Chinese writer, was inspired to write an article about him. Wang Letian of Zhengzhou, China, is credited with the resurgence of Hanfu, as he played a significant role in repopularizing the style. Various factors have contributed to the increased interest in Hanfu, including its portrayal in popular media, such as historical dramas and movies where actors are wearing Hanfu. Moreover, social media platforms such as Bilibili and Douyin have contributed to the surge in interest in traditional clothing. The piece was later published in Singapore’s Lianhe Zaobao daily and helped ignite the Hanfu Movement, which aimed to rekindle interest in traditional Han Chinese clothing and culture. Users can share photos and videos of themselves wearing Hanfu, which has helped to spread awareness and appreciation for the style among a wider audience. These platforms have facilitated the emergence of new Hanfu trends such as “daily Hanfu guidelines” and “genderless, streetwear Hanfu.” These trends have gained traction among young people who pair Hanfu items with popular Western fashion brands such as Balenciaga sneakers and Supreme sweatshirts. Thanks to media exposure, over twenty million people have purchased Hanfu on the e-commerce platforms such as Taobao. In July 2019, Alibaba, another e-commerce company, introduced the Gutao App, a social network dedicated to Hanfu shopping to cater to the rapidly growing consumer demand. Additionally, many users post travel-related vlogs with themes such as wearing Hanfu in other countries have also become popular. Shisanyu, a direct-to-consumer brand founded in 2016, serves as a testament to the popularity of Hanfu. It has topped the site’s list as one of the ten best-selling brands in 2017 and is valued at 16 million dollars. This trend emerged towards the end of the 20th century, when the Chinese government opened the country to the outside world, leading to increased exposure to Western culture. Currently, mixing Hanfu with Western-style clothing has become a fashionable trend. This trend emerged because wearing traditional Hanfu can be quite cumbersome. Modern enthusiasts have found a way to make it more convenient by mixing it with modern pieces. As a result, Chinese society started to embrace Western customs and fashion, which, in turn, impacted their traditional attire. New hanfu is classified into several varieties based on its characteristics, such as form, patterns, and aesthetics. Despite being inspired by Western fashion, modern hanfu has a unique design that distinguishes it from Western apparel. As a result, a new form of Hanfu, known as modern Hanfu or new Hanfu, has emerged, which combines traditional Chinese attire with westernized elements. Many modern fans prefer the Tang, Song, and Ming dynasties. The Hanfu has gone through several iterations throughout history, providing contemporary enthusiasts with more choices. Throughout history, the Hanfu has gone through various iterations, offering contemporary enthusiasts more choices. Many modern fans prefer the Tang, Song, and Ming dynasties. The yi was a knee-length tunic with narrow cuffs, fastened with a sash, while the shang was a short skirt reaching the ankle. Additionally, a knee-length bixi or apron was worn on the outside. At that time, the Hanfu was predominantly green or red since it was believed that the dyeing techniques of the Shang Dynasty were not as advanced as the later dynasties. The basic design was established during the Shang Dynasty (1600-1046 BC). Additionally, green and red are considered auspicious colors in Chinese culture and were commonly used in ceremonies and rituals. Due to this colors of the clothing were limited. The aristocracy wore elaborate and luxurious clothing made from silk. In contrast, peasants wore plain clothing made from hemp and cotton. This significant difference in clothing between social classes highlighted the hierarchical structure of society, emphasizing the social and economic disparities. During the Western Zhou Dynasty (1045-771 BC), clothing was used as a status symbol to underline the considerable differences between the aristocrats and the peasants. During the Eastern Zhou Dynasty (770 – 221 BC), two styles were introduced: the Shenyi, a one-piece garment, and the Mianfu, a type of religious court clothing worn by ancient emperors and officials. Many people began to accessorize their Hanfu with belts and jade embellishments, and the sleeves widened to create a more elegant appearance. The Hanfu saw few changes during the Qin and Han periods, as the Han still preferred the Shenyi style. During the Qin Dynasty, wearing green silk Pao and Shenyi was mandatory for third-rank officials and higher, while the rest wore white linen Pao. “China’s golden period” occurred during the Sui and Tang dynasties, when Han culture expanded, and women enjoyed more freedom from the constraints of Confucian ethical rules. However, a new ceremonial clothing called the Pao, a linen robe, emerged during this time. This led to the introduction of looser and more revealing clothing for women compared to previous periods. ” Like Vienna, Lotus Guo ’23, the president of the CCC club, also prefers clothes from the Sui Dynasty. Others appreciated the greater freedom that women had during this period. Many modern enthusiasts preferred the clothing from these two eras. If you look at some paintings of clothing designed during the Tang Dynasty, you will notice that women were not as conservative as they were in other dynasties, which indicates that they had more freedom. Song Dynasty attire primarily inherited the fashion of the Tang Dynasty, with more emphasis on embellishments and needlework. Women wore Beizi, which were similar to capes, during this period. The Yuan Dynasty, which marked the beginning of foreign dominance over China, saw the Hanfu incorporating elements from the national clothing of Mongolian emperors. According to Nina Xie ’23, “The Hanfu in the Tang Dynasty also reflects the influence of the open and kind atmosphere of that time. In addition to the usual round-collar pao in Han culture, men wore the Mongolian zhi fu or jism, which consisted of a short shang and a knee-length yi (upper garment) with thin sleeves (lower garment). However, some outfits and headgear with Mongolian influences and modifications to clothing from the Song era remained popular. The Ming Dynasty was the last dynasty ruled by the Han, and during this time, the emperor aimed to restore Han culture and tradition, which included adopting the Tang Dynasty’s wardrobe. With the return and widespread acceptance of Confucian values, women’s clothing became more traditional once again. The outer coat was lengthened to shorten the length of the exposed skirt, while the upper outer garment was made shorter and the lower outer garment was made longer. Following the Ming Dynasty, the hanfu was gradually replaced by Manchu clothing, which includes the qipao, cheongsam, and changsam. The Hanfu Movement has provided a platform for younger generations to connect with and embrace Chinese culture. With the overthrow of feudalism in 1911, the popularity of traditional Chinese clothing waned, and Western fashion began to take hold in China. Today, people have the freedom to choose how they dress and express themselves, and the Hanfu Movement has become a way for many to reconnect with their cultural roots. By wearing Hanfu, people can express their cultural identity which was previously suppressed during the Cultural Revolution, where personal expression was limited. During the Spring Festival, Lantern Festival and many others, many have the choice to dress in the Tang Suit, Qipao, Cheongsam or the Hanfu.