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Ynhanfu is an organization, working in researching and promoting traditional Chinese clothing Hanfu, which was founded in Kunming, Yunnan Province, China in 2002. The goal of Ynhanfu is to promote Chinese traditional clothing hanfu to the society. Xinhua Daily (in Chinese (China)). Yes, while traditionally associated with formal and ceremonial events, many contemporary styles of men’s Hanfu are designed for comfort and daily wear. What are the basic components of a men’s Hanfu outfit? You don’t want your beautiful blue hanfu outfit to be too bright or too dark. A typical men’s Hanfu outfit includes a robe or jacket (top), a long skirt or trousers (bottom), and often a belt to secure the top at the waist. Chinese cloisonne tea caddy that sports three roosters on the body, colorful and delightful, this cloisonne tea caddy is an eye catcher with its bright assortment of colors, condition is good with an ever so slight loss of enamel around the lids edge, two burn spots on the base bottom that was done during the manufacturing process. Han Chinese typically wore lü (regular shoes), xi (shoes with thick soles), and ji (wooden clogs). Its resurgence among the younger generation is a testament to its timeless appeal and the enduring legacy of Han Chinese culture.

For the longest time now, the Chinese hanfu has been worn as a show of pride in culture and Chinese history and heritage. Here, we turn the spotlight on the Royal Hanfu – a splendid gem in China’s rich heritage tapestry. Exemplifying China’s illustrious past, Royal Hanfu reflects opulence and refinement. In essence, the Royal Hanfu symbolizes China’s profound history, blending royalty, culture, and artistry into one magnificent attire. These royal robes, steeped in tradition, unveil a fascinating narrative about China’s dynastic rules. The Royal Hanfu isn’t merely about aesthetics-it’s a symbol of cultural identity. It is more of an identity that has been very significant from one era to another. These small pieces of cloth was collected from various local families, which were supposed to represent ” one hundred families”. One large fu dog dominates as a small dog is perched on back, and two climb and encircle the large dog. One aspect gaining worldwide recognition is traditional clothing.

If anyone have better resources please feel free to add one. I feel like my ancestors when I wear hanfu. The color white has a special power to make people feel calm, happy, and confident. In modern society, this garment has still appealed, not just to the Chinese people but to those who appreciate its beauty and uniqueness. Men’s Hanfu can be purchased online, in specialized boutiques, or in traditional markets in Chinese cities. Quality silk threads can range from $5 to $20 per skein, depending on the brand and quality. Can men’s Hanfu be worn daily? The collar can be either the same or a different colour to the main pieces of fabric. It’s a journey through centuries of Chinese history, tradition, and culture-a story woven in fabric. Han Chinese fashion. It finds its manifestation in the wearing in public of the traditional Han attire of pre-Qing era. Yes, wearing Hanfu is generally seen as an appreciation of Chinese culture. They acknowledge that the hanfu costumes in some photo studios, movies, and TV dramas are not authentic representations of ancient hanfu, but contemporary hanfu modified based on ancient hanfu for the purposes of visual effects, cost saving and convenience of wearing.

The seat is beautifully worn as are the chair rails and arm rests. The Chinese chair is patterned after an archaic style with flanges and apron spandrels. Antique Chinese 5-color peking glass snuff bottle with a carved glass overlay design of deep green stems, leaves, and blades of grass with blue, red, yellow, sleeveless cheongsam and pink flowers. Its timeless appeal and unique design elements make it a treasured piece in any wardrobe, offering a captivating blend of tradition and modernity. Designers worldwide are incorporating elements of Hanfu into their creations, contributing to the renaissance of this traditional attire. 7. Any clothing in general that purposefully utilizes Chinese style elements (embroidery, fabrics, patterns, motifs, etc). If you are interested in Chinese culture, it is a good idea to own Hanfu. So, what are you waiting for? It was worn by queens as daily attires and by the wives of senior official as a formal attire. During the rule of Queen Jindeok of Silla, Kim Chunchu personally travelled to the Tang dynasty to request for clothing and belts and voluntarily accepted the official uniform system of the Tang dynasty, which included the dallyeong among many other clothing items. Shop Popular Items on Apparel at Walmart®.

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The Ming Dynasty developed many classic Chinese hanfu clothing styles. The most famous ones are the Ming style Liling Changshan (standing-collar long hanfu jacket) and the Mamian Qun Hanfu Skirt (horse-face pleated skirt). Another very prominent style in Chinese history is the Hanfu, made for both men and women. Along with this came traditional headgear – a hat for men and headpiece for ladies. The traditional garment has a cross collar and extends to the knees, usually extending over trousers or a skirt (yes, even for the men). History. From the reign of the Yellow Emperor (2696 BC-2598BC) to the end of the Ming Dynasty (1368 – 1644), Hanfu dominated the Chinese fashion world, a period of well over four thousand years. Some forms of dahu was bestowed to the Joseon Kings; for example, in 1444 under the rule of King Sejong of Joseon, the Ming dynasty bestowed him dahu, along with cheollik and gollyeongpo.

Zhong means centralized. The cutting and tailoring abide by the rule of symmetrical tailoring and stitching. The best bet for choosing and tailoring a traditional hanfu garment is to find a tailor who speaks English, like the Yaxiu Clothing Market in Beijing or Huaihai Road Market in Shanghai. To best understand the meaning of the Chinese Hanfu, its history including the early origins of the garment will be explored, as well as the modern appeal. If you want to ask what’s the best hanfu style, then the Ming dynasty hanfu is the answer, an incredible work of art. The hanfu production skills and clothing materials used to make traditional Chinese costumes in the Ming Dynasty were at the pinnacle of ancient China. On May 18, the International Museum Day, several cultural and museum sites in Luoyang will prepare “surprises” for visitors dressed in Hanfu, which refers to a full set of traditional Chinese costumes with elegant makeup and hairstyle. On the Chinese clothing other hand, it is cheongsam and qipao just Asian clothing and oriental clothing golden opportunity for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) Chinese national costumes Chinese costume, Asian costume and oriental costume regain their popularity.

From handwoven fabrics to delicate embroidery, each pair of shoes tells a story of meticulous artistry. Royal blue is usually worn by those who are learned in the Sikh religion and are patriotic about their traditions and culture. Consumer culture rose as Western and Chinese merchants cooperated to move towards early capitalism. The shenyi rose to prominence beginning in the Eastern Zhou 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. Not to avoid Nazis, but to get away from the people screaming about Nazis. It seems like everyone is trying to rally someone to get angry about something, to other a platform, a person or nation. VISIT LAN SU IN HANFU ON SUNDAYS, AND GET A $5 DISCOUNT OFF ADMISSION! Read about tips for designing a qipao as well as where in Beijing to buy one, or visit one of the many tailors that will happily help you design one.

Where to buy a good quality hanfu? At the time of publication of this article, a skilled bargainer could buy a silk robe for as little as 30-50 RMB (3.50-8.00 USD). A simpler, easier souvenir idea is the classic silk Chinese robe. You can choose from ten complete outfits, spanning a wide variety of traditional Chinese clothing styles, also known as hanfu. Often it is a silk dress but can be made using other types of fabric to fit the occasion. This dress has become a symbol of Chinese fashion and has been long cherished for its simple elegance. Ming dynasty hanfu clothing is recognized as the most gorgeous and luxurious traditional Chinese dress. Make a statement – and an elegant one at that – at your next party with this Manchu style dress. It gets its name from the Han dynasty, during which the style came about. Thereafter the emperors of the successive Han dynasties all considered inheriting the clothing of the Han Dynasty as a national event when ascending the throng. In both ancient and modern times, almost all female Hanfu lovers dream of owning a handmade unique custom-made Ming dynasty Hanfu suit.

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Wu Zengxin has met people from all over the world in Singapore, horse-faced skirt and many people from Western countries showed interest in and affection toward the Hanfu he wore. The xuezi is structurally different from the jiaolingpao: the xuezi has a trapezoid body, narrower sleeves which is tubular in shape, the sleeves are longer than the wrists, and water sleeves are also added; there is an asymmetrical closure where the right side is right below the shoulder and neck intersection while the left crossing over is tied right under the right arm in a style called jiaoling youren. Each type had its specific dimensions, with ‘Shenyi’ often being longer and more draped, while ‘Aoqun’ was more fitted. Néstor Martín-Fernández de la Torre designed a costume in Gran Canaria in 1934 to serve as pan-islander costume for all islands, but only caught on in Gran Canaria, being specific to its capital city Las Palmas. Lumberjacks of Quebec and Ontario – Traditional logging wear includes mackinaw jackets or flannel shirts, with headgear being a tuque or trapper hat; a good example is seen with folk characters like Big Joe Mufferaw. It is typically bright yellow (the colour reserved for the emperor), but the emperor was allowed to wear other colours; other colours of chaofu is also used if the ceremonial occasions requires it.

Maritimes – Acadians wear their traditional heritage clothing on special occasions like the Tintamarre. Bulgaria – Every town has its own design of a national costume (nosia), with different types of clothing items traditional for each of the ethnographic regions of the country. Sardinia – Every town has its design of the traditional folk costume (see also Sardinian people for more information). Javanese people – Beskap, Batik shirt, Blangkon, Songkok, Sarong (male), Kebaya, Tudung, Sarong (female). Belize – Mestizos – Huipil (female), Guayabera (male); Mayas – All tribes wear distinct kinds of Mayan dress. Formal wear are usually long wear with long sleeves except Xuanduan. The sleeves of the yuanlingshan are mostly curved with a narrow sleeve cuff (琵琶袖, pipa sleeve). The sleeve could be turned back to the elbow. The city was besieged by enemies, and the defenders’ strength was lacking, so the mage performed a ritual, summoning the power of his patron. This technique provided added strength and drape, making it suitable for more refined cotton garments. There are also contemporary societies in which traditional garments are required by sumptuary laws.

These pieces celebrate the past while also showcasing contemporary designs, making them perfect for all occasions, be it a formal event, a casual stroll in a bustling city, or an intimate gathering of friends. Significantly, red envelopes, known as ‘hongbao’, containing money, are gifted during holidays and special occasions, reinforcing the association of red with wealth and prosperity. Malaysia – Baju Melayu and Songkok (male), Baju Kurung, Baju Kebarung (Kebaya/Kurung hybrid), Tudung (female); every state has its style of baju including a special baju for the Federal Territories. Germany – Every state has its own specific design of a regional costume (Tracht). Austria – Each state has a specific design on national costume; the most famous is that of Tyrol, modern hanfu dress consisting of the characteristic Tyrolean tracht and dirndls. Many stereotypes that foreigners have regarding German folk costumes (as well as other customs) actually come from the state of Bavaria. Many stereotypes that foreigners (non-Canadians) have regarding Canadian folk costume (as well as other customs) actually come from Quebec and Ontario.

Many stereotypes that foreigners have regarding Chinese folk costume (as well as other customs) actually come just from the Han Chinese. The most famous Swiss costumes come mainly from the German-speaking cantons of Appenzell, Bern and Zug. The most famous costumes come from Viana do Castelo and Nazaré. These vary widely. Many of them resemble Swedish costumes, but some take influences from Russian costumes as well. Its purpose is to act as a fastener as well as providing a decorative closure for the garment. It’s the most basic because skirts were likely the first type of clothing to exist for the purpose of covering your nasty external organs. The Xianbei rulers continued to wear own distinctive Xianbei clothing in order to maintain their ethnic identity and avoid merging with the Chinese majority population. Palestine – The keffiyeh, a symbol of Palestinian identity. Though this group introduced the Manchu dress, it disappeared as soon as the dynasty fell. The Jurchen clothing also reflected some fusion of Han and Manchu culture. Bahamas – None, unofficially Androsia-cloth clothing. Djibouti – Macawiis (male), Koofiyad (male), Dirac (female), Garbasaar (female); the Afar people have their style of traditional clothing.

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The green hanfu finds its place in various cultural celebrations and ceremonies, symbolizing different aspects of life and tradition. Beyond its visual allure, the color green carries profound meanings deeply rooted in Chinese symbolism. From the fresh and lively hues of spring green to the deep and rich tones of emerald and jade, each shade carries its own unique charm and cultural connotations. This shade is often associated with meditation, making it suitable for cultural events or personal reflections. This shade is versatile, and suitable for both casual and formal occasions, reflecting a blend of tradition and everyday wear. 5. Confidence is Key: Above all, wear your qipao with confidence and pride. The cheongsam (cheongsam and qipao) is Asian clothing and oriental clothing body-hugging (modified in Shanghai) one-piece Chinese dress for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) women. Chinese clothing word keipo (qipao) is cheongsam and qipao either Asian clothing and oriental clothing more formal term for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) the Chinese clothing female chèuhngsàam, or is cheongsam and qipao used for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) the Chinese clothing two-piece cheongsam variant that should be Chinese traditional dress or Chinese ancient costume is cheongsam and qipao popular in China.

In Hong Kong, where many Shanghai tailors fled Chinese costume, Asian costume and oriental costume after the Chinese clothing Communist takeover Chinese clothes, Asian clothes and oriental clothes the Chinese clothing Mainland, the Chinese clothing word chèuhngsàam may refer Chinese costume, Asian costume and oriental costume either male or female garments. Chinese clothing Shanghainese name was the Chinese traditional costume and Chinese ancient dress somewhat Chinese dress, Asian dress and oriental dress odds with Chinese traditional clothes and Chinese ancient clothes usage in Mandarin and other Chinese dialects, where chángshān (the Mandarin pronunciation Chinese clothes, Asian clothes and oriental clothes) refers Chinese costume, Asian costume and oriental costume an exclusively male dress (see changshan) and the Chinese clothing female version is cheongsam and qipao known as Asian clothing and oriental clothing qipao. By the late Qing, not only officials and scholars, but a great many Han commoners wore Manchu-style male attire. The Magua was a short vest/shirt, usually worn outside of the Paofu robe, and its function was very close to the western waistcoat, as a part of the standard attire for men. Fictional rulers also play a part in influencing the Royal Neopets. She is also planning to learn to play the “guqin”, an ancient seven-stringed zither.

Manchu women typically wore Asian clothing and oriental clothing one-piece dress that should be Chinese traditional dress or Chinese ancient costume came Chinese costume, Asian costume and oriental costume be known as the Chinese clothing qípáo (or banner quilt). Among them were the Chinese clothing Banners (qí), mostly Manchu, who as Asian clothing and oriental clothing group were called Banner People (pinyin: qí rén). Nowadays, people seldom wear Hanfu except on special occasions, such as festivals and wedding ceremonies, white cheongsam or by young girls who want to show off or taking photos. In the 21st century, only a few hundred people still wear traditional dresses and suits on a daily basis. There still existed an elite however, and they monopolised the Chinese clothing more ornate fabrics and grandiose details. The lighter, more delicate shades of green hanfu evoke the freshness of spring. The beauty of green hanfu lies not only in its cultural symbolism but also in the diverse palette it offers. This palette reflects the awakening of nature, making it an ideal choice for festive occasions and celebrations during the warmer months. From its symbolic roots in Chinese culture to the diverse palette of shades it offers, the green hanfu encapsulates the rich tapestry of tradition and style.

Additionally, green and red are considered auspicious colors in Chinese culture and were commonly used in ceremonies and rituals. Find out how Hanfu reflects the rituals and symbols of Chinese culture and how it has been revived in recent years. Wishing to escape his celebrity and return to more steady translation work, he requested and failed many times over the years to be relocated to more remote institutions. He recalled holding a 2005 Hanfu event that only attracted about 50 attendees – five years later, a similar event drew up to 500 people, he said. It was first seen in the Five Dynasties period at the latest. The English loanword cheongsam comes from the hanfu(Chinese hanfu) chèuhngsàam, the Chinese clothing Cantonese pronunciation Chinese clothes, Asian clothes and oriental clothes the Chinese clothing Shanghainese term zǎnze or zansae (‘long shirt/dress’), by which is Chinese shirt or Chinese pants the Chinese clothing original tight-fitting form was the Chinese traditional costume and Chinese ancient dress first known. Buddhist have Asian clothing and oriental clothing cloak with Chinese traditional clothes and Chinese ancient clothes gold lines on Asian clothing and oriental clothing scarlet background creating Asian clothing and oriental clothing brickwork pattern which is Chinese shirt or Chinese pants is cheongsam and qipao wrapped around over the Chinese clothing left shoulder and secured Chinese dress, Asian dress and oriental dress the Chinese clothing right side Chinese clothes, Asian clothes and oriental clothes the Chinese clothing body with Chinese traditional clothes and Chinese ancient clothes cords.

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Our journey begins in ancient China, where the Hanfu originated. The term “Hanfu” literally translates to “Han clothing,” representing the Han Dynasty (206 BC-220 AD), one of China’s golden ages. The Hanfu was more than just a piece of clothing; it was a symbol of status, with different designs and colors representing different social ranks. This will give you a deeper appreciation of the attire and its cultural significance. If you’re interested in experiencing Hanfu, start with understanding its origins. Each dynasty brought its unique touch to the Hanfu, adding to its complexity and beauty. For instance, during the Tang Dynasty (618-907), known for its prosperity and cultural openness, Hanfu became more diverse and vibrant, reflecting the dynasty’s cosmopolitan nature. When choosing a Hanfu, consider the different styles from various dynasties. Each style has its unique charm and represents a different period in Chinese history. Fast forward to the 21st century, and we see a resurgence of Hanfu in modern society. As we move forward in time, we see the Hanfu evolving, mirroring the changes in Chinese society. It’s not uncommon to see young people wearing Hanfu in parks, on special occasions, or even as daily wear. If you’re considering incorporating Hanfu into your wardrobe, start with simple designs. Remember, the key is to wear it with confidence and pride. As you become more comfortable, you can explore more elaborate styles. Wearing Hanfu is a way for people to connect with their roots and express their respect for traditional Chinese culture. Hanfu is more than just a fashion statement; it’s a symbol of cultural pride and identity. It’s also used in traditional ceremonies and festivals, adding a touch of authenticity and cultural richness to these events. If you’re attending a traditional Chinese festival or ceremony, consider wearing Hanfu. It’s a great way to show respect for the culture and participate in the festivities. The flowing robes, wide sleeves, and vibrant colors enhance the natural beauty of women, making them feel confident and elegant. For women, Hanfu is not just about fashion; it’s about expressing femininity and grace. When choosing a Hanfu, consider what makes you feel comfortable and confident. Our journey through the centuries reveals the enduring charm and cultural significance of Hanfu. Remember, Hanfu is about expressing your individuality and femininity. From its origins in ancient China to its resurgence in modern society, Hanfu has remained a symbol of Chinese culture and identity.

Private search meets private browsing. Introducing the Startpage mobile app. Private search meets private browsing. Learn About Anonymous View. Introducing the Startpage mobile app. How Does Private Search Work? Hanfu, are the traditional styles of clothing worn by the Han Chinese since the 2nd millennium BCE. Hanfu, are the traditional styles of clothing worn by the Han Chinese since the 2nd millennium BCE. There are several representative styles of hanfu, such as the ruqun, the aoqun, the beizi and the shenyi, and the shanku. Your feedback helps improve the Startpage experience. Sep 21, 2024 – Explore Sochi Mel’s board “Men Hanfu” on Pinterest. See more ideas about hanfu, traditional outfits, chinese clothing.

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Designed to captivate and enchant, our Hanfu shirts blend timeless style with modern sophistication, making them a perfect choice for those who appreciate the beauty of traditional Chinese attire. Hanfu shirts, or Hanfu tops, are a key component of traditional Han Chinese clothing. Our collection includes a variety of Hanfu shirts, ranging from delicate floral patterns to bold, striking designs that reflect the vibrant colors and patterns of Chinese culture. These exquisite garments feature intricate patterns and elegant designs, often incorporating Chinese embroidery, which adds a touch of vintage charm and sophistication to any outfit. Whether you are embracing your Chinese heritage or simply enjoying the unique beauty of traditional Chinese fashion, our shirts are perfect for you. Our Hanfu shirts are not just a piece of clothing; they are a form of cultural expression. Explore our selection of Hanfu shirts today and discover the perfect fit for your style. They are ideal for weddings, traditional festivals, or any special occasion where you want to look your best while honoring your cultural roots. From casual wear to formal events, our Hanfu shirts are versatile and can be worn in a variety of settings. Our shirts are available in various sizes and styles, including men’s and women’s options, so you can find the perfect match for any outfit. In addition to traditional Hanfu shirts, our collection includes other traditional Hanfu clothing options such as Chinese embroidery tops, traditional Chinese shirts for men, and Chinese style white tops. We also offer a range of Hanfu styles, ensuring that you can find the perfect piece to complement your personal taste and style. Moreover, our Chinese vintage clothing and oriental tops are inspired by the rich and diverse history of China, offering a unique blend of past and present. Each piece is crafted with care and attention to detail, using high-quality materials to ensure durability and comfort. Our goal is to bring the timeless beauty of Hanfu shirts to the modern world, making it accessible to anyone who appreciates traditional Chinese culture. Whether you are looking for a classic design or something more modern, our Hanfu shirts are sure to make a statement. Embrace the elegance and charm of Chinese culture and turn heads wherever you go. Experience the magic of traditional Chinese fashion with our Hanfu shirts. Remember, our Hanfu shirts are more than just clothing; they are a way to honor your heritage and celebrate your identity. Shop now and find the perfect Hanfu shirt to add to your wardrobe. Discover the perfect Hanfu shirt today and join the trend of those who appreciate the beauty and significance of traditional Chinese attire.

Banbi (Chinese: 半臂; lit. Chinese: 半袖; lit. Chinese: 半臂; lit. Banbi (Chinese: 半臂; lit. Chinese: 半臂; lit.

Mamianqun article, here’s a little summary of all the most popular hanfu skirt (qun or 裙) types and what the difference between them is! I’m not going to go into as much detail as the previous article since my goal is to go through them all quickly and teach you the differences between them, but I’ll be including some brief details on their name, history, construction, and features so that you can better understand the huge variety of skirts in hanfu. Let’s start off with some basics rules hanfu skirts tend to follow. Skirts are made up of one or two pieces of fabric, usually, and they take the shape of a flat piece of pleated or non pleated cloth that gets wrapped around the body and tied in place by ribbons/ties. There are very few exceptions to this, except in hanyuansu, which is modified hanfu for convenience and style. The waistband of the skirt is usually 6-8cm wide and made with a different piece of fabric than the body of the skirt, which the body of the skirt is then attached to-this is referred to as the skirt head (裙頭). The classic pleated skirt is undoubtedly the one that you’ve heard of the most. But even with all of these rules, there is a HUGE variety of hanfu skirts throughout the dynasties! This is the most basic kind of skirt that you’ll get, and it’s the kind that most people start out with-unisex, easy to put on, and very intuitive. This skirt consists of straight knife pleats (順摺) going from the skirt head down to either half or full length of the skirt, with pleats usually ranging from 2-4cm wide, and are often made with thin chiffon with one solid layer or two layers, one solid white underlayer and one sheer outer layer. The history’s a bit blurry since they’ve been popular since forever, and it’s a very versatile style that comes up in hanyuansu. There isn’t much else to say about this one, honestly. Technically the po, 破, in poqun is a word that means broken. I don’t doubt that you’ve all seen this one and are probably already pretty familiar with it and don’t need me to flood you with pictures, so let’s move on to the other ones. Well, that’s not what that word always meant. So why are we wearing broken skirts? You see, in this context, a po is a piece of fabric cut into a long trapezoid-like shape. A poqun is made of an even number of these pieces of fabric, usually 4-12 but going up to as much as 32, sewn together lengthwise to create a skirt that is wider on the bottom than the top. When worn, this creates a sort of A-line, circle skirt effect, with loose folding around the edges-it’s known to a lot of enthusiasts as the most slimming style of skirt out there. Like I said before, each of these pieces of fabric is a long trapezoid. A poqun with three pairs would be a six-po skirt or 六破裙, four pairs would be an eight-po skirt, etc. Typically they say the more po the more slimming it looks! Each piece is called a po, or 破, and they come in pairs. When you lay the skirt out, it doesn’t lay flat, but if you hang it spread out from the waistband it’ll naturally fall into even waves because of its trapezoidal shape. Poqun can be made solid and out of one kind of fabric like the other skirts, but the unique thing about it is that because of its pieced-together construction, it’s really common for poqun to be striped, alternating colors every po. This style of skirt was probably most popular all the way from the Wei and Jin dynasties to the Tang Dynasty. Once the Song Dynasty rolled around, though, lots of other skirts became more popular and this flowy, unstructured shape started dying out. It would’ve been the main form of skirt earlier on, when skirts first began to show up instead of full-body robes, while it became popular to wear striped poqun in chest-high styles in the Tang Dynasty, so they’ve been dominating the skirt industry for quite a while! Well, I didn’t mean immediately! Did I say that poqun started dying out in the Song Dynasty? As you might be able to guess from the logic above, since this is a 四破 or four-po skirt, it’s made up of four long trapezoidal pieces of fabric sewed together along the edges, making it wider at the bottom than it is at the top. The part of this skirt that makes it different from the earlier poqun is the three inverted box kick pleats (工字摺) between the po of the skirt, one in the front center and two on either side, creating a unique silhouette with three pleated slits-sometimes a contrasting fabric is used for the inside of each slit for an added layering effect, other times it’s the same fabric. This skirt is a favorite of hanyuansu enthusiasts, as it looks really similar to a modern skirt with a less flashy silhouette-it doesn’t end up being much of a poofy skirt, draping mostly straight down on the hips, and is easy to modernize. One example of how the poqun evolved over time is the 四破三襉裙, often shortened as the sanjianqun. If the Tang Dynasty favored a beautiful full figure like the bright round moon that became the muse of so many poets, the Song Dynasty was known for a preference for willowy elegance, long and thin like bamboo. The only thing that I would note is that this skirt is notorious for showing even a little bit of a belly, as a lot of Song Dynasty skirts tend to do, but if you don’t mind then this is a great choice for a daily outfit! This was absolutely reflected in their clothing choices as well! One of the simplest skirts of the lot is called the xuanqun, roughly translating to wrapped skirt, also known as the 兩片裙 or two-piece skirt. It’s made of two pieces of fabric, hence the second name, and wraps more closely to the body than any of the other skirt types. This skirt is unique for having no pleats, instead being constructed out of two flat rectangular pieces of fabric overlapped with each other and connected at the skirt head. The two pieces of fabric can be the same color or contrasting patterns. Narrow versions will be made up of less fabric, and so when wrapped around the body will hug the hips and legs more tightly, resembling a long pencil skirt or straight skirt-essentially a cylindrical shape. Xuanqun can be split into the narrow and wide versions. Wider versions have more fabric and are a little looser on the body, allowing for more free leg movement. Narrow versions are also known for being unfriendly to the curvier of us because of its tighter silhouette, since the fabric can be uncomfortable on the hips if your waist is a lot smaller, but sizing the skirt right should take care of most of your problems! For those of you who want a quick overview, mamianqun are made of two pieces of fabric with a flat skirt door on each end but pleated in the middle, overlapped to form two visible flat parts at the front and back, and a pleated part and the sides when worn. Again, for more detail you can skim the article I linked-it goes into a lot of depth! They’re very convenient for riding horses and other things requiring you to move your legs around, and were popular from the Song dynasty all the way to the Ming dynasty. Let’s meet the much lesser known cousin of the mamianqun: the manzhequn, or full-pleat skirt! Also a popular Ming-dynasty style, despite there being artifacts in this silhouette it’s hard to find many shops that make this kind of skirt, as it’s much lesser known than the mamianqun, but it offers the same mobility as the mamianqun without the flat skirt doors. The difference is that while the mamianqun’s two pieces of fabric have a flat part called the skirt door at each end, with 工字摺 in the middle, the two pieces of fabric of a manzhequn are pleated all the way through with straight knife pleats all facing the same direction. From the outside, when worn, the manzhequn looks a lot like your typical zhequn, pleated skirt, with wider pleats than usual, usually around 3-5cm. But like the mamianqun, the manzhequn is actually made of two different pieces of fabric, overlapped at the sides when worn. Consequently this skirt has a full, rich look unbroken by skirt doors, but it can be less convenient than mamianqun since its folds are easy to displace and harder to organize when sitting down. When sewn together, this creates a skirt that looks pleated all the way around but can still be spread from side to side because the two pieces of fabric are only connected at the top, not the bottom. Still, if you’d like to switch up your Ming dynasty outfits, consider getting one of these instead! They’re characterized by very narrow pleats of 1-2cm, winter hanfu male usually made of softer and thinner fabrics to allow this. Made of one piece of fabric, these narrow pleats fill the center of the fabric while each end of the fabric has a smooth unpleated section called a 光面 or smooth face, which overlap each other when the skirt is worn-the result is a similar look to the mamianqun, but with only one visible smooth face. I’m not sure why there are so many Song Dynasty skirts, but this is the last of them-the baidiequn, or hundred-change skirt. This face can be worn in the front, the back, or even the sides-there’s no official place for it, it’s all up to you. Baidiequn can be split into three categories: the full baidiequn, the encircling baidiequn, and the high-low baidiequn. It’s a full-length skirt, pretty intuitive: just wrap it around your body so that the smooth faces overlap, and turn the smooth face to the front, back or side. The full baidiequn is the most commonly seen kind, usually worn alone. The encircling baidiequn, or the hewei baidiequn, 合圍 baidiequn, is an overskirt usually worn on top of another skirt or a pair of pants. Because of the thin pleats, baidiequn usually stay closer to your body than the usual zhequn. These types of skirts can be sheer or solid since they don’t have to worry about your legs showing through. It’s shorter than a full skirt, usually reaching down to mid-calf, and can be wrapped around the body on top of an underlayer with a similar or contrasting color. Last is the high-low baidiequn, or the 前短後長 baidiequn, which I unfortunately didn’t get a picture of (above is another hewei baidiequn). They’re less common than the full baidiequn, but there are a number of merchants that still sell these. When worn, the smooth face in front will be significantly shorter, while the pleated sides and back will still be floor-length. But wait, some people may say, what about the chest-high and waist-high skirts? Very rare these days, these types of skirts always have their smooth faces worn in the front, because the smooth faces are cut shorter than the rest of the pleated skirt, creating a T-shape when laid out. Why isn’t there a category for that? Well, I’ve got some news for you-chest-high and waist-high skirts aren’t different kinds of skirts at all! Aren’t those two different kinds of skirts? The only difference is that sometimes people prefer to make their chest high skirts a little longer so they still touch the floor when worn over the bust-and of course typically men didn’t wear skirts this way. Chest-high and waist-high are two different methods of wearing skirts, not different kinds of skirts. Designers may take into account whether the skirt will be worn at the chest or waist when designing so that they know what a full set will look like or what kind of top to use in the set, and the sizing chart for skirt length might also vary based on whether it’s supposed to be worn at the chest or at the waist, but in concept there is zero difference between chest-high and waist-high skirts! Wearing the skirt at the chest was really popular in the Tang dynasty for women, for example, but the chest-high skirt wasn’t some new invention of a different skirt pattern, most were either pleated zhequn or striped poqun tied at the chest, just… It’s just a matter of how you choose to wear your skirts. Same deal with heziqun-essentially what it is is a skirt with an exceptionally wide skirt head, wide enough for it to basically cover your torso. In fact, if you feel like you want a shorter skirt that won’t drag on the ground sometimes, but also like the floor-length look for other occasions, you can absolutely just pull a waist-length skirt up to your chest and wear it like that. The skirt part of the heziqun can take on multiple forms, usually a poqun or zhequn since we only see these in the Tang dynasty, not to mention that since there are no surviving artifact of heziqun it can only technically be counted as hanyuansu. You won’t be misappropriating history or even modifying it at all-this is exactly what people did. Then again, a lot of designers have taken steps to modify skirts that they mean for you to wear at your chest to make them easier to hold up-straps, for example, would prevent you from wearing something as a waist-high if it was originally a chest-high skirt. But more often than not the straps are removable! Just make sure you know the difference between a type of skirt and a way of wearing a skirt.

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

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