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Hanfu has seen a revival in recent years, and more and more people are interested in traditional Chinese culture. In fact, the majority of Chinese people are ethnically Han Chinese. The development and maturation of Chinese social media channels has also helped the trend go mainstream. It solidified the already strong connection she feels towards her Han Chinese roots and led to the creation of a social media platform which she uses to educate and inform others on the intricacies of Hanfu clothes, make-up and hair styling. Taobao provides a platform for Hanfu sellers to present their designs and for Hanfu lovers to browse. There are many forums and groups for Hanfu lovers from all across the country to connect. In fact, in China, there are a lot of people wearing Hanfu, Cheongsam,Ruqun and so on. 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! It can be said that it is very close to life and humanized. 5) I guess the beads would be swallowed or kept close to the body.

My guess is that you’re thinking about the Qipao and Changshan since that’s the style most people associate with ‘traditional’ clothing. A key reason for the growing popularity of JK uniforms is that, those people who liked ACG (anime, comics, games) as kids have now grown up and they are wearing clothes that represent their interests. But now, it’s a very common to see this type of thing, especially I now that I have moved to Shanghai, a city that is open to every culture and communities. Now there are over 600K posts about Hanfu on Xiaohongshu. As I am doing research for this article, I actually kind of want to buy a JK uniform and wait until next year’s cherry blossom season to take photos like users did on Xiaohongshu. Currently, there are over 90K posts about Lolita clothing on Xiaohongshu and the hashtag Lolita on Douyin has over 1.4 billion views.制服) has over 24.6 billion views.

Women wearing banbi over aoqun. Zhu Xi also created some rules for dressing, which included the wearing of beizi by unmarried women and concubines. A “half-beizi”, a beizi with short sleeves; it was originally worn as a military uniform but it was then worn by the literati and the commoners despite being against the Song dynasty’s dressing etiquette. Because it must match the Qixiong skirt that was worn, the ru were usually very short. Musicians wearing qixiong ruqun, Sui dynasty figurines. A Group of Tang Dynasty Musicians from the Tomb of Li Shou. 60 Chen Mingxia suggested that the Qing dynasty court should adopt Ming-style clothing “in order to bring peace to the empire”. He looks more like a member of the nobility than a King – a member of the court rather than ruling over it. This also helped Hanfu to become known by more people. Most people would think of Hanfu, from the Han dynasty or the modern qipao. In fact, modern Hanfu pays more attention to beauty in detail. Throughout history, the Hanfu has gone through various iterations, offering contemporary enthusiasts more choices. What is Hanfu? In Chinese “fu” means clothing, so many people would think that Hanfu is clothing originating from the Han Dynasty, but actually, it’s not.

The 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. However, China is very vast and so clothing differs from region to region. San Francisco, CA: China Books & Periodicals. So, on your next trip, why not step into history and see China through the elegance of Hanfu? Hanfu’s history can be traced back to Huang Di (黄帝), the first emperor of China. But what has been the biggest driver of Hanfu’s current popularity? The story was filmed as a movie and in 1997, the movie was re-filmed in Japan and the style started becoming known and popular. The story tells a love story between a 12-year-old girl and a middle-aged professor. Along with this key factor, there is also the fact that many popular TV series and reality shows are filming celebrities wearing JK uniforms, especially those campus love TV shows. On the plus side items were true to the pictures, I got a jumper which I love and shorts (which don’t fit properly).

Today, wearing hanfu is not just about fashion; it’s a way to connect with and honor Chinese cultural history, allowing people to explore and express their identity through a blend of past and present. Incorporating more Chinese elements into the shape and style of clothing design is a kind of inheritance and development of traditional Chinese culture. The style in its current form came about in the 1990s, where it was photographed on the streets of Harajuku and featured in magazines like Fruits, Kera, and eventually Gothic & Lolita Bible was launched with a focus on it in 2001. The movie “Kamikaze Girls” released in 2004 resulted in a widespread knowledge of Lolita as the name of the fashion among the general public within Japan. The moving arms on the perimeter screens were raised to form part of the lamp as its “spout” where four pink firework shells were launched.

There are three steps to follow while making them: use thin strips of bamboo to form a frame, paste thin paper over it and then add decoration. There are four traditional piping techniques used in the making of the cheongsam: gun (滚; ‘roll’) which is a narrow strips of fabric roll around the raw edge of the garment and is the most commonly used nowadays, xiang (镶) which is broad edging typically found in Manchu clothing of the Qing dynasty and the early cheongsam and is now quite rare, qian (嵌) is a very narrow strip of fabric which is even narrower than the gun, and dang (宕) is a specific type of xiang technique which uses a narrow strip of fabric which is stitched on the dress. “All my Hanfu designs are original, and most of them were developed from fabrics and with patterns that are drawn and arranged by ourselves, colors dyed, patterns woven, and even some decorative techniques on fabrics have to be discussed with factories before they can be made, such as gold embossing and unique coloring, and it took more than half a year for some factories to make two styles of Hanfu under our guidance,” he added.

Lolita (ロリータ) is a Japanese fashion-based subculture inspired by girls’ and young women’s clothing styles from the Victorian and Rococo periods. In Lao She’s novel Four Generations Under One Roof about the life of Beijing residents during the War of Resistance Against Japanese Aggression (1931-45), an old man bought two Rabbit God statues for his grandchildren from a street vendor for Mid-Autumn Festival. In order to differentiate from the book and to avoid adult content to show up, chinese dress qipao the fashion’s name is commonly written as “ロリィタ” with a long “i” in Japanese instead of “ロリータ”. What is currently known as the Xiuhefu became popular in 2001 when Zhou Xun, the actress who played the role of Xiu He, wore a modern recreation version of the Qing dynasty wedding aoqun in the Chinese television drama Orange turned red (Chinese: 橘子紅了) thus gaining its contemporary name from name of the character, Xiu He. It’s a long tradition for Chinese people to enjoy colorful lanterns out on the streets with their families during Spring Festival, Lantern Festival and Mid-Autumn Festival.

Many young people in China have embraced this traditional outfit as a form of cultural expression. This form of dahu (y-shaped collar long robe with short sleeves) was worn by the Mongols in the Yuan dynasty over long-sleeved robes in similar fashion as it was worn prior to the founding of the Yuan dynasty. Yu says public awareness about hanfu has been greatly increased over the past decade. She says in ancient times, Chinese people attached great importance to etiquette and made strict rules for the types of clothes worn on different occasions. “Growing up in Canada, I watched Chinese period dramas but I had no idea that Hanfu was a thing or where to buy it. Chinese clothing accessory in either the form of a long scarf, a neckband, or in the shape of waistcoat depending on the time period. For lovers of hanfu, or traditional Chinese costume, Mid-Autumn Festival, together with other traditional festivals, are occasions to dress up in their favorite outfits and have a gettogether to revive old festivities.

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It is said that Hanfu can be traced back more than 4,000 years. We totally need to start a new trend and bring Hooverettes back into fashion. Traditionally, Chinese people trace the clothing system back to the Huang Di or the Yellow Emperor. It is said in a book written three thousand years ago that “The Yellow Emperor lowers his draped arms and the world was well ruled.” Obviously to ancient Chinese, garments are not only something to cover the body with, but also the embodiment of civilization. Tang dynasty emperor and officials from Mogao murals from AD 642, located in Cave 220, Dunhuang, Gansu. Worn by retired officials. It is not just any ordinary piece of clothing, which is why you should prepare and know the best places to find it. When talking about traditional Chinese clothing, one might immediately think of qipao, or cheongsam. The cheongsam is typically edged with piping, especially at the collar and the closure. The cheongsam fit closely to the neck, and the stiff collar is hooked closed, despite the tropical humid and hot weather. Despite being inspired by Western fashion, modern hanfu has a unique design that distinguishes it from Western apparel. Modern Hanfu still belongs to the category of Hanfu.

He would cry out: “Our culture is still there! I need some “house dresses” that I can do housework in but still be able to answer the door and at a stretch do an emergency run to the shops so you have given me excellent inspiration. Next, you will need scissors. In the unlikely event that I need to cancel the workshop I will automatically issue full refunds within 24 hours. We will be very happy to guide and assist you but we can not do the drawing and decorating for you. For more details, you can check our shipping policy, or contact us. More and more young people regard it both as a new fashion and a tribute to tradition. As Chinese people become more self-conscious over the recent years, they started taking an interest in traditional dresses again. The jiaoling youren started to be worn in the Shang dynasty in China. The foreign influences prevalent during Tang China included cultures from Gandhara, Turkestan, Persia and Greece.

The fish tally was used in the Tang dynasty. Fengguan of Empress Xiansu of the Song dynasty. It was worn by the sovereigns of Liu-Song and Southern Qi, it was later inherited by the Sui dynasty. There is no uniform definition of what counts as hanfu since each Han-dominated dynasty had its own style, but the outfits are characterised by loose, flowing robes that drape around the body, with sleeves that hang down to the knees. After the fall of the Yuan dynasty, Mongol fashion of the Yuan dynasty continued to influence some styles of clothing worn in the Ming dynasty; this included the persisting usage of bijia. Qun (skirt) had an important influence in ancient China and lasted for thousands of years. 48 His goal was to make his costumes more elegant instead of making it look ancient. This is called “Jiao Ling” (Crossing Collar), which is a main feature of nearly all Asian costumes (influenced by China). Deng, who would try to copy the looks of different Han costumes she would see on TV using a bedsheet.

Much like Deng, 26-year-old Ren Chuang from northern China’s Shanxi province is also a hanfu hobbyist. Ren said, adding that the friendly attitude of his colleagues gave him the confidence to wear hanfu every day. Li, who has been wearing hanfu to class every day since her sophomore year. Deng said. She has been obsessed with the traditional garments for nearly 10 years and wears hanfu every day. For Deng Jie, wearing a hanfu could add some classical flavor to the custom. After graduation from university in 2018 with a major in fashion design, Deng opened a hanfu store. She integrated elements of Xiang embroidery, an intangible cultural heritage in Hunan Province, into hanfu in her store. Nowadays, an increasing number of young Chinese who adopt hanfu as part of their everyday and public wardrobes say that they wear it to show appreciation for their heritage and to feel a connection to their roots.

Many users reported having first to overcome the fear of social derision before daring to wear Hanfu in public. Man could also wear. An early form of informal headwear dates back as early as Jin dynasty that later developed into several variations for wear in different occasions. Now, when ladies wear Hanfu, they always wear cloth shoes. Developed from the Wubian(“武弁”)-hat, alternatively also known as Wuguan “武冠”, worn by military officials. Wuguan was derived from the Zhaohuiwenguan (趙惠文冠), designed by King Wuling of Zhao, which was ornamented with a dang (璫; a gold ornament in the form of animals, such as dragons, cicada, and people) on the front and with sable’s tail. Chang Guan (长冠) Long Crown, also known as “Liu family crown” (刘氏冠) or “Magpie tail crown” (鹊尾冠). Lianhua Guan (莲花冠) Lotus Crown. Zan hua (簪花) Flower hairpin. Long, single-pronged hairpin after Qin dynasty. It was worn by the sovereigns of Liu-Song and Southern Qi, blue qipao it was later inherited by the Sui dynasty. Standard headwear of officials during the Ming dynasty. Fresco of a Tang dynasty Musician wearing a loose, blue cross-collared banbi.

During Tang dynasty, chinese traditional clothing there was another form of banbi or short sleeve waistcoat worn called kedang (袔裆). Xian (襳) Long ribbons which hung from the upper short skirt. Figures wearing banbi and striped skirt holding a shawl (pipo) and wearing low cut upper garments appear on the murals of Kizil Grottoes in Xinjiang; the shape and matching garments customs were similar to the early Tang dynasty’s women clothing attire. This form of poqun also had a waist belt which was sewed at the upper part of the skirt and both ends of the waist belt would extend to form the ties. It is distinguished from the gaoyao ruqun (高腰襦裙; high-waisted ruqun), which is attached below the chest and above the waist. Gaowu mao (高屋帽) Baisha mao (白紗帽) Also known as white gauze hat. It consisted of a black velvet cap in winter, or a hat woven in rattan or similar materials in summer, both with a button on the top. Later developed into the pingshangze, which had a flatter top decorated with a bamboo slip, worn by military officials. China Fashion Awards China Fashion Design “Golden Peak Award”, the best fashion designers, China’s top ten fashion designers, emerging designers, the Golden Shears Award, the best professional fashion models, China’s top ten professional fashion models, the best fashion photographers, the best fashion commentators and other awards have attracted much attention, and the annual award ceremony of China Fashion Awards has become an influential fashion event.

But handmade designs could cost as much as 9,000 yuan. “Regardless of whether it’s Hanfu or other ethnic clothes, the desire to revive, replicate or study these designs shows that we are starting to pay attention to our own traditions and to like them,” Li said. This hanfu is so pristine it almost feels like a weddings dress. Wales – The Welsh traditional dress is often worn by women on Saint David’s Day or by folk dancers, such as at the Eisteddfod. A good example is seen in the typical attire of Paul Bunyan, a folk hero popular in areas where logging was a common occupation, as well as lumberjacks working in the area. What about the traditional attire of Russian men? Using these rare items, she can transform her appearance and achieve different styles. Emperor Zhu Yuanzhang was pleased by its appearance and name, and ordered it to be used by scholars and minor government clerks. Worn by people of lower-ranking occupations, such as government clerks and family servants. A red jinze called chize (赤帻) was used by military personnel, while another variant called jieze(介帻) is used by civil officials and servants.

Beizi, from the 18th century novel Dream of the Red Chamber. Tang jin (唐巾) Based on the futou, worn by commoners, particularly scholars. Formal wear, popular with Neo-Confucian scholars. By the Han dynasty, military caps called wubian were commonly worn by soldiery, with formal guan variants worn by high-ranking military officials and imperial bodyguards, which were decorated with long-tailed pheasant’s tail feathers as a symbol of martial prowess. Popularly worn by scholars, especially those who have yet to earn the title of Juren at the imperial examination. They have basically replaced the clothing components of the Paleolithic era and become the coarse form of human clothing. Yingluo (simplified Chinese: 璎珞; traditional Chinese: 瓔珞) was a ring-like neck ornament or fashionable necklace which was originally a Buddhist ornament depicted in Buddhist arts (e.g. sculptures and paintings) in China; the yingluo have roots in ancient India where its earlier prototype is the Indian ornament keyūra. Fu (Chinese: 符) Hufu Chinese: 虎符; lit. Hutou mao (虎头帽) Tiger head hat. Xianggong mao (相公帽) Husband hat. Damao (大帽) Round hat with wide brim. Adult White gauze hat. The bokgeon is made of black silk or gauze.

Fashion is such an underestimated indicator of history. Since you’ve also talked about the hanfu revival movement, i wondered if you know of any fashion line that incorporates hanfu elements for both men and women while keeping a western design as well? Yes, fashion is a great way to learn about history! Hi, thanks for the question! For me personally, traditional chinese clothing hanfu has been a segue into understanding many aspects of Chinese history and culture that I previously wasn’t knowledgeable about. The type of fashion you’re referring to is called Hanyuansu/汉元素, which means “(clothing with) Han elements”. I have a post here with recommendations for hanyuansu fashion lines – please check it out! This includes clothing that incorporates hanfu elements with Western designs, and vice versa. 2) Mu Han Feng/沐汉风 – The second spin-off label of well-known hanfu brand Chonghui Hantang/重回汉唐, and masculine counterpart to hanyuansu brand Hua Xiao Xia/华小夏. 1) Celestial Spring/诗礼春秋 – Sleek, minimalist designs that seamlessly meld hanfu elements with modern silhouettes. As you can see, there aren’t as many hanyuansu options available for men compared to women, but hopefully that will improve. For more references, please check out my modified hanfu tag.

I get a lot of questions about sewing hanfu and where I’m getting my patterns, so I thought I’d share the 2 books I’m currently referencing. Traditional Chinese Clothing Making is in Chinese, and has historically based patterns and construction methods. A lot of the patterns can be used for both male and female clothing, chinese hanfu but they are all modeled on females in the photos and more male-specific garments are not covered in this book. It has really good progress photos and completed garment examples. There are a couple weird construction things because of how it was done historically. For example, the beizi collar construction is very odd by modern standards. Hanfu Pattern Making is in English, and has more modern patterns and construction methods. If you have some background in sewing, with a little help from Google Translate, you can mostly figure out what’s going on. The patterns are drafted with curved side seams which make them more form fitting. Historically this wasn’t done, but it makes for a more flattering silhouette to the modern eye. This book is great for pattern drafting because it has all the calculations you need to draft a pattern to fit your size. I use the Hanfu Pattern Making book to figure out my measurements when I’m drafting my patterns, and I use the Traditional Chinese Clothing Making book to get my pattern shapes. There are patterns for both male and female garments. I’m prefer using the traditional/historical pattern shapes but assembling with modern sewing techniques.

Hanfu (meaning clothing of the Han people) is a name for pre-17th century traditional clothing of the Han Chinese, which are the predominant ethnic group of China. Hanfu appeared in China more than three thousand years ago and is said that it was clothing of the legendary Yellow Emperor, a great sage king of ancient China. They were made of silk and painted in red and green. The basic of Hanfu was developed in time of Shang Dynasty, from 1600BC to 1000BC. Hanfu consisted of a yi, a narrow-cuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt, called chang, worn with a bixi, a length of fabric that reached the knees. With the beginning of Western Zhou Dynasty hanfu begins to be method of distinction between classes. From the first appearing Han-Chinese clothing had changed and evolved with the fashion. Height of one’s rank influenced the level of decoration of a dress, cheongsam top length of a skirt and the wideness of a sleeve. The collar were crossed and tied to the right while skirts and trousers varied in length from knee-length to ground-length. Eastern Zhou Dynasty invented shenyi – “the deep robe”, which is a combination of tunic and skirt. It was cut separately but sewn as a piece of clothing with left side of the costume shaped into a corner which was used for closing the shenyi by fastening on the chest. Sleeves were also made wider than in the time of the Shang Dynasty and yi tunic is also closed with jade decorations or with a sash tied around the waist. Shenyi could be worn by anybody regardless of gender, profession or social class. A complete Hanfu garment developed in time with addition of other parts of clothing. Now, it is considered that it consists of several pieces of clothing: Yi – which is any open cross-collar garment and is worn by both men and women; Pao – any closed full-body garment, it is worn only by men; Ru- open shirt with cross-collar; Shan – open cross-collar shirt or jacket which is worn over the yi; Qun or chang -a type of skirt which is worn by both women and men and Ku – a type of trousers or pants. It is also considered traditional to decorate hanfu with tassels and jade pendants or various ornaments hung from the belt or sash, which are known as pei. Technology was advanced enough at the time that many complicated and magnificent patterns appeared on Hanfu. Hats for men and hairpieces for women could also be traditionally worn in combination with Hanfu. Hanfu disappeared at the beginning of the Qing Dynasty (1644-1911) which was founded, not by Han Chinese who form the majority of the population of China, but by the Manchus, a semi-nomadic people which first rose to prominence in Manchuria. This headwear also marked profession or social rank. Qing Dynasty fell in 1911 and Manchu dress disappeared quickly in favor of western-style dress. Most of the Han Chinese wear western-style clothing today and hanfu is worn rarely. The hanfu is now worn during some festivals, ritualistic ceremonies (such are coming of age or rite of passage), by historical re-enactors and by monks and priests.

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Aboyne dress’ is the name given to the prescribed attire for female dancers in the Scottish national dances, such as the Flora MacDonald’s fancy, the Scottish lilt, and others. There are two versions of Aboyne Dress in use. Male dancers wear the kilt for these dances, the kilt being a predominantly male garment. Some consider the Aboyne as quite suited to the graceful movements of the national dances. 1952 for both National and Highland dances. A typical Aboyne dress consists of a dark bodice or elaborate waistcoat, decorative blouse, full tartan skirt and sometimes a petticoat and apron. Some have a tartan sash (usually draped over the shoulder and coming down towards the hem of the skirt in the back) rather than an apron. In one version, a tartan pattern skirt is worn with an over-the-shoulder plaid, a white blouse and petticoat, and a velvet bodice. While appearing to be simple and plain, a properly made, modern Aboyne dress might and can be quite expensive. The alternative is a white dress over a petticoat, together with a tartan pattern sash. Scotland where, in the early 1950s the dance committee under games patron Lieutenant Colonel John Wilmot Nicol DSO of Ballogie, dissatisfied with the state of affairs of female Highland dance attire, heart window cheongsam prescribed new rules governing acceptable and better-looking attire for the female dancers. The problem, as they saw it, was that many felt that the female and male dancers should not be wearing the same outfits and that a separate style for women should be developed. By 1952, they introduced an alternative attire of white blouse, tartan skirt and long black stockings, then for the September 1954 games, a new attire was introduced for all female dancers (previously it did not apply to girls between six and eleven). About 1949, the committee banned female dancers from wearing the kilt, sporran or medals. It was designed from the traditional Scottish woman’s dress that was banned after the introduction of the Act of Proscription 1746 (England). Approved by the Lord Lyon King of Arms, it was a skirt of light-weight tartan worn over a white petticoat, with a plaid of the same tartan material and a tight fitting sleeveless velvet corsage (the upper part of a woman’s dress) over a white blouse. The men would continue to dance in traditionally male kilt and jacket, wearing bonnets and sporrans. The original decision of the Aboyne committee applied to both the Highland dances and the national dances. The Royal Scottish Official Board of Highland Dancing a few years later modified the dress code so the Aboyne dress would be used by women for just the national dances, and a kilt-based outfit (without bonnet or sporran) for the Highland dances. Donaldson, Emily Ann (1986). The Scottish Highland Games in America. Aboyne Highland Games. Aboyne Highland Games Committee. To this day, however, at the Aboyne Highland Games, the wearing of the Aboyne dress by women is strongly “preferred”, except for the sailor’s hornpipe and Irish jig. Highland Reel. Aberdeenshire, Scotland. The kilt, by the way, is a male garment. DONALDSON, Emily Ann (1986). The Scottish Highland Games in America. The committee of the Aboyne games was particularly opposed to the practice and would not allow women to complete in kilts. Something had to be done to appease committees and competitors. 24 December 1954. p. Warwick Daily News. No. 11, 034. Queensland, Australia. 3. Retrieved 29 July 2018 – via National Library of Australia. 1909 – 1954), 15 July, p. 1953 ‘The Great Highland Dress Controversy is Shall The Girls Wear’, Queensland Times (Ipswich, Qld. Aboyne Highland Gathering. Aboyne Highland Gathering Committee. Scottish Official Board of Highland Dancing. The Margaret Jean Jackson prizes are awarded for the best Aboyne Dress in each age grouping. Retrieved 29 July 2018. It is preferred that Female dancers wear Aboyne dress for all dances except Hornpipe and Jig. Male dancers must wear the kilt outfit for all dances except Flora MacDonald’s Fancy (trews to be worn), Jig (jig outfit), Hornpipe (hornpipe outfit). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. This page was last edited on 28 August 2023, at 22:52 (UTC). Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

As the dawn breaks over the thousand-year-old cityscape, heralding the start of a new day, and the tantalizing aroma of traditional cuisine fills the morning air, seize the opportunity to embark on a once-in-a-lifetime travel experience-wearing Hanfu in Xi’an. This elegant attire of ancient China will serve as your personal time machine, promising to transport you back to a bygone era of elegance and grandeur. Hanfu (汉服), literally translating to “Han clothing,” denotes the traditional clothing of the Han Chinese. It encompasses attire worn by the Han ethnic group throughout history, which goes beyond the common misconception of solely representing the Han Dynasty. Embodying centuries-old traditions and values unique to Chinese civilization, Hanfu has transcended mere a fashion statement. In recent years, there has been a remarkable revival of Hanfu among Gen Z, marking a significant cultural trend. Through Hanfu, you can forge a tangible connection to China’s past. Each garment narrates tales of bygone dynasties, offering insight into the elegance and sophistication of ancient Chinese society. As this trend continues to gain momentum, it underscores the enduring beauty and allure of Hanfu in today’s modern world. Whether exploring historical sites or mingling with locals, donning Hanfu offers a distinct opportunity to appreciate and honor China’s profound cultural heritage. Xi’an, the capital city of 13 dynasties in ancient China, serves as a gateway to the nation’s illustrious past. By wearing Hanfu, you can transport yourself back in time, envisioning the bustling markets and grand palaces of ancient China. From the iconic Terracotta Warriors and Big Wild Goose Pagoda to the majestic Ancient City Wall, every corner of Xi’an resonates with history. It’s more than just sightseeing; it’s a journey through centuries of civilization, where the past springs to life in vivid detail. Additionally, the resurgence of Hanfu in China has made it more affordable and accessible to a wider audience. Once immersing yourself in the vibrant colors and intricate designs of the traditional attire, you will undoubtedly deepen your appreciation for China’s enduring legacy. The affordability of Hanfu encourages tourists visiting Xi’an to partake in this cultural experience without financial constraints, ensuring everyone can fully engage with the beauty of Han Chinese heritage. If you are interested but don’t know how to start your Hanfu journey, no worries! In Xi’an, you will find numerous reasonably priced options that suit your preferences and budget. China Discovery has got you covered with all-inclusive packages, including costumes and optional hairstyling, makeup, props, and photography services. Just pick out your favorite outfit, and we’ll handle the rest. Engaging in the Hanfu experience in Xi’an involves more than just wearing the attire; it is a complete cultural immersion. You can expect professional hair styling and makeup services, complemented by traditional accessories. With ornate hairpieces and other accessories, participants can truly embody the elegance of ancient Chinese fashion. From historically accurate hairstyles to meticulously applied makeup, every detail contributes to an authentic portrayal of the Hanfu aesthetic. You will have the chance to learn the significance of different Hanfu styles for various occasions and master graceful movements and postures associated with wearing the attire. Understanding the nuances of Hanfu etiquette adds depth to the experience in Xi’an. Once you’re dressed in your attire, your hair and makeup are done, and you’ve mastered the etiquette and posture, you’re fully prepared to immortalize this moment through photography. Professional photoshoot services are always available upon request. Skilled photographers will capture the essence of visitors adorned in Hanfu against the backdrop of exquisite indoor settings, as well as Xi’an’s iconic landmarks and scenic vistas. Knowledgeable staffs and instructors will provide insights into the cultural customs and symbolism behind Hanfu etiquette, enriching the journey into China’s rich heritage. Whether it’s a solo portrait or a group shot, the photoshoot ensures that cherished memories of the Hanfu experience in Xi’an are beautifully preserved for years to come. Xi’an, steeped in millennia of history, beckons with its layers of cultural richness awaiting exploration beyond a picturesque backdrop for wearing Hanfu. Immerse yourself in the allure of iconic scenic spots, complemented by authentic Hanfu experiences carefully woven into your journey. Every destination and Hanfu service is entirely customizable, ensuring a tailor-made adventure that resonates uniquely with you. Ready to unlock the secrets of Xi’an’s ancient past? Check out the following itinerary to get inspired! With China Discovery’s comprehensive tour packages, you’re invited to uncover the city’s multifaceted charm. Our curated tour packages offer an immersive Hanfu experience in Xi’an alongside visits to other popular cities across the country. Looking to explore more about China’s rich cultural heritage? From the ancient Terracotta Warriors of Xi’an to the majestic Great Wall of Beijing, and the vibrant city life of Shanghai, our itineraries are crafted to immerse you in the rich cultural heritage of China. Join us on a captivating adventure that seamlessly blends traditional charm with modern marvels, providing you with a deeper understanding and appreciation of this fascinating country’s history and culture. Highlights: Touch the ancient heart of China to fully experience the history and culture of China; Experience the local lifestyle in traditional Hutongs with our local guide; Trace back to the past prosperous dynasties of China, be awed at those man-made ancient wonders. Highlights: Stroll leisurely along the Bund and enjoy the stunning skyline of Shanghai; Appreciate Lingering Garden, one of the four most famous classic gardens of China; Traverse through thousands years of history of ancient China and witness the masterpieces. Highlights: Embrace the two greatest capital cities of ancient China; Visit three famous World Heritage Sites (Terracotta Warriors, Longmen Grottoes and Shaolin Temple); Go hiking on Mount Hua, known as one of the most beautiful mountains in China. Highlights: Visit the highlights to savor the brilliant history and culture of Xian; Watch lovable giant pandas in person and enjoy laid-back life style in Chengdu, the City of Leisure; Experience the wowed fast speed and technologies on the Xi’an-Chengdu High Speed train. Highlights: Explore Xi’an, China’s ancient capital city with a splendid history over 3000 years; Witness the Avatar floating mountain in reality at Zhangjiajie National Forest Park; Enjoy the best cultural and natural feast at one time to broaden your horizon. Location: In Xi’an, many Hanfu stores are located near popular tourist attractions, catering to visitors looking to immerse themselves in the Hanfu experience while exploring the city’s renowned landmarks. Highlights: Explore Xi’an, the ancient capital city of China as well as the starting point of the ancient Silk Road; See amazing mural arts, impressive Buddhist statues, well-decorated caves and unique frontier landscape in Dunhuang; Enjoy the exotic custom and beautiful scenery in the Golden Triangle Cities -Urumqi, Kashgar and Turpan. Appointment: Most of the stores operate on a walk-in basis, allowing flexible visits at any time of the day or evening. Scheduling an appointment ahead of time can prevent long wait times during peak customer hours. Also, to safeguard against potential damage or loss of the clothing, stores usually request a deposit of several hundred RMB, which is refunded upon returning the clothing. Pricing: Prices vary from tens to hundreds of RMB, depending on the style of Hanfu and service package you choose. China Discovery Selected Recommendation: China Discovery offers a selected Hanfu store recommendation, conveniently located near the Grand Tang Dynasty Ever Bright City, cheongsam in mandarin enhancing a seamless cultural exploration. Rental Period: If customers require outdoor photoshoots, they are typically asked to return the clothing within 12 or 24 hours. For more information, please feel free to contact us. Before diving into the best places for Hanfu photoshoots, let’s acknowledge the significance of capturing these moments. Hanfu rental shops and photo studios often offer beautifully crafted indoor settings specifically designed for Hanfu photography. Beyond mere images, these photoshoots will enrich your Hanfu experience while immortalizing your connection to Chinese culture and tradition. Here are some iconic sites in Xi’an that harmonize perfectly with the grace of Hanfu attire. The Grand Tang Dynasty Ever Bright City is a cultural and entertainment complex inspired by the prosperous Tang Dynasty. Just a few minutes’ walk away lies another themed block named The Longest Day in Chang’an (长安十二时辰), China’s first immersive Tang-style city life district. While indoor setups provide controlled environments for stunning captures, venturing outdoors opens up a world of natural beauty and historical charm for your Hanfu pictures. With intricately designed architecture, bustling streets, and vibrant cultural performances, these two locations provide perfect settings for tourists to capture Hanfu photos and even interact with actors. Its towering structure and tranquil surroundings offer a majestic setting for Hanfu photography. Near the Grand Tang Dynasty Ever Bright City, the Giant Wild Goose Pagoda, a UNESCO World Heritage Site, stands as an iconic symbol of Xi’an. Visitors can wander through the pagoda grounds, capturing breathtaking photos amidst the pagoda’s grandeur and the lush gardens that surround it. The Bell Tower and Drum Tower stand as iconic landmarks in the heart of Xi’an’s bustling city center. Dating back to the Ming Dynasty, these ancient structures not only boast architectural beauty but also hold profound historical significance. Their timeless charm makes them ideal locations for capturing Hanfu photos, blending tradition with the city’s modernity. Xi’an’s Ancient City Wall, the largest and best-preserved existing ancient city wall in China, offers panoramic views of the city and serves as a unique backdrop for Hanfu photography. The well-preserved wall, embellished with watchtowers and gates, provides a historical setting that contrasts beautifully with the traditional attire, qipao sexy making it a great place for capturing stunning Hanfu photos. Color: Rich, deep colors like crimson, emerald green, and royal blue, showcasing a sense of opulence and refinement. Design: Simple yet elegant designs. Design: Evolved with structured and layered designs. Garment: Loose-fitting robes with wide sleeves and flowing silhouettes, emphasizing comfort and grace. Color: Vibrant hues such as vermilion, sapphire, and jade green were favored, with intricate embroidery adding luxurious detailing. Garment: More tailored, with the use of fitted jackets and layered robes creating a sense of sophistication and elegance. Garment: Voluminous sleeves and flowing silhouettes, accentuating the wearer’s stature and prestige. Color: Rich tones with strong contrast, such as deep purple, golden yellow, and ruby red, embellished with intricate embroidery, elaborate brocade patterns, and luxurious adornments. Color: Soft, pastel shades like blush pink, pale jade, and ivory dominated, with delicate embroidery adding subtle sophistication. Design: Embraced refined elegance. Garment: More streamlined, with fitted jackets and layered robes creating a sleek and graceful look. Color: Bold colors such as imperial yellow, deep crimson, and indigo blue, embellished with embroidery and opulent trimmings like gold thread and jade ornaments. Garment: Voluminous robes with wide sleeves and elaborate headdresses, symbolizing wealth and prestige. Beyond the enchanting world of Hanfu, a diverse array of traditional Chinese attire awaits your discovery, offering a deeper understanding of China’s rich cultural heritage. Explore this sartorial journey with us to experience the beauty of China’s traditional dress! Each piece of clothing tells a unique story and showcases the artistry and history of Chinese fashion. At Shufeng Yayun Sichuan Opera House, you can try on Sichuan Opera costumes and get hands-on with real theatrical props. Dive into the captivating realm of traditional Chinese opera costumes, such as those of Sichuan Opera, celebrated for their vivid colors and intricate craftsmanship. You will also have the opportunity to enjoy thrilling performances featuring face-changing and fire-spitting acts, all while engaging in interactions with the talented performers. From the vibrant attire of Tibetan festivals to the intricate weaving techniques of Miao embroidery, the clothing offers a deeper understanding of China’s diverse ethnic culture. Discover the rich cultural tapestry of China through immersive experiences with traditional costumes from ethnic minority groups in regions like Tibet, Guizhou, and Yunnan provinces. Engage in local activities and gain insights into the significance of these traditional costumes with our knowledgeable guides. Top 3 Xian tours chosen by most customers to explore Xian in the best way. Check the detailed itinerary, or tailor your own trip now with us. 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This information is derived from a larger write-up I did for an A&S Competition entry – you can read the final version of that entry in my documentation vault. The banbi was first worn by “maids of honour,” but the fashion trickled down to commoners.5 Strict families did not allow their women to wear the banbi at all, and its popularity declined as a result.6 The depictions we have of women wearing a banbi are all labeled as attendants and serving women, so these families likely did not want to be seen as of a lesser rank. I also made a short video about this project, which you can view on the Kingdom of Meridies’s YouTube channel. Click on the images in galleries to enlarge them. Late 7th – early 8th century, China. Figure 1: Detail of Standing Female Attendant (Figurine). Figure 2: Detail of Standing Female Attendant (Figurine), Late 7th – early 8th century, China. The Metropolitan Museum of Art. The Metropolitan Museum of Art. Figure 3: Detail of a wooden figurine found in the tomb of Zhang Xiong (d. 633) and Lady Qu (d. Figure 4: Detail of a mural painting of a dancer wearing a banbi outside of her skirt, from the tomb of Zhang Lichen (655-702), Astana Cemetery. 688), Astana Cemetery, wearing a polychrome jin silk jacket woven to scale and tucked into a silk tapestry belt. 701), Shaanxi Museum, Xi’an, Shaanxi, China. Princess Yongtai (永泰公主, d. Figure 6: Female entertainers in a mural on the north wall of the Tomb of Prince Li Xian, dated 742 C.E. Figure 7: Figure of a woman holding a bird and wearing a banbi over her skirt, dated to the early 8th century. These attendants are wearing their banbi outside their skirts, with the ties visible. Figure 8: Figurine of female attendant, wearing a banbi tucked into a striped skirt with a patterned belt or waistband and with a blue pibo (shawl), from the Tomb of Zhen Rentai (a military commander), dated 664 C.E. Figure 9: Female attendant from a mural on the tunnel’s east wall, the Wei Family Tomb, dated to the late 8th century.11 Her banbi, like her ru, has very wide sleeves and is worn tucked into her skirt. Freer Slacker Gallery. The sancai (“three colors”) glaze pattern on the jacket suggests a polychrome silk. China National Silk Museum. Hanpi (sleeveless coat) of bast-fiber cloth in the Shōsōin Repository. Astana Cemetery tomb 206, Astana, Turfan, Xinjiang. Housed at the Xinjiang Uygur Autonomous Region Museum, Urumqi. The cut of the fabric implies it is a fragment of a doll-sized banbi or ru (shirt). 14.1 centimeters from sleeve to sleeve. It was found in a box with a statue of a Bodhisattva and labeled with the year 871. Housed in the Famen Temple Museum, Shaanxi. In R. Schorta & A. D. H. Bivar (Eds.), Central Asian textiles and their contexts in the early Middle Ages (pp. Lin, C. (2006). The lotus motif on textiles from Famen Temple. There are visible seams just past the sharp curve of the armpit, and the garment is lined with a center back seam. There is a short-sleeved jacket from the Yuan Dynasty in the Gansu Provincial Museum (Figure 10) which may be a descendent of the Tang Dynasty’s banbi. It is 63 centimeters long and has an arm-span of 115 centimeters.16. There are no ties or visible evidence of previous ties. Gansu Provincial Museum, China. The banbi may have either influenced or been influenced by clothing worn by the Mongols; an entire mode of dress, called hufu (foreign clothing) was popular during the Tang Dynasty to the degree that there are an ample number of tomb figurines and paintings of women wearing such garments. The longer versions of short-sleeved coats that Halbertsma-Herold presents in artwork all have crossed collars. Both garments are lined and feature a center back seam. Halbertsma-Herold (2008) points to three garments from Inner Mongolia that are similar to the banbi (Figures 11 and 12).17 Unlike Mongol garments that feature a cross-collar design, these jackets have a parallel collar and either visible or the suggestion of previous ties. The lining in both garments may have shifted over time, resulting in it being visible beneath the hem of the outer fabric. Instead of the garment edges meeting in the middle in the front, the hanpi garments have a small overlapping piece stitched to the left edge and onto which the collar is extended to form a tie (Figure 13). The hanpi is a men’s undergarment,18 while the banbi was outerwear. While there are several short-sleeved upper garments (hanpi) in the Shōsōin Repository, these are men’s garments and neither serve the same purpose nor have the same stylistic features of the women’s banbi. Based on the figurines, paintings, and miniature extants, I concluded that the banbi’s construction was closer in similarity to a ru (襦, shirt) than the Japanese hanpi. Like the banbi, the ru has a straight, open collar, a slight curve at the underarm, and ties in the front. I based my banbi pattern on my ru pattern, which I designed for a fabric width of 24 inches, which was the standard fabric width during the Tang Dynasty.19 Because the banbi is a short-sleeved garment, no additional material is necessary to extend the sleeve length. As it is, the sleeve cuff of my banbi sits at my elbow, which corresponds with period artwork (Figures 4 and 9). The length of a banbi varied, but a few inches past one’s natural waist should allow for one banbi to be worn either tucked in or outside the skirt. The shirt is fairly straightforward, being very similar to a basic T-Tunic, without under-arm gussets or gores. There are no extant shirts from the Tang Dynasty, so we are limited to period depictions including reliefs, murals, paintings, and tomb figurines, though we can supplement this with extant garments from preceding and succeeding periods. The seam in the center back is described in the Book of Rites regarding the proper construction of the shenyi (深衣),20 and can be seen in upper-body extant garments. In terms of construction, the shirt likely had a center back seam. The China National Silk Museum has one shirt from the Northern Dynasty (386 – 580 C.E.) which appears to be lined, and it is difficult to see whether there is a center back seam (Figure 14).23 It may be that the lining does not have a center back seam and the outer fabric does, though this would be odd considering other lined garments have a visible center back seam in the lining. The Book of Rites24 calls for a “square-shaped collar” for the shenyi,25 but given how the garments appear to rest in statuary, as well as on a figurine wearing cloth garments, I believe the necklines for women’s shirts were curved. Given that the standard width of fabric in the Tang Dynasty was approximately 24 inches, a center back seam is necessary to produce an open-front garment that can go all the way around the body. I am only aware of one extant upper garment where the side seams are open and the textile is laid flat to show an angled collar, but it is unclear who wore this garment.26 Though they are usually displayed and photographed flat, it is arguable that extant upper-body garments from preceding and succeeding dynasties, as well as hanpi in the Shosoin Repository, have curved necklines. A textile fabric dated to the Tang Dynasty recovered from Astana tomb number 206 that appears to be part of an upper garment (either a shirt or jacket) made for a tomb figurine due to its small size, not unlike the two skirts found in another Astana tomb, looks to have a curved (if slightly) neckline (Figure 15).27 Juni L. Yeung translated an article by Hu Jingming, originally posted on Baidu Tieba (an online community that is integrated with a Chinese internet search engine), which was posted to the Toronto Guqin Society’s page. The article presents an argument for a curved Ming Dynasty neckline.28 I have made shirts with both a square neckline and a curved neckline, and I prefer the fit of the latter. The silk ties/tapes used as garment closures don’t get much attention in the literature: Zhao Feng mentions them as closures for Liao Dynasty garments, ranging from 1.5-2.5 centimeters in width for upper garments, with wider tapes used for pants and skirts. From a mathematical perspective, the calculation of pi (π) was known in China as early as the 3rd century.29 The miniature garment in Figure 16 also features an undeniably curved neckline. They are visible on extant garments, as well as in art throughout Chinese history (Figures 4 and 7 are particularly good examples). Seong Myeong Su Daegam suggested I look at Traditional Korean Costume30 to get more insight on the way the ties are made and attached to collars. The Tang Dynasty roughly corresponds to the Unified Silla period in Korea, and the majority of the garments in this book are not from that era. This being said, the methods of how to make and attach silk ties are likely very similar to what was used in the 7th-9th century, given the simplicity of ties as a closure method. For upper garments, no attention is given to the construction of the ties themselves, though they appear to be made by sewing strips of silk into tubes and pressing them flat, chinese traditional clothes for men with the narrow edges folded in and finished with an invisible slip/ladder stitch. You can move the collar in the cutting layout, or make it. The banbi is constructed similarly to the ru (襦, rū), or shirt. Alternatively, you can shorten the upper sleeve piece to your desired length. Notes for how to draft a ru pattern are on the pattern page for that garment. As seen in Figures 1-9, sleeves ranged from cap to elbow-length. Figure 18 is my pattern/cutting layout for the ru. This is for half of the pattern pieces – it would be mirrored for patterned fabric to accomodate for directional designs. Remember that this garment has no shoulder seam so if your design has a top and bottom, it will be upside down on the back. Finish the ends of the sleeves with a blind hem stitch before you attach them to the shoulders, finishing the seams as you go. I like use a backstitch, and I flat-fell my seams – we don’t have definitive information about what kind of seams and seam finishes were used in period.39 If you’re lining your banbi, a secondary line of stitches on your seam allowance should be enough. Stitch the center back and side seams. The collar consists of a single, straight piece of fabric that is 3 inches wide. To make ties for your banbi measure out strips 6 centimeters wide and 54 centimeters long (for ties that are 2 centimeters wide and 53 centimeters long when finished). Congratulations! You now have a lovely piece of outerwear for your early Tang Dynasty wardrobe. Fold and press the strips, then stitch them with an approximately 0.5 centimeter seam allowance (Figure 22). Turn the ties and fold in the narrow sides 0.5 centimeters and close the tubes with a slip stitch. 1. Zhou, X. & Gao, C. (1987). p.77. 2. Hua, M. (2011). p. 4. Chen, B. (2013). p. 3. Chen, B. (2013). pp. 9. Chen, B. (2013). p. 8. Watt, J. C. Y., Jiayao, A., Howard, A. F., Marshak, B. I. Su, B., Zhao, F. (2004). pp. 12. “妆花凤戏牡丹纹绫夹衫.” (Silk twill damask phoenix peony patterned jacket). 10. Chen, B. (2013). p. 13. Kessler, A. T. (1993). Empires beyond the Great Wall: the heritage of Genghis Khan. Los Angeles, CA: Natural History Museum of Los Angeles County. Gansu Provincial Museum, China. 14. Chung, Y. Y. (2005). Silken threads: a history of embroidery in China, Korea, Japan, and Vietnam. New York: Harry N. Abrams. 15. Zhao, F. (2012). Silks in the Sui, Tang, and Five Dynasties. 203-257). New Haven, CT: Yale University Press. 17. Halbertsma-Herold, U. (2008). p. 18. Parent, M. N. (2001a). Hanpi 半臂. In D. Kuhn, (Ed.), Chinese Silks (pp. 19. See Appendix in the larger write-up for more information on period textiles and tools. JAANUS: Japanese architecture and art net users system (Dictionary). I’ll eventually make a new page for that information on the site, too. 21. 小花菱纹罗单衣片. 20. Confucius. (475 B.C.E. 22. 花卉纹罗袍. China National Silk Museum, Hangzhou, Zhejiang, China. China National Silk Museum, Hangzhou, Zhejiang, China. 23. 绞缬绢衣. China National Silk Museum, Hangzhou, Zhejiang, China. 24. The Book of Rites is a compilation of the customs, administration, and rituals of the Zhou Dynasty (c. 221 B.C.E./2018) 深衣 – Shen Yi. China National Silk Museum, Hangzhou, Zhejiang, China. 25. Confucius. (475 B.C.E. In D. Kuhn, (Ed.), Chinese Silks (pp. 27. Zhao, F. (2012). Silks in the Sui, Tang, and Five Dynasties. 203-257). New Haven, CT: Yale University Press. 28. Hu, J. (2011, April 11). Understanding hanfu aesthetics mathematically: Curves of a robe. In Lu, Y. (Ed.), A history of Chinese science and technology (Vol.1) (C. 31. Lee, K., Hong, N., & Chang, S. (2005). Traditional Korean costume. 29. Gao, S. & Tian, M. (2015). Mathematics. Folkestone, Kent, United Kingdom: Global Oriental. 38. LLee, K., Hong, N., & Chang, S. (2005). Traditional Korean costume. 39. For what we do know or can extrapolate, see Zhao F. (2004). Liao Textiles and Costumes. Folkestone, Kent, United Kingdom: Global Oriental. Hong Kong: Muwen Tang Fine Arts Publication Ltd. Yong-i Y., Yeo-Kyung K., Su-jin S. (2016). Chimeson: Korean Traditional Sewing. Seoul: Korea Craft and Design Foundation.