The Ming Dynasty (1368-1644) witnessed a significant revival of traditional Chinese culture, which extended to the realm of fashion and clothing. This article provides an in-depth exploration of Hanfu fashion in the Ming Dynasty, shedding light on its exquisite designs, rich symbolism, and cultural importance. By examining the various components and distinguishing features of Hanfu, we aim to unveil the beauty and cultural significance of this ancient attire. During this period, Hanfu, the traditional attire of the Han Chinese, underwent remarkable changes in terms of shape and structure. The Ru was the principal garment worn in the Ming Dynasty. The sleeves of Ru were wide and long, giving the wearer an elegant and graceful appearance. It featured a loose and flowing design, qipao dress short reaching the knees or ankles. Made from silk or high-quality fabric, it was often intricately embroidered with rich patterns and auspicious motifs. It was a straight-cut, ankle-length garment, accentuating the dignified and regal demeanour of the wearer. The Ming Dynasty Qun was often adorned with delicate embroidery, enhancing its visual appeal. The Qun, or skirt, was typically worn beneath the Ru. It served both practical and decorative purposes. The belt was usually made from silk and intricately woven with colorful threads and patterns. The Dai, or belt, was an essential accessory in Ming Dynasty Hanfu. It not only tied the Ru and Qun together but also added elegance and charm to the overall outfit. It consisted of a Ru worn on top of a Qun, combining comfort with an alluring aesthetic. The Ruqun was one of the most popular styles of Hanfu during the Ming Dynasty, especially among women. The Beizi was a sleeveless outer garment worn over the Ruqun, mainly by men. It was made from high-quality silk or brocade material and featured rich tapestry and auspicious motifs. The Beizi added a sense of formality and grandeur to the overall attire, exemplifying the social status of the wearer. The Ru and Qun were often made from contrasting colors and complemented by intricate embroidery, emphasizing the wearer’s elegance and grace. It consisted of a one-piece robe with a crossed collar, akin to the Ru, and a skirt-like bottom resembling the Qun. Shenyi was a unisex style of Hanfu that gained popularity during the Ming Dynasty. The Shenyi was known for its simplicity and versatility, making it suitable for various occasions and social classes. Hanfu in the Ming Dynasty embraced a profound symbolism and cultural significance. The attire was not merely a fashion statement but also a reflection of social status, cultural identity, and moral values. The choice of colors and patterns in Hanfu conveyed specific meanings. Motifs like dragons, phoenixes, and clouds represented power, nobility, and auspiciousness, reinforcing social hierarchies and cultural beliefs. The use of vibrant colors, such as red and gold, symbolized prosperity, joy, and good fortune. The styles, colors, and accessories worn varied according to one’s position in society. Hanfu in the Ming Dynasty was intricately connected to one’s rank and social status. The attire of scholars, officials, and members of the imperial court showcased their prestigious status, while commoners and lower-ranking individuals adhered to simpler designs. The Ru, Qun, and Dai, alongside various styles like Ruqun, Beizi, and Shenyi, highlighted the unique beauty and craftsmanship of Ming-era Hanfu. Hanfu in the Ming Dynasty displayed a harmonious blend of elegance and tradition, reflecting the grandeur and refinement of traditional Chinese culture. The clothing’s symbolic colors, patterns, and accessories added layers of meaning and conveyed social statuses and cultural values. Today, the revival of Hanfu in modern fashion pays homage to this splendid epoch, preserving and celebrating China’s rich sartorial heritage.
Hanfu, means “Han clothing” literally, it’s not the name of a specific style of clothing, but a general term for traditional Chinese clothing that ancient Han Chinese wore before Qing Dynasty. Hanfu has different styles, such as ruqun, aoqun, shenyi and shanku. On the contrary of modern times, ancient Han Chinese people prefer to wear a robe/dress as the upper garment. The robe/dress could be a knee length one or even a floor length one. But in general, traditional Hanfu consists of a robe/dress or a jacket as upper garment and a skirt as lower garment. The upper garments of Hanfu, both robes and jackets, always follow the style and principle named “jiaoling youren” in Chinese. For the convenience of daily work&life, Han Chinese also wear the shorter robe/dress, or in the word of modern times, traditional chinese clothing female a long jacket. Han Chinese people, no matter a man or a woman, wear a skirt as the lower garment. Similarly with the upper garment, they also wear trousers/pants for convenience. Inner garment of Hanfu has a name of “zhongyi”. So, “jiaoling youren” means if the collar is crossing, then you can only have the left side covered the right side and never do the opposite. Ancient Chinese people wear zhongyi even when they are sleeping, it plays a role of pajamas in modern times. Just like modern people wear underwear, ancient Chinese also wear dudou and underpants beneath zhongyi. Hanfu served as the most characteristic clothing for the Han Chinese for more than 3000 years and faded away after Qing Dynasty. It consist of shirt and pants, mostly in white color. Fortunately, an “Hanfu Revival Movement” is growing up in China in recent years. More and more people take Hanfu as daily outfits, wear it and go through the streets in the city.
When you loved this post and you desire to obtain more info with regards to summer hanfu i implore you to visit our website.
The Kimono received significant influence from the Chinese Hanfu. This is especially evident when you take a look at Earlier Dynastic Hanfu. However, you must understand that the Chinese Hanfu undergo changes as different dynasties come and go (Much like modern-day fashion). During the Qing Dynasty, the Hanfu was banned from use and the Qipao is forced upon the Chinese (As well as the ridiculous Pigtail). In the past, the Japanese and many other Asian Kingdoms adopted the Chinese court dress code, a testament to the power and cultural appeal that Imperial China have at the time. The Hanfu disappeared as memories of it begin to fade with the Cultural Revolution. As a result, modern-day Hanfus may or may not have the same Historical accuracy. Appearance-wise: The Japanese Kimono and the Hanfu share wide sleeves and a right lapel, mid autumn festival hanfu as well as an overlapped collar. Some may even have used measurements from the Japanese Kimono or Korean Hanbok as most of the Chinese have forgotten their Hanfu. They are both T-shaped when placed on a flat surface and are traditionally made from silk (Royals or Privileged), satin weaves or cotton (Peasant). However, the Chinese Hanfu is traditionally and usually wore with a “Crown” or a Headpiece. For the women, there is often a one-piece undergarment worn with the hanfu, whereas the Japanese traditionally wore an inner Kimono (Hiyoku). They also have different versions for different occasions; Weddings, funerals, Religious Ceremonies and Celebration. The Chinese also have different Hanfu styles in the past to indicate one’s profession, be it peasant, scholar, soldier, merchant, artisan or of Royal lineage. The Hanfu also include accessories, from pouches to decorative items. The sash that the Japanese women wear in their kimono is higher than that of their Hanfu counterparts. Care and Maintenence: The Japanese used to practise Arai Hari, the taking apart and resewing of the Kimeno(Silk) for washing purposes. The Chinese do not practise this custom due to their higher abundance of silk.
Cheongsam (UK: /tʃ(i)ɒŋˈsæm/, US: /tʃɔːŋˈsɑːm/) or zansae, also known as the qipao (/ˈtʃiːpaʊ/) and sometimes referred to as the mandarin gown, is a Chinese dress worn by women which takes inspiration from the qizhuang, the ethnic clothing of the Manchu people. The cheongsam is most often seen as a longer, figure-fitting, one piece garment with a standing collar, an asymmetric, left-over-right (youren) opening and two side slits, and embellished with Chinese frog fasteners on the lapel and the collar. It was popular in China from the 1920s to 1960s, overlapping with the Republican era, and was popularized by Chinese socialites and high society women in Shanghai. It was developed in the 1920s and evolved in shapes and design over years. Although the cheongsam is sometimes seen as traditional Chinese clothing, it continues to evolve with the times, responding to changes in contemporary modern life. As English loanwords, both “cheongsam” and “qipao” describe the same type of body-hugging dress worn by Chinese women, and the words could be used interchangeably. The term cheongsam is a romanization of Cantonese word chèuhngsāam (長衫; ‘long shirt/dress’), which comes from the Shanghainese term zansae. However, in Mandarin Chinese and other varieties of Chinese, chángshān (長衫) refers to an exclusively male garment, and the female version is known as the qípáo. In Cantonese and Shanghainese, the term is used to describe a Chinese dress popularized in Shanghai. The word qipao (keipo), which literally means “Bannerman robe” and originally referred to a loose-fitting, trapezoidal-cut garment worn by both Manchu men and women, became a more formal term for the female chèuhngsāam. In Hong Kong, where many Shanghainese tailors fled after the communist revolution of 1949, the word chèuhngsāam became gender-neutral, referring to both male and female garments. Usage of the term “cheongsam” in Western countries mostly followed the original Cantonese meaning and applies to the dress worn by women only. However, after decades of development, the design of cheongsam itself can be roughly categorized into the Beijing style, the Shanghai style, and the Hong Kong style. The cheongsam is typically a tight-fitting dress, with a pair of high side slits above the knee-level. It is more often seen with short sleeves; however, it can also be sleeveless. The length of the cheongsam can vary; it can be either long or short. In Chinese clothing culture, the overlap on the right side is known as youren. However, the cheongsam is not limited to the asymmetrical youren closure; there are various styles of cheongsam necklines, including a symmetrical opening in the chest area. It is typically found with the mandarin collar and has asymmetric closure which runs from the central collar across the top area of the chest to the armhole curing down to the right side. The fasteners uses traditional Chinese knotting craftwork with the use of the pankou fastening and Chinese button knot. Yigun yiqian: the gun is dark purple while the qian is white. The cheongsam is typically edged with piping, especially at the collar and the closure. It is also typical for the qian and the gun to be used together on the same dress creating a double-edged look; this technique is known as yigun yiqian (一滚一嵌; ‘one gun one qian’). 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. Other double-edged piping technique include “two-gun-one-qian” and the “two-gun-two-qian”. Different materials can be used in the making of the cheongsam, such as wool, silk (including silk floss, damask, brocade, satin), or silk-like materials. The cheongsam can also be unlined or interlined. The dang can also be combined with the gun; in this combination, the dang and the gun would be made of the same width and colour of fabric but they would run parallel to each other about two to five centimeters away from each other. The fabric of the cheongsam can decorated with a diversity of decorative motifs, which can be embroidered on the dress. It maintains the traditional straight and A-line silhouette, and often has embroidery and elaborate adornments. It is typically handmade. It is also characterized by its wide piping. The Beijing-style cheongsam expresses Chinese culture in its style. The pankou fasteners can sometimes take several days to create, typically requiring twenty-six procedures of silk processing to be turning into silk strips which would be appropriate in the making of the fasteners of various patterns by artisans. The Shanghai-style Cheongsam originated in Shanghai and is a popular and dominant style. The production of a Beijing cheongsam is complex. The Shanghai-style Cheongsam, especially, conveyed progressive messages of female body emancipation from the 1930s to 1940s; it also came to symbolize the idea of modernity in “pursuing health, fashion, and natural beauty”. As a result, to deliberately create a more figure-hugging silhouette and to focus on showing off the natural curve of the female body, many elements of Western tailoring techniques can be found in the Shanghai-style cheongsam, including curved cutting, waist darts. It also features high side slits and high collar. The collars can be lapel collars, water drop collars, and lotus leaf collars; the shape of the sleeves are also diverse. It also uses lighter materials and has less elaborate embroidery or adornments; the piping is very narrow. This act of showing the female body was a physical expression of the changes in the identities of Chinese women and their rebellion against the idealized womanhood as indicated in the Confucian ideology. The Jiangnan-style cheongsam, also known as Su-style cheongsam, originated in the Jiangnan Water town. This style of cheongsam expresses the cultural characteristics of the water town in Jiangnan and also creates a fusion between Chinese calligraphy and Chinese painting, incorporating the hand-painting art of the Wumen School of Painting. The dress is also embroidered with rich pattern motifs which tend to be floral, e.g. plum, orchid, bamboo, chrysanthemum, peonies, and roses. The Manchu are an ethnic minority that founded the last of China’s imperial dynasties, the Qing dynasty, which lasted from 1644 to 1911. When the dynasty was first established, dress regulations were implemented as a way of expressing their identity as a people and creating social order. They used an administrative division called the Eight Banner system. Originally only the Manchu households were organized within this system, but over time naturalized Mongols and Han Chinese were incorporated. It is characterized by the neckline and embroidered patterns on the edges of the cuff. The Manchu, and anyone living under the Eight Banners system, wore different clothing from ordinary civilians. Thus, they became known as the Banner People (Chinese: 旗人; pinyin: qírén; lit. The type of qizhuang that both men and women typically wore consisted of long robes, which can be referred to as the Manchu changpao and also categorized under the broad category of changpao (Chinese: 长袍; Chinese: 長袍; lit. Chinese: 长衫; traditional Chinese: 長衫; lit. Manchu men wore a changpao, which were designed for horseback riding, known as neitao, which was characterized by two pair of slits (one slit on each side, one slit on the back, and one slit on the front) which increased ease of movement when mounting and dismounting horses, a pianjin collar (a collar which curved like the alphabet《S》), and the sleeve cuffs known as matixiu (Chinese: 马蹄袖; pinyin: mǎtíxiù; lit. There were also two styles of changpao for the imperial consorts, known as chenyi and changyi, which became popular. On the other hand, some imperial Manchu women wore a changfu (常服), informal dress, which looked similar to the men’s neitao known as the changfupao (常服袍). The chenyi and the changyi differed in terms of structure: the changyi had two high side slits which allowed for greater ease of movements while the chenyi had no side slits. Both the chenyi and changyi were also the changfu of the Manchu women; they also both became popular during the reign of Emperor Qianlong. It is also theorized that the cheongsam was derived from the Manchu women’s chenyi although the chenyi shows the absence of slits. Both the chenyi and changyi differed from the changfupao lacking the matixiu cuffs. Throughout China’s multicultural history, clothing has been shaped through an intermingling of primarily Han clothing styles, the Han Chinese being the dominant ethnicity, and the styles of various ethnic groups. Manchu robes were initially collarless. The Manchu also adopted the right closure from the Han Chinese as they initially closed their robes on the left side. Some examples include the standing collar of the cheongsam, which has been found in relics from the Ming dynasty, ruled by the Han Chinese, and was subsequently adopted in the Qing dynasty as Manchu clothing items. Left: A Qing-style aoqun, a form of Hanfu worn by Han women around the 19th to 20th centuries. Chenyi, a one-piece Manchu women’s robe, Qing dynasty. Below their upper garment, this qun, skirt, is a mamianqun, a style which was inherited from the Ming dynasty and continued to develop in the Qing dynasty. Right: Lady Aisin-Gioro Hengxiang, the birth mother of Wanrong, wearing the traditional Manchu one-piece robe, a chenyi, that later inspired the cheongsam. Under the dynastic laws of transition from Ming to Qing, all Han Chinese were forced to adopt the Manchu male queue hairstyle and adopt Manchu clothing under the Tifayifu (剃发易服; 剃髮易服; tìfàyìfú) policy instead of being found wearing the traditional Hanfu, under the threat of death penalty. However, the order for ordinary non-Banner Han civilians to wear Manchu clothing was lifted, and only those Han who served as officials or scholars were required to wear them. Over time though, some Han civilian men voluntarily adopted the changshan. By the late Qing, not only officials and scholars, but a great many Han commoners wore Manchu-style male attire. However, until 1911, the Manchu changpao was required clothing for Chinese men of a certain class. What is now known as the Chinese changshan was developed by the Han Chinese during the Qing dynasty. 129 The Qing dynasty Chinese changshan was modeled after the Manchu’s men’s robe. 129 Han Chinese started to wear the Qing dynasty Chinese changshan after the Manchu conquest; the Chinese changshan was a modified version of the daopao or zhiduo worn in the Ming dynasty (1368-1644 AD), the dynasty preceding the Qing dynasty. 129 The Chinese changshan differed from the Manchu men’s neitao as it only had two slits on the sides, lacking the central front and back slits, and lacked the presence of the matixiu cuffs; the sleeves were also longer than the ones found in the neitao. It thus adopted certain Manchu elements, such as slimming their changshan, adopting the pianjin collar of the Manchu, and using buttons and loops at the neck and sides. For women, Manchu and Han systems of clothing coexisted. Throughout the Qing dynasty, Han civilian women could wear traditional Han clothing from the Ming dynasty. They wore an early form of the cheongsam, which quickly became the regular outfit of urban women in metropolitan cities like Beijing and Shanghai. In the late 1910s, after the overthrow of the Qing dynasty and the founding of the Republic of China, women began to partake in the education system. Cheongsam of the late 1910s and early 1920s had relatively loose cutting with long, wide sleeves. Under the Western influences of wearing shorter dresses in 1928, the length of the cheongsam became shorter. One of the earliest cheongsams was A-line with wide three-quarter sleeves and would fall just below the knee level. 48 With the designation of “national dress”, the Republic of China government also promulgated the new Clothing Regulations of 1929, which specified the cheongsam should be worn with trousers and be calf-length. However, even before the Clothing Regulations of 1929, women had already stopped wearing ku trousers in favor of silk stockings. Chinese women held no respect to the rule, as it was seen as an attempt by the Republican government to control individual rights and woman’s liberty. In 1929, the cheongsam was chosen by the Republic of China government to be one of the country’s national dresses. From the 1920s onwards, the cheongsam was quickly popularized by celebrities, socialites, and politicians in Shanghai. Former First Lady of China Madame Wellington Koo (Oei Hui-lan) was a prominent figure among them. Voted several times by Vogue into its lists of the world’s best-dressed women, Madame Wellington Koo was much admired for her adaptations of the traditional Manchu fashion, which she wore with lace trousers and jade necklaces. Cheongsam dresses at the time had been decorously slit a few inches up the sides, but Madame Koo slashed hers to the knee, ‘with lace pantelettes just visible to the ankle’. Unlike other Asian socialites, Madame Koo also insisted on local Chinese silks, which she thought were of superior quality. Moreover, numerous distinct cheongsams designs emerged, with experimental changes on fastenings, pipings, collars, fur-lined cuffs, various length of sleeves, or simply sleeveless. Starting from the early 1930s, there was a further transformation of the qipao as it became increasingly shorter, tighter, and body-hugging, with side slits that reached up to the thigh. People eagerly sought a more modernized dress style and transformed the old cheongsam to suit new tastes. Newer forms featured slender and tight-fitting pencil cuts and deep necks, which is different from the early cheongsam. High-class courtesans and celebrities in the city welcomed the tight-fitting cheongsam. Consumer culture rose as Western and Chinese merchants cooperated to move towards early capitalism. It was at this time the word cheongsam became well known in English. Then, the spoken Cantonese renditions of 長衫 was borrowed into English as “cheongsam”. In Shanghainese, it was first known as zansae for ‘long dress’, rendered in Mandarin as chángshān and in Cantonese as chèuhngsāam. Trousers had completely fallen out of use, replaced by different types of hosiery. High-heeled shoes were popularized in the Shanghai fashion scene in the 1930s. Stockings and High-heeled shoes became an essential part of the cheongsam fashion set, which spawned new side slits designs reaching the hip line, intended to display the hosiery and heels. As Western fashions evolved, so did the cheongsam design, introducing high-necked sleeveless dresses, bell-like sleeves, and the black lace frothing at the hem of a ball gown. Cheongsams were worn by celebrities, societies, and students of prestigious missionary schools in the early 20th century. 247 As a result, the cheongsam-style uniform was regarded as an icon of the wealthy class and was perceived as Bourgeois by the Communist China. By the 1940s, cheongsam came in a wide variety of fabrics with an equal variety of accessories. 247 From the 1950s to the 1970s, with the destroying Four Olds movements and the Chinese Cultural Revolution (1966-1976), China pushed for egalitarian ideology and wearing cheongsam could result in punishment. For example, in 1963, when Chinese President Liu Shaoqi visited four neighbouring countries in South Asia, the first lady Wang Guangmei wore a cheongsam. In other Chinese communities, such as Taiwan, Malaysia, Indonesia, Singapore and Hong Kong, the cheongsam remained popular after the war. She was later declared guilty in the Cultural Revolution for wearing it, due to its historical ties and symbolism. It became everyday wear in the British colony of Hong Kong in the 1950s, and leather clutch, high heels, and white gloves were common pairing accessories. Since the 1980s, with the trend of reevaluation of Chinese traditional culture, people in mainland China started to pay attention to the cheongsam again. The cheongsam is gaining popularity in films, beauty pageants, and fashion shows in both China and other countries all over the world. However, the popularity ultimately declined in the 1970s, giving way for cheaper and mass-produced Western-style clothing. In 1984, the cheongsam was specified as the formal attire of female diplomatic agents by the People’s Republic of China. These uniform cheongsams are in a plain color, hemmed just above the knee, with a close-fitting wool suit jacket of the same color as the cheongsam. In the 1950s, women in the workforce in Hong Kong started to wear more functional cheongsam made of wool, twill, and other materials. It is also common for these uniforms to only borrow certain elements, such as the standing collar and frog clasps, without adopting the whole design. The dresses were a fusion of Chinese tradition with modern styles. Most were tailor fitted and often came with a matching jacket. Cheongsam was commonly replaced by more comfortable clothing such as sweaters, jeans, business suits, and skirts. Due to its restrictive nature, it is now mainly worn as formal wear for important occasions. They are shown in some Chinese movies, such as in the 1960s film The World of Suzie Wong, where actress Nancy Kwan made the cheongsam briefly fashionable in Western culture. They are sometimes worn by politicians and film artists in Taiwan and Hong Kong. They are also commonly seen in beauty contests, along with swimsuits. Before World War II, it was customary for girl students who attended schools run by Western missionaries societies to wear cheongsam as their school uniforms; on the other hand, there were very few indigenous Chinese schools that were using the cheongsam as a school uniform. Today, cheongsam is only commonly worn day to day as a uniform by people like restaurant hostesses and serving staff at luxury hotels. The schools which use this standard include True Light Girls’ College, St. Paul’s Co-educational College, Heep Yunn School, St. Stephen’s Girls’ College, Ying Wa Girls’ School, etc. These cheongsams are usually straight, with no waist shaping, and the cheongsam hem must reach mid-thigh. A few primary schools and some secondary schools in Hong Kong, especially older schools established by Christian missionaries, use a plain-rimmed sky-blue cotton and/or dark blue velvet (for winter) cheongsam with the metal school badge right under the stand-up collar to be closed with a metal hook and eye as the official uniform for their female students. The cheongsam fit closely to the neck, and the stiff collar is hooked closed, despite the tropical humid and hot weather. Although the skirts have short slits, they are too narrow to allow students to walk in long strides. The seams above the slits often split when walking and are repeatedly sewn. The underskirt is a white cotton full slip, hemmed slightly shorter than the cheongsam, and has slits at the sides like the cheongsam, although the slits are deeper. Many schools also require underskirts to be worn with the cheongsam. A white cotton undershirt is often worn underneath the cheongsam. The cheongsam’s length, styling, color, and sleeve length vary between schools. Some rebellious students express dissatisfaction with this tradition by wearing their uniform with the stand-up collar intentionally left unhooked or hemmed above their knees. The Ying Wa and True Light Schools have sent questionnaires to their students about uniform reforms but have not altered their policies. Many students feel it is an ordeal, yet it is a visible manifestation of the strict discipline that is the hallmark of prestigious secondary schools in Hong Kong, and many students and their parents like that. Cheongsams are a popular outfit choice for festive seasons like Chinese New Year. However, Madam Lau Kam Lung Secondary School of Miu Fat Buddhist Monastery ended their cheongsam uniform in 1990 after receiving suggestions from its student union. Cheongsams are also popular outfits for older women on formal occasions or family reunions. In countries with significant Chinese populations, such as Malaysia, Singapore, Hong Kong, and Taiwan, it is common for women to have new cheongsams tailored in preparation for the New Year. Upmarket fashion labels such as Shanghai Tang specialize in modern versions of the cheongsam as occasion wear. In Western weddings, Chinese brides or brides marrying into a Chinese family will often wear cheongsam for a portion of the wedding day. It is common for many brides to have both a traditional white wedding dress and a cheongsam or a guaqun (another kind of wedding attire) to be worn during the tea ceremony. Dark blue Qi Lolita dress without mandarin collar. Cheongsam styles have also evolved to be more modern, from mermaid silhouettes to semi-traditional styles that feature a cheongsam top with softer details like lace and a looser skirt. Light blue Qi Lolita dress with mandarin collar. The dresses or jumper skirts are designed after traditional Chinese dresses. Some Lolita dresses are styled like cheongsam. This style of Lolita fashion is called Qi Lolita. In the 2008 Summer Olympics, the medal bearers wore cheongsam. Similar attire was worn by female members of the Swedish team and of the Spanish team in the opening ceremony, with the national colors. Chinese jackets and cheongsam-inspired ladies’ polo shirts. For the 2012 Hong Kong Sevens tournament, sportswear brand Kukri Sports teamed up with Hong Kong lifestyle retail store G.O.D. It now embodies an identity of being ethnic Chinese and thus is used for important diplomatic occasions. Since 2013, Peng Liyuan, the first lady of China, has worn cheongsam several times while on foreign visits with Chinese leader Xi Jinping. In contemporary China, the meaning of cheongsam has been revisited again. In November 2014, cheongsam was the official attire for the political leaders’ wives in the 22nd APEC meeting in Beijing. With the growth of the Chinese economy, cheongsam has experienced a renewed popularity. French designer Pierre Cardin once said that cheongsam was his inspiration for many of his evening dress designs. Many Western designers have integrated elements of cheongsam into their fashion collections. In many films and movies, cheongsam is used to make a fashion statement. The varied interpretations of this ethnic dress brings in debates of cultural appropriation and the designs being linked to Orientalism. In the 2011 movie One Day, Anne Hathaway wore a set of dark blue cheongsam as an evening dress. Many western stars such as Elizabeth Taylor, Grace Kelly, Nicole Kidman, Paris Hilton, Emma Watson, and Celine Dion have also made public appearances wearing cheongsam. This dress style has also been specifically seen on more than one celebrity or figure in the early 2000’s. This era is often described as a “global mash up”, incorporating styles, silhouettes, prints, and accessories from subcultures around the world. This heightened attention of global fashions from Asia brought to Western pop culture’s wardrobe, whilst being shone in starlight with social media and tabloids fawning over these ‘new’ styles, also caused insensitive representation of the fashions, also known as Cultural appropriation. Lindsey Lohan’s 11 year old character has a prominent scene wearing a pink qipao, paired with a little matching fluffy pink trimmed purse, also an iconic Y2k accessory. This created more conversation as more voices of minorities were heard, that this cultural dress is not appreciated when it is sold as a costume. The Cheongsam was also sold in stores as a Halloween costume for young girls and women to wear, pretending to be a person of Asian descent as their costume. 277 along with the aoqun, a traditional clothing attire of the Han Chinese women. However, as conversations of cultural appropriation increase and social awareness is spread through media platforms and social media, these racially insensitive costumes have since been left more in the past. It was eventually accepted by the People’s Republic of China as a form of hanfu, thus becoming transnational and representative of a generic Chinese national identity rather than an ethnic or ancestral identity. The cheongsam can be worn by people of all ages and at any season. It is also used as a style Traditional Chinese wedding dress among many others. In the 1920s, the cheongsam was originally an embodiment of Chinese women’s rebellion and a heroic gesture and a marker of Chinese feminism and Chinese women’s emancipation. For overseas Chinese, the cheongsam has often used as a form of emblematic culture. The Republican period is the golden age of the cheongsam. After the feudal Qing dynasty was overturned, Chinese feminists called for women’s liberation from traditional roles. In exploring the reasons behind its prevalence in Republic of China, many scholars relate it to the women’s liberation movements. They led several movements against the Neo-Confucian gender segregation, including the termination of foot binding for women, cutting off long hair, which was conventionally symbolized as women’s “oriental” beauty, and encouraging women to wear men’s one-piece clothing, Changshan or “changpao”. Women were forbidden to wear robes as men did and instead had to wear tops and bottoms known as “Liang jie yi”. After the Xinhai Revolution of 1911 (which overthrew the Qing dynasty), young Chinese people began to learn Western science and cultures in order to seek a way of saving the nation. Also, the opening of several ports and ceding territories of China to Western powers imported some Western ideas to mainland China. Han dynasty (202 BC to 220) to Qing dynasty (1616-1911). During that time, Chinese Han female’s clothing gradually developed into two pieces. Among all these Western thoughts, the idea of gender equality quickly gained its followers, among whom young female students became its prime advocates. It was the May Thirteenth Movement of 1925, where anti-Westernization demonstrations persisted throughout the country, that served as an important push for the qipao’s institutionalization. That being said, there were still strict rules regulating how the dress needed to be worn, including specifications about length, material, accessories, collar, buttons, and sleeves, but curiously enough, none of these were followed. From the start, there was no unifying style for the dress like the Republicans intended; Chinese women had no respect for the Clothing Regulations of 1929, which tried to control individuality. There were endless variations in style, with adaptations to length, material, hemlines, collars, fabrics, patterns, colors, and pairing accessories. The Republicans declared the qipao a formal dress in the Clothing Regulations of 1929. The dress was meant to assert the importance of nationalism by rejecting Western forms of dress. The style of the qipao was often in tune with fashion cycles and was influenced by Western trends seen through women styling it with matching scarves, fur coats, and leather heels. Magazines such as LingLong also gave women access to dressmaking knowledge and normalized it for women to make their dresses in their style. It was worn by everyone from Shanghai socialites to students, housewives, and prostitutes. The style of cheongsam also varied due to Western influence. The base form of the qipao is rather simple to sew, which makes it easily accessible and economical. It changed from a wide and loose style to a more form-fitting and revealing cut, which put more emphasis on women’s body lines. The length of the cheongsam was also reduced from the ankle reaching to above the knee. The design of the cheongsam got various inventions like ruffled collars, bell-like sleeves, and black lace frothing. Starting from that, the priority of cheongsam moved from a political expression to an aesthetic and ornamental emphasis. The Hongkong Cheongsam-making technique is unique due to its historical background, having incorporated both Eastern and Western clothing designs before giving the Hongkong-style cheongsam its distinctive looks. In 2021, the Hong Kong cheongsam making technique was successfully listed on the fifth National List of Intangible Cultural Heritage. In Western countries, the cheongsam is widely perceived as being a quintessential Chinese garment. Due to its long history dating back to the Manchu clothing of the early Qing dynasty, the Beijing-style cheongsam-making technique is listed as a city-level intangible cultural heritage. However, the cheongsam is a type of Chinese clothing which was developed in the 20th century under the influences of several cultures, including Western culture, Manchu culture, and the Han Chinese culture. The cheongsam also had a significant impact on international fashion centers in the 1950s and 1960s, such as Paris, Rome, and New York, due to its perceived exoticism and its slim line silhouette which was also fashionable in Europe at those times. Descendants of Chinese immigrants or overseas Chinese in Western countries, such as Canada, may wear cheongsam on events such as weddings, graduation ceremonies, and other occasions; however, the cheongsam is not always perceived as being traditional Chinese clothing; for example, some Canadians of Han Chinese descent still remember the use of aoqun as their traditional Chinese dress. In Suriname, the cheongsam is not only presented as being the quintessential Chinese dress but also as the authentic Chinese ethnic clothing; however, the Chinese ethnic clothing, which should have been used, is the shanku, consisting of a shan (jacket) and a pair of ku trousers, as it was the attire which was worn by the Hakka people who came in Suriname as indentured laborers and chain immigrants. 277 The use of cheongsam as a cultural marker of Chineseness can be thus perceived as ironic, and a cultural stereotype of Chineseness as the cheongsam is not associated with any specific ancestral clothing of Chinese immigrants. In Indonesia, the cheongsam has experienced acculturation from Chinese culture and Indonesian culture, one of which is the batik-patterned cheongsam which has become the main cultural identity in Indonesia. In recent years, the trend of Chinese clothing combined with local elements has started to become popular. The euphoria of acculturating Chinese and Indonesian culture is driven by local Chinese citizens who want to show that they love their homeland. Cheongsam clothing made from batik is very attractive fashion, there are clothing models that are suitable to wear during Chinese New Year celebrations. Clothing that is an acculturation of Indonesian and Chinese culture is very suitable to complement the celebration. The cheongsam was introduced in Canada after the early 1930s with the flow of Chinese immigrants. 83 However, royal chinese traditional dress hanfu the wearing the cheongsam is mixed amongst Canadians with Chinese heritage. 84 Others may wear the cheongsam as an attempt to reconnect with their Chinese heritage and/or to show appreciation to the dress. Some may find themselves uncomfortable or feel alienation when wearing cheongsam due to the lack of self-identification with Chinese culture and Chinese identity. 100 Some may be reluctant to wear it publicly due to their experiences of being part of a racialized group and/or due to self-loathing due to the experiences of racism and marginalization in various forms, such as physical attacks, ostracism, and bullying, the social pressure to integrate and/or the desire to assimilate in the dominant culture as a protective mechanism even at the expense of rejecting any aspects or association with Chinese culture, identity, and appearance in the dress. However, there has been considerable debate on the origin of the cheongsam in academic circles. The first argument says that the cheongsam came directly from the clothing of the banner people when the Manchu ruled China during the Qing dynasty. The second opinion holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty, but the true origin of the cheongsam dates back to a period between the Western Zhou dynasty (1046-771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty. And Chinese Professor Bao Minxin (Chinese: 包铭新) also pointed out in his book A Real Record of Modern Chinese Costume that the cheongsam originated from the ancient robe in the Han dynasty (206 BC-220 AD). The robe is a one-piece upper and lower connected long dress which was quite popular among ladies in Han. The third argument was raised by Bian Xiangyang (Chinese: 卞向阳) in his book An Analysis on the Origin of Qipao. This argument was prominently represented by Zhou Xibao (Chinese: 周锡保) in his work The History of Ancient Chinese Clothing and Ornaments. It is an adaption of Western-style dress during the Republic of China era when people were open to the Western cultures. Bian thinks that the cheongsam originates from neither the robe nor the chángpáo. In his opinion, the cheongsam was a hybrid of traditional Chinese costumes and Western costumes such as the waistcoat and one-piece dress. Moreover, according to him, Chinese women traditionally wore ku trousers under their clothing and the use of silk stockings under the cheongsam or being bare legs is not a Chinese tradition but the result of Western influence. The cheongsam looks similar to the Vietnamese áo dài as they both consist of a long torso with side splits on both sides of the torso, one of the main difference typically being the height of the side split. Wei, Yulong (2017). “Research on the Evolution of Cheongsam Style in the Republican Period and Its Contemporary Application”. A variant of qipao, taken at the Tokyo Game Show in Japan. Proceedings of the 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press. Han, Qingxuan (2019). Qipao and Female Fashion in Republican China and Shanghai (1912-1937): the Discovery and Expression of Individuality (Senior project). Natalie Proulx (8 May 2018). “Is a Chinese-Style Prom Dress Cultural Appropriation?”. McKean, Erin (2013). The hundred dresses : the most iconic styles of our time. Stephanie, Ho; Singapore, National Library Board. 刘冬. “The Beauty of Beijing-Style Cheongsam”. Huang, Yunlin; Liu, Yuqing; Yang, Fangxin (24 December 2021). “Exploring the Meaning of Shanghai Cheongsam from the Perspective of the Male Gaze”. Proceedings of the 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Vol. 615. Atlantis Press. pp. Proceedings of the 2015 International Conference on Education, Management, Information and Medicine. Garrett, Valery (2019). Chinese dress from the Qing Dynasty to the present day. Tong, Ningning; Yuan, Songmei (2015). “Study of the Strategies for the Digital Communication of the Manchu Costumes under the Theory of Media Extension”. Hong Kong Museum of History, Hong Kong. Leisure and Cultural Services Department, Gu gong bo wu yuan, 故宮博物院. Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928. University of Washington Press. Xianggang: Kang le ji wen hua shi wu shu. Shaorong Yang (2004). Traditional Chinese Clothing Costumes, Adornments & Culture. Chinese Traditional Dress – Online exhibitions across Cornell University Library. For women’s clothing, Manchu and Han systems of clothing coexisted. Long River Press. p. 周, 锡保 (1 January 2002). 《中国古代服饰史》. 中国戏剧出版社. 千志, 魏 (1998). 《明清史概論》. 中國社會科學出版社. Lee, Linda T. (8 May 2012), “Han-Centric Dress: Fashion Subculture or a National Identity for China?”, Fashion: Exploring Critical Issues, BRILL, pp. Gao, Sally (9 December 2016). “A Brief History Of The Cheongsam”. Maureen Daly Goggin, Beth Fowkes Tobin. Gorea, Adriana (2020). The book of pockets : a practical guide for fashion designers. Material women, 1750-1950 : consuming desires and collecting practices. Katya Roelse, Martha Hall. Koo, Hui-lan Oei; Van Rensselaer Thayer, Mary (1943). Hui-lan Koo (Madame Wellington Koo): An Autobiography as Told to Mary Van Rensselaer Thayer. Ling, Wessie (8 May 2011), “Chinese Clothes for Chinese Women: Fashioning the qipao in 1930s China”, Fashion Forward, BRILL, pp. Chew, Matthew (March 2007). “Contemporary Re-emergence of the Qipao: Political Nationalism, Cultural Production and Popular Consumption of a Traditional Chinese Dress”. New York: Dial Press. Ling, Wessie (2009). “Harmony and Concealment: How Chinese women fashioned the Qipao in 1930s China.”. Material Women, 1750-1950: Consuming Desires and Collecting Practices. In Goggin, Maureen Daly; Tobin, Beth Fowkes (eds.). Dongfang Daily (2 July 2012). “海上名媛与海上旗袍的华丽转身”. Feng (in Simplified Chinese). Mizuoka, Fujio (2018). Contrived Laissez-Faireism : the politico-economic structure of British colonialism in Hong Kong. Clement Huang (25 June 2015). “China Airlines introduces new uniform designs”. 旗袍维系香港女校百年情. 李气虹 (The qipao keeps the affections of Hong Kong girls schools of 100 years by Li Qihong) (16 May 2003). “旗袍维系香港女校百年情”. Calhoun, Mimi. “Moments with Mimi: My culture is not your Halloween costume”. Tjon Sie Fat, Paul Brendan (2009). Chinese new migrants in Suriname : the inevitability of ethnic performing. Amsterdam: Amsterdam University Press. Styling Shanghai. Christopher Breward, Juliette MacDonald. 吴, 昊 (January 2008). 中国妇女服饰与身体革命. Hong Kong Intangible Cultural Heritage Database. Transnational screens : expanding the borders of transnational cinema. 上海: 上海东方出版中心. Sim, Cheryl (2019). Wearing the cheongsam : dress and culture in a Chinese diaspora. Armida De la Garza, Ruth Doughty, Deborah Shaw (1st ed.). 2 February 2019). “Cheongsam Rasa Batik, Cantiknya Koleksi Imlek Peranakan Anne Avantie”. 5 February 2024). “Inspirasi Batik Cheongsam untuk Rayakan Imlek”. 22 January 2023). “Desain Batik Keren Akulturasi Indonesia-Tionghoa, Hadirkan Nuansa Imlek”. Desire change : contemporary feminist art in Canada. 周, 锡保 (September 1984). 中国古代服饰史. Heather M. Davis, Mentoring Artists for Women’s Art. Archived 27 December 2019 at the Wayback Machine. 北京: 中国戏剧出版社. 袁, 杰英 (January 2002). 中国旗袍. 北京: 中国纺织出版社. 上海: 东华大学出版社. 包, 铭新 (December 2004). 近代中国女装实录. 装饰 (11). J523. Beijing: Guangming ribao chubanshe. 卞, 向阳 (November 2003). “论旗袍的流行起源”. Bao Mingxin; Ma Li, eds. Shanghai: Shanghai wenhua chubanshe. Chang, Eileen (Zhang Ailing) (Fall 2003). “A Chronicle of Changing Clothes”. Positions: East Asia Cultures Critique. Clark, Hazel (2000). The Cheongsam. Finnane, Antonia (2007). “Chapter 6: Qipao China”. Images of Asia. Hong Kong: Oxford University Press (China). New York: Columbia University Press. Roberts, Claire, ed. (1997). Evolution and Revolution: Chinese Dress 1700s-1900s. Sydney: Powerhouse Pub., Museum of Applied Arts and Sciences. Changing Clothes in China: Fashion, History, Nation. Schmitz, Rob (2 June 2012). “The Street of Eternal Happiness: The Tailor”. Marketplace. Archived from the original on 23 June 2012. Retrieved 22 June 2012. About a tailor of cheongsam who has been in the business for nearly 80 years. Lee, Chor Lin; Chung May Khuen (2012). In the Mood for Cheongsam: A Social History, 1920s-Present. Singapore: Editions Didier Millet and National Museum of Singapore. CD-ROM). Pepin Fashion, Textiles & Patterns, no. 1. Amsterdam: Pepin Press. Wikimedia Commons has media related to Qipao. This page was last edited on 16 March 2025, at 09:46 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
The “Lotus Elegance” Ma Mian Skirt features a sophisticated design inspired by traditional Ming Dynasty Hanfu. Its structure retains the essence of historical garments, yet it is tailored to fit modern tastes. The choice of colors-blue and black-allows you to effortlessly match this skirt with various tops and accessories, creating a myriad of stylish combinations. Whether you prefer a serene blue or a classic black, this skirt will enhance your wardrobe with its timeless charm. The fabric of this Ma Mian skirt is a highlight, featuring traditional patterns woven into the material itself. The fabric’s luxurious feel is complemented by the use of gold weaving techniques that bring to life beautiful Chinese elements such as lotus flowers and goldfish. These subtle yet intricate dark patterns add a rich texture to the skirt, enhancing its visual appeal. What sets the “Lotus Elegance” Ma Mian Skirt apart is its versatility. These motifs symbolize purity and good fortune, adding a meaningful touch to this elegant garment. This adaptability makes it an excellent choice for creating standout summer outfits. It can be effortlessly paired with various tops, from traditional Hanfu blouses to modern shirts. The skirt’s intricate design and high-quality fabric ensure that it is not only beautiful but also comfortable to wear. Whether you are dressing up for a cultural event or seeking a unique everyday look, this skirt provides a perfect blend of tradition and style. The breathable material is ideal for warm weather, allowing you to stay cool and elegant. The detailed embroidery and gold weaving techniques reflect the skilled craftsmanship that goes into each piece, making it a valuable addition to any fashion-conscious individual’s wardrobe.
If you have any concerns regarding wherever and how to use chinese mamian skirt, you can get in touch with us at the internet site.
Oh, I love this dress on you! I’ve always wondered after looking at patterns for these what they would actually look like, and I have to say, this has me itching to buy a hooverette pattern now. It’s so charming! I will never wear one, because it would make me look too much like my late mother and that would freak me out badly. I like it. I think it’s a great mix of practicality and style, and I really like the hanfu collar you put on it. But on you I love the print, and the contrasting trim and collar are just right. I’ve been stumped to find the right style without looking too girly. The plain contrasting trims stop the dress from looking sickly sweet. Thanks for the inspiration. Great result! I have a few lengths of vintage floral prints, similar to your fabric. May I ask, what the original hang of the fabric would have been? Oh, I love the white collar and cuffs and sash! Most original 1930s cottons are much drapier and flimsier. The high quality ones are like a very soft, drooping lawn, but most of them are a little coarse, with an open weave that creates more drape. Also, this looks exactly like the sort of garment that you could have hanging in your sewing area for the cases when someone rings at the door. Flour sack cotton is a bit closer to quilting, but even it is thiner and softer and drapier. Think I want three, all in different colours… Love, love, love this. What a lovely frock, your little details like ric-rac and piping really make the difference. 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. I think this is just beautiful! I particularly like your little details, like the piping around the pocket, and the tiny red ric-rac. Not to mention the ‘overall result’! Totally wonderful dress! I have that fabric too, and yes, it is a right pain that they all come as quilting cottons. I love this dress. The white contrast looks great and overall it is simple and clean. I love your pictures in the sun. It snowed a good 18″ here in sorta-northern Canada this past week and was around -32C today in the wind, so when I see all that sun and greenery, it makes me feel a little happier 🙂 And of course, hanfu female the dress is too adorable! I’ve been reading your blog regularly for awhile and loving it. Now I have a question for you. OMG – your dress is absolutely adorable! Is this Hooverette (new term for me) a sister garment to the Swirl dress/aprons? LOL! And I am tickled pink that my research helped you out. Thank-you SO MUCH! This totally made my day! We totally need to start a new trend and bring Hooverettes back into fashion. I love love love this dress! I’ve been searching everywhere on the web to find, pattern or the item itself to purchase… Could you be of any help? 1930/40/50 even into the 60’s..wrap around apron/house coat/ dress.. Would greatly appreciate any help,. Other than that I can’t be much help. I love it! I wish there was a feature here where I could show you a picture of a Hooverette dress I found in a magazine. Vintage wrap dress patterns come up regularly on Ebay, Etsy and other vintage pattern marketplaces. I am having it made for me and am so excited! You are lucky you know how to sew, and you do it so well! You could link to any online image host – an instagram or photobucket album, or a FB album if you make it public. I’d love to see it!
If you beloved this article and you would like to obtain more info with regards to wei jin dynasty hanfu i implore you to visit the web page.
What was ancient Chinese fashion like? How did it evolve as Dynasties changed and replaced each other? In 1644, a dramatic shift in ruling occurred in China. This infographic shows how Women’s dress fashion evolved in China throughout the age, and shows how much each new ruler sought to impose their style on its Chinese denizens. One consequence of this epic battle of dynasties, that is still visible today? The Manchus took over from the Hans and started the Qing Dynasty. A new form of clothing, the Qipao, – which is what we now associate with China – came to replace the traditional dress of the Han people, the Hanfu. Read on and click through to learn more about the evolution of Chinese clothing throughout the Dynasties. Ancient Chinese Fashion timeline of Women’s clothing -This week’s infographic was made by Nannaia, in an effort to document the evolution of Chinese Women’s clothing across the ages. 🏮 Ninchanese is an incredible app for learning Chinese! I’ve used Ninchanese daily, and it has helped me a lot! A battle of Dynasties: Hanfu vs. ” I actually graduated from the University of Edinburgh with a MA in Chinese. Over the years in China, each new ruling Dynasty was intent on imposing their style to leave a trace. The Qipaos, not really Chinese? Qipaos, especially the modern, 1920s Shanghai-inspired, form-fitting Qipaos, are the first type of dresses that spring to mind when one thinks about traditional Chinese clothing. None really dared to revolution the Chinese traditional style of clothing however, until the Qings arrived. However, this form of dress was actually brought in by the Manchu-ruled Qing Dynasty in the 17th century (1644) and is therefore relatively “new” by Chinese standards. The original Chinese traditional dress was, in fact, the Hanfu, 汉服 (literally Han clothing), also know as Hanzhuang (漢裝) or Huafu (華服). The Qing Dynasty was one of the longest lasting ones in Chinese history (around 300 years), and the last dynasty before China became a republic, which may be why many mistake the Qipao for the Chinese ethnic dress. The Hanfu is said to have appeared during China’s first Empire, about 5,000 years ago and then remained the outfit of choice in China for the next thousand years (its main appearance remaining more or less same over the years, save for a few details). The Hanfu is even considered to have inspired the Japanese Kimono and the Korean Hanbok. Until the Manchus took over, that is. Reinstating the Hanfu style? While Chinese actresses often wear Qipaos to world events, a movement started in 2003 to reinstate the Hanfu as China’s traditional outfit. If you want to know more about the Hanfu origins and style, read this and this introduction to Hanfu clothing. See here and here for pictures of modern-day Hanfu-wearing. Some are even pushing for daily wear. Try the best way to learn Chinese today. Which do you like best? The Qipao? The Hanfu? Which would you wear? Stay in touch with us on Facebook, Twitter, Instagram, and Pinterest. Ninchanese is free to use!
If you liked this write-up and you would like to acquire more facts regarding hanfu chinese kindly take a look at the page.
Agenda-setting intelligence, analysis and advice for the global fashion community. The essential daily round-up of fashion news, analysis, and breaking news alerts. Plus, access one complimentary BoF Professional article of your choice, each month. It’s March in Shanghai, just weeks before the city’s fashion week festivities kick off. Our newsletters may include 3rd-party advertising, by subscribing you agree to the Terms and Conditions & Privacy Policy. Things are hectic but in a reassuringly pre-pandemic way. Across the country, editors, buyers and stylists will congregate in the fashion capital as local brands, buoyed by a rebound in domestic demand, celebrate their latest offerings. A largely physical schedule of shows and presentations will take place in the city between April 6 and 13 in Shanghai Fashion Week’s second physical edition since going virtual last March. “Buyers and designers are very excited to really gather together and see new collections,” says Tasha Liu, founder of emerging designer platform Labelhood. The Chinese are hardly alone in recognising this resilience. Since the pandemic, the mainland has only risen in importance for global brands, thanks to accelerated growth across categories like luxury and most digital channels.8 percent year-on-year, according to data released this week by the country’s National Bureau of Statistics. From trending categories to local competitors, here’s what brands need to know. Knowing what to sell to Chinese shoppers has never been so important. As China only went into lockdown once, loungewear didn’t get as big a boost as markets like the US and UK. It’s not like people are wearing tracksuits, but they are looking for comfort. People have, however, taken to dressing more casually. On social media platform Xiaohongshu, the tag “comfortable dressing” is full of bloggers in wide-legged trousers, sneakers and sweatshirts. The goal, as advertised by KOLs, is to evoke gaojigan – a high-class feel synonymous in fashion with timeless dressing, minimalism, effortlessness and neutral tones – while being dressed casually. But many users pair their hoodies with structured outerwear, like a blazer, or a statement boot, as opposed to sporting a head-to-toe loungewear look. For global brands, tapping into these aspirational buzzwords can help localise their brand and target online shoppers across top digital platforms. Rather, the trend towards comfortable clothing made room for growth in accessories people could buy to make their casual outfits more interesting. “In the past six months, there’ve been 20 new emerging jewellery brands.” Footwear has also been exceptionally strong, he added. When it comes to luxury items, accessories continue to perform well as entry-level items for first-time luxury customers – a rapidly growing demographic, thanks to accelerated e-commerce uptake in lower-tier cities. The lack of an extended lockdown and caution around new waves of the virus meant there wasn’t a surge in pent-up demand for items like party dresses and stilettos – the “roaring twenties” rebound that brands are betting on in the west as restaurants and other establishments reopen. “There are probably more entry level luxury products in store than ready-to-wear, or even bags, nowadays,” Lee said. According to Launchmetrics data, in 2020 Yatsen-owned digitally native makeup brand Perfect Diary hit $166.6 million in media impact value (MIV, the agency’s proprietary currency that assigns a monetary value to marketing activities), a year-on-year increase of 197 percent. This can be attributed to the brand’s focus on marketing through a variety of ambassadors, key opinion leaders (KOLs) and key opinion consumers (KOCs), hit co-branded collaborations and investing in private traffic marketing. Guochao, or the growing nationalism and pride in using Chinese-made goods, may not be as trendy a buzzword now, but brands are still reaping its rewards. For fashion brands too, guochao wasn’t just a flash in the pan. “I foresee Hanfu gaining in popularity among younger Chinese and over time, its cultural focus driving trends in other industries and fields. The Hanfu movement, where fans dress up in traditional Chinese garb from the Ming, Song and Tang dynasties, is still having an impact on categories like fashion and beauty, said Yeli Gu, the founder of China’s biggest trade show, Ontimeshow. The increasingly diversified understanding of fashion among China’s younger generation is striking. “The best-performing brands are contemporary labels with a unique concept and brilliant design,” said Eric Young, founder of Le Monde de SHC, a much-loved boutique in Shanghai’s French concession. Smaller brands of the moment in the China market include Parisians Coperni, Phipps and Casablanca; London-based Charlotte Knowles and Rokh; and Japan’s Mame Kurogouchi. Local brands, like Marchen and Samuel Gui Yang, are also popular. For up-and-coming designers and retailers focussed on indie brands, this represents a major opportunity as younger shoppers in the world’s biggest fashion market look beyond established names. “The increasingly diversified understanding of fashion among China’s younger generation is striking,” said Young. Indeed, orders returned to their normal levels by last October and most brands have seen 30 to 50 percent growth compared to pre-pandemic levels, said Gu. Those accustomed to buying luxury ready-to-wear are looking beyond the minimal black jean or white sneaker. As first-time luxury shoppers opt for entry-level accessories, seasoned luxury buyers are on the hunt for something more. “Very special, runway pieces or new drops like the Givenchy bags by Matthew Williams are key right now,” said Lee, whose friend recently bought a pair of metallic Balenciaga boots for 35,000 yuan ($5,382) to display in his home as a collector’s item. “Global travel restrictions haven’t changed people’s shopping needs,” said Gu. Considering the buoyancy of China’s fashion market, it’s actually difficult to name categories that are performing poorly, said Liu. But like many across the world, people are looking for brightness and levity in fashion and beauty. Domestic travel can also boost growth for brands that target shoppers planning holidays, whether this involves tropical attire or skiwear – a category gaining ground as the country’s 2022 winter Olympics nears. Dior will bring Maria Grazia Chiuri’s pre-fall 2021 collection on tour, with its runway debut to be staged in Shanghai on April 12. The date coincides with Shanghai Fashion Week, which runs from April 6 to 13. Dior’s colourful Pre-Fall collection was originally unveiled last December with a video presentation. “Avant garde, darker styles don’t resonate as well at the moment,” she said. The French luxury giant has regularly staged shows in Shanghai in recent years, often reshowing its haute couture collections here after their initial Parisian outings. These shows have regularly featured additional looks designed specifically with the China market in mind, but it’s still unclear as to whether the upcoming show will also feature any new looks. The platform for emerging designers is gearing up for a banner season, which will run from April 6 to 11 and feature 30 physical runway shows. Hainan’s Haikou city will host the first China International Consumer Products Expo from May 7 to 10, organised by the Ministry of Commerce and Hainan’s provincial government. A number of international luxury, fashion and cosmetic players including Tapestry Inc., Swatch Group, L’Oréal Group, Shiseido and Kao have confirmed their participation alongside retailers like Galeries Lafayette and LVMH-owned travel retailer DFS Group. The programme, title Odyssey, features a wide range of labels at different stages of development, including five student-led labels making their debut. Brands can use the platform to tap into growth in the China market and Hainan’s future as a free trade port. An official document released last June said international exhibitors will be exempt from duty on imports and sales during the exhibition period. A tax exemption policy is one of other major draws for exhibitors and consumers alike. The new platform will incorporate blockchain technology from Alibaba affiliate Ant Group to mitigate trust issues when authorising transactions. The Alibaba-owned e-commerce player has built IPmart, which will facilitate intellectual property licensing transactions between copyright owners, designers, illustrators and brands. It will reportedly cover areas like copyright, contracts and operations to support businesses with product development and marketing in the mainland, which has long been a contentious jurisdiction for global brands looking to protect their assets. In recent months, Alibaba affiliate Ant Group has come under regulatory pressure after its blockbuster $37 billion IPO was halted and the firm was forced to restructure. The Journal’s sources said that Beijing sees Alibaba’s dominance and widespread influence as a challenge to the government’s control over the media. Despite the emergence of younger digital platforms like Douyin and Xiaohongshu, Weibo remains a vital channel for fashion and beauty brands to engage with – and sell to – Chinese netizens. Alibaba Group Holding Ltd has been told to dispose of its media assets, which include stakes in South China Morning Post and Chinese social media platform Weibo, the Wall Street Journal reported. The dramatic rise is largely due to the fact that retail spending was hindered during the same period in 2020, when the coronavirus outbreak first took hold in China, leading to widespread lockdowns, limitations on movement and the closure of public spaces, including malls and restaurants, in many parts of the country. Like many of its rivals, the platform has introduced e-commerce capabilities and plays a role in driving traffic and sales to Alibaba marketplaces like Taobao. Having said this, the total sales for the two month period of almost 7 trillion yuan ($1.1 trillion) also represents growth of 6.4 percent over the same period in 2019. Online retail sales also continued their upward trajectory, growing 32.5 percent year-on-year for January and February. The Italian brand was among the companies called out during China’s 315 Gala, an annual TV programme aired on national broadcaster CCTV on March 15 each year to mark World Consumer Rights Day. Max Mara’s alleged misdeed was utilising facial recognition cameras in store to collect consumer data without consent, a violation of Chinese regulations that require consent for facial recognition data collection. 29 percent compared to 2019. The Ningbo-based company attributed this growth to its focus on sales channels, which has seen it grow direct-to-consumer stores, scaling franchise locations and expanding into social commerce while maintaining rapid growth in traditional e-commerce platforms. An official statement from the brand said the in-store camera in question was used only for collecting statistics about store foot fall, and all images taken in the store were automatically deleted each day. It has also become increasingly responsive to market demand in relation to product design, production and inventory. Beginning next year, fintech players like Alibaba affiliate Ant Group will be required under new regulations to fund at least 30 percent of the loans they make with banks – a decision that could temper spending by China’s younger shoppers. Lower rents during the pandemic also helped lower costs. Last week, Ant Group said that as part of its self-regulation efforts, its credit payment company Huabei and short-term consumer loan provider Jiebei would lend responsibly and refuse loans to young or low-income borrowers beyond what is needed to cover basic living expenses. In recent years, online loans have helped drive consumption among a demographic keen to own the latest luxury goods but unable to afford them. But given Beijing’s interests in sustaining China’s economic momentum, the extent that regulations will dent consumption in the long-term remain uncertain. 30 year period to 2020, Mongolia’s livestock numbers tripled, leading, the IMF said, to increased degradation of grassland and feed shortages. This degradation is now seen as a leading culprit in an increase in the number and severity of sandstorms likely to continue to be seen in Mongolia, China, Japan and South Korea, if nothing is done to reverse the trend of increasing herds and decreasing grasslands. This follows a series of attacks, mainly on textile and apparel factories in industrial parks across Yangon, some of which were set alight. China’s foreign ministry and the Chinese Embassy have called on authorities in Myanmar to protect Chinese-owned companies and personnel, according to an Associated Press report. Many of the comments also alleged Myanmar’s police or other agitators were behind the destruction in order to incite further trouble. A statement posted by the Chinese Embassy to Myanmar on Facebook about the importance of protecting Chinese businesses led to an overwhelmingly furious reaction in more than 52,000 comments, many of which accused Chinese authorities of turning a blind eye to the continuing police and army violence against the people of Myanmar. 2025 The Business of Fashion. Opportunities for international players are still plentiful, but the old formula for succeeding in China is no longer relevant. Once fashion’s most reliable growth engine, the Chinese market is shifting as consumer spending cools and shoppers with more choice than ever gravitate toward savvy domestic brands. Brands need a new game plan to stand out. The platform has long been one of China’s most important marketing tools, but until now has struggled to become a sales engine for brands. A new generation of Chinese fashion designers are extending their international footprints beyond western markets, tapping sourcing hubs in India and Turkey and retailers from Dubai to Mexico. Op-Ed | What’s Behind the Slump in China’s Luxury Sales? The key question is whether the drop is due to a weakening economy or a shift in consumer perception towards luxury items as mere commodities. The essential daily round-up of fashion news, analysis, and breaking news alerts. Plus, access one complimentary BoF Professional article of your choice, each month.
When you cherished this post and you wish to obtain more information with regards to hanfu inspired wedding dress i implore you to visit the web-page.
The ensemble’s highlight is the luxurious black outer coat, adorned with intricate embroidery depicting pine trees and other traditional motifs. This detailing not only reflects the rich heritage of Chinese culture but also adds a sense of sophistication and depth to the outfit. The loose, flowing cut ensures comfort and warmth, making it a versatile layering piece for colder weather. The white inner garment is crafted with precision, featuring thickened fabric designed to combat chilly autumn and winter days. Its clean and refined look balances the elaborate design of the outer coat, creating an overall ensemble that is both regal and wearable. The fine stitching and premium materials speak to the quality of this garment, making it an essential addition to any Hanfu wardrobe. The skirt, available in both long and short variations, is where the artistry of this set truly shines. The printed motifs of cranes and flowers further enhance its thematic appeal, symbolizing longevity, elegance, hanfu female and natural harmony. Featuring a gradient design that transitions from light to dark, it evokes a sense of ethereal beauty. This eye-catching design ensures the wearer stands out at any event. With its versatile styling options, season-friendly materials, and breathtaking details, Majestic Flight is more than just clothing-it’s a work of art. Whether you’re attending a cultural gathering or looking for a unique seasonal outfit, this Hanfu captures the essence of history and elegance in a way that’s effortlessly modern.
In case you loved this article and you would love to receive more information concerning hanfu tang dynasty generously visit our own website.
Agenda-setting intelligence, analysis and advice for the global fashion community. Luxury Brands Are Neglecting Some of Their Most Important Customers. The essential daily round-up of fashion news, analysis, and breaking news alerts. Plus, access one complimentary BoF Professional article of your choice, each month. Our newsletters may include 3rd-party advertising, by subscribing you agree to the Terms and Conditions & Privacy Policy. Instead, it was unveiled in a major catwalk show in Shanghai’s artsy West Bund district, with a thousand invitees on hand to see not only the Spring/Summer 2021 collection from Artistic Director Virgil Abloh, but also a re-run of the label’s Fall/Winter 2020 outing. Having a thousand people come together – in person – to attend a fashion show seems an almost unimaginable luxury right now but, in Shanghai, where there has been no reported community transmission of Covid-19 for many months, large-scale fashion events have been back in business since mid-summer. SHANGHAI, China – This week, Louis Vuitton launched a men’s collection far from its Paris base. This is good news for luxury brands, who are more reliant on China’s domestic spend than ever. This new generation of Chinese male consumers is… China’s luxury consumers are a lifeline for brands, and men make up a significant portion of that customer base, especially for leading brands such as Louis Vuitton and Dior, which have ridden a global wave of streetwear popularity in recent years to invigorate their respective men’s offerings under the creative direction of Virgil Abloh at Vuitton and Kim Jones at Dior. In a nod to how ready Chinese consumers are to embrace luxury fashion after being robbed of summer shopping sprees in Europe, these events have proven incredibly popular, with the city’s fashion-forward crowd flocking to brand launches and exhibitions. China is not only the biggest overall luxury market but also the biggest men’s luxury market in the world. Predictably, the invitation list of the Louis Vuitton show is light on international brand ambassadors, media and influencers, with travel bans keeping most guests from outside mainland China away. This is especially significant during the pandemic period,” he added. Louis Vuitton hopes will actually buy the pieces making their way down the catwalk. Though male consumers have not garnered the same attention as their female counterparts, observers say that is changing, with major brands like Louis Vuitton putting a renewed focus on Chinese men post-pandemic. However, other luxury players are either not sufficiently focused or not moving fast enough. ” explained Angelito Tan, chief executive of consultancy firm RTG Group Asia. “We anticipate the sector to get more competitive as it heats up, with newcomers and a renewed focus on developing men’s lines at the leading houses. Marketing to this new generation of Chinese male consumers is the next opportunity and the next battleground for the years to come,” he added. Although China’s luxury market was initially fuelled by men, women became the dominant luxury demographic by 2018, accounting for 71 percent of luxury purchases. More broadly, menswear already accounts for almost half of the clothing industry’s total sales value in China, according to Daxue Consulting, a Chinese-focused market research and management consulting firm, and in recent years an increasing number of domestic leaders in the mass market segment have launched menswear lines. The expected continuation of this increase in spending on fashion and beauty categories among men in China means the male consumer represents one of the biggest opportunities for global luxury brands to grow during the pandemic. Who is China’s “Typical” Male Luxury Consumer? Though there is a stereotype of China’s male luxury consumers being largely Post-90s fuerdai (second generation rich kids) spending their parents’ money on the latest show pieces, gender-bending streetwear and edgy accessories, data from Agility Research & Strategy paints a very different picture of the “average” male luxury consumer in China. “From our June sample (of interviews surveying a thousand affluent Chinese consumers), 81 percent are using money from their salaries, investments and bonuses to buy luxury products. Men in third-tier cities have been outspending those in first and second tier cities when it comes to luxury. Only two percent inherited their wealth,” said Amrita Banta, managing director at Agility Research & Strategy. “Only one third talked about status or feeling more confident but the majority talked about having products that match the quality of life they want to have,” she said. In offices around the country, a uniform of Uniqlo T-shirts or polo shirts are worn with leather belts from brands like Gucci, usually foregoing briefcases in favour of man-bags and leather backpacks from brands such as Hermès and Louis Vuitton. Beyond their very highest-level meetings, politicians in China are mostly seen in shirtsleeves and tie-less. Although much of the marketing activity and collective attention is given to luxury consumers in China’s biggest cities, according to Banta, men in third-tier cities have been outspending those in first and second tier cities when it comes to luxury goods in the first half of this year. According to data from luxury e-commerce platform Secoo, major luxury brands still dominate among lower tier consumers, who may have more recently made the leap onto the luxury ladder. There is also a difference in the luxury brands that are popular among first and second tier city men in China, compared to their lower tier counterparts. For first tier consumers, a more expansive list of brands, including Raf Simons, Acne Studios, FOG and Off White are proving popular. Burberry, Prada, Ralph Lauren and Gucci are among the most searched brands. The “Deloitte-Secoo CIIE Blue Paper 2019,” released in conjunction with the China International Import Expo last November, claims that male consumers in lower-tier cities have actually surpassed their female counterparts in terms of online purchases of luxury goods. For brands, the question isn’t just about where and how to best reach Chinese men; it’s also about focusing better on identifying the target market. One potentially problematic area for brands to consider is their matrix of brand ambassadors. 40 cities maybe you did business in before. Chinese sports stars such as footballer Wu Lei have yet to be tapped as ambassadors. One solution is to cast a wider net to find other candidates specifically for China’s male luxury consumers based on the men they admire. For the businessmen and white collar workers who make the majority of luxury purchases in China, their heroes are often drawn from the worlds of sports, gaming and business, for example. Though it might be strange to think of someone like Jack Ma as a fashion influencer, he has been known to drive trends among male shoppers in China, who rushed to buy down jackets from brands such as Moncler, Canada Goose and Bosideng after he was photographed wearing them in public, according to WeChat account BFaner, which chronicles the fashion choices of China’s business leaders. While it is next to impossible for brands to secure China’s wealthiest man as a brand ambassador, there are other well-known men in the world of business who are far more accessible. Ji Shang, the founder and chief executive of 8868 mobile games platform, is not only an admired young entrepreneur, but he has also publicly declared his obsession for sneakers, making him an interesting potential alternative for streetwear brands to collaborate with. Although there is no shortage of male celebrities in China who act as ambassadors for luxury brands, many of the most popular luxury spokesmen – Cai Xukun, Wang Junkai, Jackson Yee, Xiao Zhan – overwhelmingly fit the xiaoxianrou (little fresh meat) mould, and are chosen more for their fervent female fan bases than their appeal to male consumers. In the world of sports, foreign footballers such as Christian Ronaldo have long featured in campaigns for fashion brands in China, while Chinese stars, such as striker Wu Lei, have yet to be tapped. When the Chinese e-sports team, FunPlus Phoenix, won the League of Legends World Championship in November, they didn’t just go home with the elaborate jewel-encrusted winner’s trophy; they were also presented with a maroon Louis Vuitton trunk. Louis Vuitton is one brand that was quick to link the popularity of gaming and e-sports with a potential luxury market segment, by collaborating with Riot Games, creators of League of Legends, the most played PC game in the world. China’s premier gamers had essentially been co-opted as ambassadors for the world’s biggest luxury brand. ” Xu said. In other words, the platforms that are currently the most commonly used by international fashion brands to get their message across are not necessarily getting that message across to men. Another issue for brands looking to reach male consumers, according to Shanghai-based influencer and fashion digital content producer Xu Fengli, also known in English as Peter Xu, is that conversations about the intersection of celebrity with luxury fashion tend to be dominated by female users on social media platforms that garner the most celebrity and influencer traffic in China. On Douyin, 56 percent of users are female and on Xiaohongshu, a whopping 80 percent of users are female. Though Weibo’s user base only marginally skews female, conversations about celebrities and luxury fashion are driven by women; likewise, conversations and sharing about luxury on WeChat tends to be dominated by female users. Xu points to platforms such as sports-focused Hupu and sneaker-focused Dewu (also known as Poizen in English) as massive Chinese online communities dominated by male users, that have still not been leveraged by many luxury brands. In this regard, Louis Vuitton was ahead of the pack when it became the first international luxury brand to join Poizen in September last year, a move that more brands would be smart to emulate. Overall, luxury brands have put China’s men’s market on the backburner for too long. Those best placed to capitalise on the men’s opportunity in China will be those who follow the lead of brands like Louis Vuitton by experimenting with non-traditional platforms and influencers, as well as those who embrace e-commerce – where more Chinese men are actively looking to buy luxury goods from an increasingly diverse mix of brands. The fifth edition of Alibaba’s annual Taobao Maker’s Festival is going on the road this year, touring cities around China, including Alibaba’s hometown of Hangzhou, Wuhan (ground zero for China’s biggest coronavirus outbreak) and Chengdu. The festival highlights the creativity of emerging designers on the Taobao platform, including fashion designers, with some of those highlighted this year representative of broader trends in China’s youth fashion market. Last month, the 25th annual China Beauty Expo became one of the first major trade shows of the post-pandemic era, featuring 3,000 exhibitors. As seen at the expo, major trends include a continued focus on content marketing, a particular interest in anti-aging and sensitive skin repair, as well as products touting “health” benefits, including Traditional Chinese Medicine ingredients. Streetwear is, of course, represented, with Wuhan-based brand Graf (which saw its “Hometown Heroes” T-shirts embraced in a big way earlier this year as consumers rushed to support the brand and the people of Wuhan), as is hanfu, the increasingly popular trend for dressing in traditional Chinese garments, which is given a stylish update with designs from the Kong Zhong Yi Tai studio. In an effort to attract merchants to its platform, Xiaohongshu announced it has reduced its platform commission from 20 percent to 5 percent, bringing it in line with e-commerce leader Tmall’s fashion and beauty sales commission rates. For traffic coming from Xiaohongshu ads, the sales commission decreases even lower, down to 3 percent. Buyers use it to do research before purchasing fashion or cosmetics products, but the platform has struggled to convince its 85 million monthly active users to buy products directly from it, rather than heading to Tmall or WeChat mini-programmes to complete purchases. Xiaohongshu is an essential tool for (mostly female) users to read and write product reviews. According to interim results released by Hang Lung Properties, the rental income of Shanghai Plaza 66 increased by 9 percent in the first half of 2020, bucking a trend of poor performances among retailers hit by coronavirus-induced closures and a continued reluctance of consumers to return to brick-and-mortar shopping in a big way. The investment will allow Li & Fung to accelerate its shift to an entirely digital supply chain business and comes just over two months after Li & Fung delisted from the Hong Kong stock exchange following a privatisation by a consortium of investors, led by the Fung family and Singapore logistics assets investor GLP. The mall actually achieved a retail sales growth of 17 percent in the first half of the year, mainly due to its high concentration of top luxury brands and a re-homing of luxury spend among Chinese consumers more accustomed to buying luxury products overseas. E-commerce played an important role in keeping Chinese consumers spending in the midst of the coronavirus outbreak, with a quarter of the country’s total retail sales happening online in the first half, an increase of 6 percentage points over the same period last year. The number of online shoppers increased by 100 million over the same period, a ministry of commerce spokesperson told media in Beijing, though he didn’t reveal the total tally. 2020, compared with the same period a year earlier, according to data released by the Ministry of Commerce. China is home to four of the world’s five largest start-ups valued at more than $1 billion. Its list ranks Alipay operator Ant Group, the digital financial services arm of Alibaba Group, as the top-ranked unicorn, with a valuation of $150 billion; the world’s second-largest unicorn is TikTok owner ByteDance, with a valuation of $80 billion; third-ranked Didi Chuxing, China’s biggest ride-hailing services provider, had a valuation of $55 billion and Lufax Holding, which runs an online wealth management and peer-to-peer lending platform, was fourth with a $38 billion valuation. Altogether, the country had 227 such companies at the end of March, compared with 233 unicorns currently residing in the US, according to a new study from the Hurun Research Institute. Elon Musk’s Space Exploration Technologies Corp, better known as SpaceX, took fifth spot on the list with its valuation of $36 billion. The figure adds to evidence that China’s economic recovery may continue in the second half of 2020. China’s GDP grew 3.2 percent year-on-year in the second quarter, returning to growth after a record 6.8 percent contraction in the first quarter. 2025 The Business of Fashion. Once fashion’s most reliable growth engine, the Chinese market is shifting as consumer spending cools and shoppers with more choice than ever gravitate toward savvy domestic brands. China Decoded wants to hear from you. Opportunities for international players are still plentiful, but the old formula for succeeding in China is no longer relevant. Brands need a new game plan to stand out. The platform has long been one of China’s most important marketing tools, traditional chinese clothing for male but until now has struggled to become a sales engine for brands. Op-Ed | What’s Behind the Slump in China’s Luxury Sales? The key question is whether the drop is due to a weakening economy or a shift in consumer perception towards luxury items as mere commodities. A new generation of Chinese fashion designers are extending their international footprints beyond western markets, tapping sourcing hubs in India and Turkey and retailers from Dubai to Mexico. The essential daily round-up of fashion news, analysis, and breaking news alerts. Plus, access one complimentary BoF Professional article of your choice, each month.
The Ming Dynasty (1368-1644) witnessed a significant revival of traditional Chinese culture, which extended to the realm of fashion and clothing. This article provides an in-depth exploration of Hanfu fashion in the Ming Dynasty, shedding light on its exquisite designs, rich symbolism, and cultural importance. By examining the various components and distinguishing features of Hanfu, we aim to unveil the beauty and cultural significance of this ancient attire. During this period, Hanfu, the traditional attire of the Han Chinese, underwent remarkable changes in terms of shape and structure. The Ru was the principal garment worn in the Ming Dynasty. The sleeves of Ru were wide and long, giving the wearer an elegant and graceful appearance. It featured a loose and flowing design, qipao dress short reaching the knees or ankles. Made from silk or high-quality fabric, it was often intricately embroidered with rich patterns and auspicious motifs. It was a straight-cut, ankle-length garment, accentuating the dignified and regal demeanour of the wearer. The Ming Dynasty Qun was often adorned with delicate embroidery, enhancing its visual appeal. The Qun, or skirt, was typically worn beneath the Ru. It served both practical and decorative purposes. The belt was usually made from silk and intricately woven with colorful threads and patterns. The Dai, or belt, was an essential accessory in Ming Dynasty Hanfu. It not only tied the Ru and Qun together but also added elegance and charm to the overall outfit. It consisted of a Ru worn on top of a Qun, combining comfort with an alluring aesthetic. The Ruqun was one of the most popular styles of Hanfu during the Ming Dynasty, especially among women. The Beizi was a sleeveless outer garment worn over the Ruqun, mainly by men. It was made from high-quality silk or brocade material and featured rich tapestry and auspicious motifs. The Beizi added a sense of formality and grandeur to the overall attire, exemplifying the social status of the wearer. The Ru and Qun were often made from contrasting colors and complemented by intricate embroidery, emphasizing the wearer’s elegance and grace. It consisted of a one-piece robe with a crossed collar, akin to the Ru, and a skirt-like bottom resembling the Qun. Shenyi was a unisex style of Hanfu that gained popularity during the Ming Dynasty. The Shenyi was known for its simplicity and versatility, making it suitable for various occasions and social classes. Hanfu in the Ming Dynasty embraced a profound symbolism and cultural significance. The attire was not merely a fashion statement but also a reflection of social status, cultural identity, and moral values. The choice of colors and patterns in Hanfu conveyed specific meanings. Motifs like dragons, phoenixes, and clouds represented power, nobility, and auspiciousness, reinforcing social hierarchies and cultural beliefs. The use of vibrant colors, such as red and gold, symbolized prosperity, joy, and good fortune. The styles, colors, and accessories worn varied according to one’s position in society. Hanfu in the Ming Dynasty was intricately connected to one’s rank and social status. The attire of scholars, officials, and members of the imperial court showcased their prestigious status, while commoners and lower-ranking individuals adhered to simpler designs. The Ru, Qun, and Dai, alongside various styles like Ruqun, Beizi, and Shenyi, highlighted the unique beauty and craftsmanship of Ming-era Hanfu. Hanfu in the Ming Dynasty displayed a harmonious blend of elegance and tradition, reflecting the grandeur and refinement of traditional Chinese culture. The clothing’s symbolic colors, patterns, and accessories added layers of meaning and conveyed social statuses and cultural values. Today, the revival of Hanfu in modern fashion pays homage to this splendid epoch, preserving and celebrating China’s rich sartorial heritage.
