Kimono sleeves, or tamoto, meaning “by the side of”, were the pockets in traditional Japan that allowed wearers to stash all manner of small items while keeping their hands free. The unique construction of a kimono from strips of fabric allowed the sleeves to be used in such a manner. Are there pockets in kimono? It is for ventilation. Because women wear their belts (obi) at a higher position than men, they need that slit to give their arms wider range of motion. Coin purses, tobacco pouches and similar belongings could be carried this way – a necessary arrangement, since traditional kimonos had no pockets. A furisode has long, hanging sleeves, while kimonos with shorter sleeves are called tomesode. Furisode kimonos themselves are divided into various types. What kind of sleeves do kimonos have? There are ofurisode (about 114 cm), chufurisode (about 100-95 cm), chinese new year clothing traditions and kofurisode (about 85 cm). How are kimono sleeves attached? The kimono sleeve is always cut with a deeper armhole than the set in sleeve. Kimono sleeves are cut together with the front and back bodice. The sleeve runs from the side seam of the sleeve to the side seam of a bodice. That is in these types of sleeves there are no shoulder seam or armhole seam. What is a kimono sleeve? What are sleeve pockets for? 5,826,273 includes pockets placed about everywhere on the garment, and more particularly on top of the shoulders, at the arm junction. The purpose of this pocket system is to place heating elements as close to the body as possible. Is it disrespectful to wear a Haori? Because the garment is skintight, the pockets are affixed to the exterior thereof. “Haori” is a word representing the traditional Japanese jacket. But that doesn’t matter if you’re obviously wearing it as part of a modern casual outfit. Some haori are meant to be worn casually while others are meant to be formal wear. It was reserved for the kimonos worn by Japan’s highest-ranking individuals and denied to lower classes. What is the male version of a kimono? In the west, the Japanese men kimono is also called “Kimono Robe Men” or “men’s Japanese kimono robe”. What does a purple kimono mean? What are the 3 types of sleeves? When compared with the gara/pattern of women kimonos, Men’s kimonos are as varied and colorful as their wearers. How does a kimono sleeve differ from a raglan sleeve? A raglan sleeve (Figure 2) is a sepa- rate, precisely shaped piece of fabric which joins the bodice in a diagonal seam ex- tending to the neck- line area. Set-in sleeve. A set-in sleeve is a sleeve that is attached to the garment’s armhole and sewn all the way around. What does a black kimono mean? Black colous symbolized the bride’s strong intention to “not be dyed by anyone else”, and it is a kimono that gives an image of “hard chastity” like Shiromuku. A kimono sleeve (Figure 3) is a sleeve that is cut as one with the garment or as a part of it, such as a yoke. Gussets are most commonly diamond or square in shape. What is a sleeve gusset? A gusset is an inset of the same fabric stitched in the underarm area of a sleeve. In some cases a two- piece gusset is used. What are the parts of a kimono? Nagajuban. Many who sew find the two-piece gusset easier to insert. Kimono are difficult to clean. Datejime. An undersash that’s used to tie your Nagajuban. Obi. An Obi is the wide silk sash that’s tied around the waist of your kimono. How long should kimono sleeves be? The sleeve length on a kimono is measured from the enter seam on the back of the kimono (at the base of the neck) to the end of the sleeve. Kimono. Kimono are the outer layer of silk robe that’s visible to the world. What are Juliet sleeves? Juliet sleeve. 2. The sleeve length should be long enough to reach between your elbow and wrist. A long, tight sleeve with a puff at the top, inspired by fashions of the Italian Renaissance and named after Shakespeare’s tragic heroine; popular from the Empire period through the 1820s in fashion, again in the late 1960s under the influence of Zeffirelli’s film Romeo and Juliet. What do you put in your arm pockets? 2. Left Arm Pocket (1): This zippered pocket sits on the outer sleeve of the jacket and is perfect for smaller items like pens, chapstick or hand sanitizer. What are the types of pockets? Expanding Pockets and Cargo Pockets. Often you can tuck things like your phone into the waist sash in a pinch. Does Hanfu have pockets? Hanfu does not have pockets, so in modern times many people will still carry a bag or backpack with their outfit. Is it OK for non Japanese to wear kimono? Can foreigners wear kimono? To get straight to the point: As long as a kimono is worn out of respect and appreciation of the Japanese culture, it’s perfectly fine to wear a kimono as a foreigner.

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On the right: Foreign-influenced or foreign-style cross-collared robes closing to the left side instead of the right side. Traditionally, Chinese style upper garment closes to the right. This term is also used to refer to clothing of foreign origins in ancient China. China and its surrounding regions by non-Han Chinese people. The introduction of Hufu-style garments and attire in China occurred by the time of King Wuling of Zhao. The traditional way to distinguish between Hufu and Hanfu, Chinese clothing, is by the direction in which the garment collar closes. 284 the Sasanid Persian, the Turkic people (Tujue), Uyghur (Huihe or Huihu), Tibetans (Tufan), and the Khitans (Qidan) who lived in the north and west regions of the empire. The youren collar is an important symbol of the Han Chinese, and traditionally Chinese robes and Chinese jackets must cover the right part of the body. However, the Chinese did also wear clothing which overlaps in the front and is closed on the left side, in a style known as zuoren (Chinese: 左衽). Shang dynasty in China. According to the Shuowen Jiezi 《說文解字》, a form of paofu, known as xi (襲), was a robe with a zuoren closure. The coat known as zhe (褶; sometimes referred as xi), typically used as part of the kuzhe, was also a xi (襲) according to the Shiming. Right: Figure of an officer wearing a type of kuxi which closes to the right (右衽) in a typical Chinese way, Northern Wei. The use of zuoren, however, was typically associated with funeral practices. Left: Figure of a warrior, wearing a form of kuxi which closes to the left (左衽), a feature associated with Hufu-style clothing, Northern Qi. According to ancient Chinese beliefs, the only moment a Han Chinese was supposed to close their clothing in the zuoren-style is when they dressed their deceased. Based on this belief, the left lapel needs to be outside (i.e. youren) to indicate that the power of the yang is suppressing the yin, and was thus reserved for the clothing of living people. However, if the yin aspect surpasses the yang, which is represented by the zuoren, then this form of clothing is to be worn by the deceased. This funeral practice stemmed from ancient Chinese beliefs in the yin and yang theory, where it is believed that the left represents the yang aspect and stands for life, whereas the right represents the yin aspect, which stands for death. Therefore, it was taboo in ancient China for a living person to wear zuoren. Yuan dynasty, left lapel ru continued to be worn in some areas of the Ming dynasty despite the dynasty being led by Han Chinese. Based on Confucius’ sayings, pifa zuoren (simplified Chinese: 被发左衽; traditional Chinese: 被髮左衽; pinyin: bèifà zuǒrèn; lit. During his time, unbound hair and clothing closing to the left were the clothing customs of the northern nomadic ethnic groups which were considered as barbarians by the Han Chinese. Moreover, from the standpoint of the Huaxia culture, pifa was a way to reject refined culture and being turned into a barbarian. By the Han dynasty, since Confucius himself was the first person to use the phrase pifa zuoren to refer to Non-Zhou dynasty people, this phrase became a common metaphor for primitiveness. 267 and in the female clothing of the Yuan dynasty when it was a common practice for some Chinese women to change the direction of their collar to the left side. 103 When used by the ancient Chinese literati, the concept of pifa zuoren became a phrase, which held the symbolic of foreign people who were living a barbarous and civilized lifestyle; this concept also became a way to emphasize the customs differences between the Han people and other ethnic minorities and draw the line to distinguish who were considered as civilized and barbarians. During the Warring States period, King Wuling of Zhao (r. Some non-Chinese ethnicity who adopted Hanfu-style sometimes maintain their left lapels, such as the Khitans in the Liao dynasty. Hufu to facilitate horse riding. Hufuqishe (Chinese: 胡服騎射; lit. During this period, the term ‘Hufu’ was coined after the ‘Hu’ people, who were northern nomadic people. King Wuling undertook those sartorial reforms in the 19th year of his reign in 307 BCE. However, according to the Bamboo Annals, an annalistic history of Wei unearthed from a Wei King tomb in 279 BC, the Zhao court had ordered commanders, officers, and their families, and garrison guards to adopt Hefu (Chinese: 貉服) in 302 BC. In the Shiji《史記》, tang dynasty hanfu dress Zhao Shijia (lit. The term ‘He’ used in the Bamboo Annals is a synonym of the term ‘Hu’ which refers to the northern nomadic people. 257 The choice to adopt cavalry and the departure from the chariot warfare from the 8th to 5th century BC showed the influence of the Xiongnu, who were the northern neighbour of the Zhao state. Under this sartorial and military reform, all the soldiers of King Wuling had to wear the uniforms of Donghu, Linhu, and Loufan in battles. The Hufu adopted by King Wuling can be described as shangxi xiaku (Chinese: 上褶下袴; pinyin: shangxi xiaku; lit. The reality or the extent of King Wuling’s reforms is a disputed subject among historians. Left: Figurine of the foreign Hu wearing what appears to be a round collar garment, Warring States period. Chinese: 靴; lit. Right: Bronze belt Hooks, Warring States period. However, the Hufu-style trousers introduced by King Wuling were characterized with loose rises and differed from the indigenous ku (Chinese: 袴) of the Chinese; the Hufu-style trousers could be described as form of kun (Chinese: 裈); the kun were trousers which had rise to cover the crotch areas. Of note of importance, although the Hufu-style attire adopted by King Wuling appears to be similar to Scythian clothing, the Hufu which appears in classical Chinese text were actually different from the historical Scythian clothing. A conical cap which resembles Scythian hats was also adopted as part of the Hufuqishe. For example, the hat adopted by King Wuling was less pointy that the Scythian hat and were decorated with a marten tail. This form of clothing attire was most likely worn by peasants and labourers. As the kun-trousers did not conform to the traditional culture of the Han, the kun was mainly worn by warriors and servants, but kun were not used by the general population as people found it hard to adjust the use of kun in their daily activities. The kun however influenced the development of jingyi by transforming the jingyi into becoming longer, stretched up to the thighs regions, and the waist become enclosed however the rise and rear of those trousers were open which allowed for the purpose of urinating and defecting; this then became the pattern of ku-rousers. In the Warring States period, the wearing of short upper garment worn by the Chinese which is belted with a woven silk band and had a right-opening also influenced the Hufu; this form of attire was worn together with trousers allowing greater ease of movement. This form of ku-trousers was more accepted in the Han tradition than the kun, and evolved into other forms of ku trousers of the later dynasties, such as qiongku (trousers with hip and rise area closed in the front and tied at the back with multiple strings) which was designed in the Western Han dynasty. These forms of trousers were Chinese innovations. Some forms of hanfu worn in the Eastern Han dynasty started to be influenced by the costumes of the Hu (胡) people and the gown with round collar started to appear. Kun trousers introduced by King Wuling later developed into other forms of trousers in the later period, such as dashao (trousers with extremely wide legs) which appeared in the Han dynasty and dakouku (trousers which were tied under the knees). However, in this period, the round collar gown was more commonly used as an under-garment. This was a period of cultural integration and cultural exchange between the Han Chinese and the other ethnic groups. 317 However, not all stylistic innovations in clothing came from the Northern minorities in this period. The Han Chinese living in the South liked the driving clothing of the Northern minorities which was composed of trousers and xi (a close-fitting short robe with round neck and tight sleeves). 317 For example, the trousers tied with chords below the knee worn in the kuxi (褲褶; lit. Six dynasties were Chinese inventions and were not nomadic clothing. 317 The Kuzhe (袴褶) of the late Northern dynasties was a creation of Han culture which was developed through the assimilation of non-Han culture. Since the Northern Wei dynasty, the shapes of the Han Chinese robes started to be influenced by the round collar robes. The round collar robe introduced by the Xianbei had tight sleeves which allowed for greater ease of riding when horse riding. The Xianbei were originally a branch of the Donghu which were defeated by the Xiongnu but they later claimed to be descendant of the Yellow Emperor as the Chinese. 317 However, the other figures found in the tomb of Lou Rui are dressed in styles closer to the traditional Hanfu style, showing wide sleeves and lapels closing to the right side. 183,185-186 In the murals of Lou Rui tomb of Northern Qi (dated to 570), a procession of riders appear to be clothed in quekua and wearing boots and headgear. Xianbei clothing had zuoren opening (i.e. closed on the left side). The cape and hood was another nomad outfit which was distinctively Xianbei. The cape and hood was another nomad outfit which was distinctively Xianbei. A form of kuxi. Xianbei women typically wore a long robe under a jacket instead of trousers and boots. The cross collar closing to the left showing foreign influence or style instead of the right closing. The trousers are however Chinese trousers. The Xianbei rulers continued to wear own distinctive Xianbei clothing in order to maintain their ethnic identity and avoid merging with the Chinese majority population. Riders from the murals from the Tomb of Lou Rui appear to be wearing quekua. 284,319 However, under the sinicization policies under Emperor Xiaowen of Northern Wei, Hufu (Northern barbarian clothing) was banned. The ban also included non-Han language at Northern Wei court, and the changing of the royal family surname Tuoba to Yuan. Many members of the Tuoba Xianbei adopted Han Chinese clothing, language, surnames and customs. This ban of Hufu also included the ban on Xianbei clothing. 131 However, this sinicization policies were also met with opposition by other ethnic minority groups. These re-emerging Xianbei clothing following the fall of the Northern Wei also showed minor changes. 131 After the fall of the Northern Wei, male figures started to reappear wearing Xianbei-style clothing on Buddhist monuments and tomb murals; however, the Xianbei-style clothing worn by women are no longer seen in the art of China after the year 500 AD. In the tomb of Xu Xianxiu (d. 407-409 After the year 500 AD, women would appear in Chinese-style clothing while men could be found dressed in either Xianbei-style or Chinese-style clothing. Xu Xianxiu, a Northern Qi aristocrat, is depicted wearing Xianbei-style tunic, trousers, and boots and what appears to be a cloak of Central Asian fashion while his wife is wear a Chinese-style robe. The Sogdians were also called Hu (Chinese: 胡) in Chinese. Under the influence and the demands of the Chinese population, most Sogdian attire in China had to be closed to the right. Their robes would often be buttoned up the neck forming the round collar but occasionally the collar (or lower button) would be undone to form lapel robes (Chinese: 翻领胡服; pinyin: Fānlǐng húfú; lit. Qiuci and Gaochang but originated in Western Asia but spread eastwards through the Sogdians in Central Asia. Some female servants depicted on the tomb mural of Xu Xianxiu appear to be dressed in clothing which looks closer to the Xianbei style garment than the Chinese-style clothing due to the use of narrow sleeves; however, this form of clothing is not representative of the Xianbei style clothing worn before the year 500 AD. The Sogdians living in Central Asia and China wore turned-down lapel robes which was popular the Sogdian region of Central Asia in the Western Asia. The Sogdians in China and Sogdia had both lapels down following the Iranian tradition or the tradition of the Saka people living in the Khotan Oasis. It was also not rare for Chinese Sogdians to wear their robes with only the left lapel which was a distinguishing feature as the only left lapel robe was rarely found in Sogdia. The Tang dynasty also saw the ready acceptance and syncretization with Chinese practice, of elements of foreign culture by the Han Chinese. This dressing customs of wearing lapel robe was later inherited and developed in the subsequent dynasties, in the Tang and Sui dynasties. The stylistic influences of these cultures were fused into Tang-style clothing without any one particular culture having especial prominence. The foreign influences prevalent during Tang China included cultures from Gandhara, Turkestan, Persia and Greece. 272 However, just like women in the Tang dynasty period incorporated Central Asian-styles in their clothing, Central Asian women also wore some Han Chinese-style clothing from the Tang dynasty and combined elements of the Han Chinese-style attire and ornament aesthetic in their ethnic attire. In the Tang dynasty, the descendants of the Xianbei and the other non-Chinese people who ruled northern China from 304 to 581 AD lost their ethnic identity and became Chinese; the term Han was used to refer to all people of the Tang dynasty instead of describing the population ruled by the Xianbei elites during the Northern dynasties. An example of foreign influence on Tang’s women clothing is the use of garment with a low-cut neckline. The round-collar jacket and gown, tied with a belt at the waist, became a typical form of fashion for both Tang dynasty men and women as it was fashionable for women to dress like men in the Tang dynasty. 2 was brought from the Silk Road. 1 In the early Tang dynasty, the influence of hufu was described as a pastiche of Turkic, Uyghur, Sogdian and Sasanid Persian clothing. Hufu-style in this period included jacket with open-front with narrow-fitting sleeves, striped, tapered trousers, woven boots, and weimao (i.e. wide-brimmed hat with an attached gauze veil). Other forms of Hufu included: mili (羃䍦), a burqua-like headwear, veil-less hat called humao. Almost all figurines and mural paintings depicting female court attendants dressed in men’s clothing are wearing Hufu. In some unearthed pottery figures wearing lapel robes dating from the Tang dynasty, it found that the yuanlingpao had three buttons on the collar. During this period, the yuanlingpao could be turned into a lapel robe (influenced by those worn by the Sogdians) by unbuttoning the robes and the lapel robes could be turned into the yuanlingpao when buttoned. The lapel robes worn during the Tang dynasty was categorized as Hufu instead of Hanfu; the use of these styles of robes showed the popularity of Hufu during the Tang dynasty, especially during the Wuzetian period (684-704 AD). It also popular for people to use fabrics (such as brocade) to decorate the collars, sleeves and front and their gowns; this clothing decoration customs is known as ‘partial decorations of gowns’ and was influenced by the Sogdians of Central Asia who had entered China since the Northern and Southern dynasties period. Central Asian roundels (i.e. a form of partial decoration) which would run down at the centre of the robe. 27 The Yuanlingpao however was categorized as Han clothing. It was also fashionable for noble women to wear Huihuzhuang (回鶻装; Uyghur dress, which is sometimes referred as Huihu-style), a turned-down lapel voluminous robes with tight sleeves which were slim-fitting, after the An Lushan Rebellion (755-763 AD). In 840 AD, the Uyghur empire collapsed, the Uyghur refugees fled to Xinjiang and to the Southeast of Tang frontier to seek refuge, and in 843 AD, all the Uighur living in China had to wear Chinese-style clothing. After the High Tang dynasty period, modern qipao dress the influences of Hufu progressively started to fade and the clothing started to become more and more loose. The Jin dynasty was founded by the Jurchens. 2 and more traditional Han style clothing was restored. 281 The order to adopt Jurchen hairstyle and clothing style was an Inner Asian practice of forcing people who were living on conquered lands to show their subservience to their conquerors. In 1126, the Jurchen orders all Chinese people living in the conquered areas to shave their hair on the front and to dress only in Jurchen style. 281 This order however does not appear to have been observed in a strict manner. 281 Under Emperor Shizong, the Jurchen were prohibited to be dressed in Chinese fashion and were forbidden from adopting Chinese personal and last names; this was because during his time (1161-1189), many Jurchen appeared to have adopted Chinese behaviours while the Jurchen had forgotten their own national traditions. 281 By 1170, Chinese men had adopted either Jurchen or mixed Jurchen-Han clothing; Chinese women, especially elite women, however maintained Han-style clothing although the clothing were outdated according to the standards of the Song dynasty. 281 Under Hailing Wang, who was Pro-Chinese emperor, Chinese people in Honan were allowed to wear Chinese clothing. The rulers of Jin gradually abandoned their own customs, including clothing and language for Chinese ones, especially after having moved their capital to Kaifeng. The Mongol of the Yuan dynasty impacted the clothing worn by the Chinese. However, Han Chinese clothing continued to co-exist along with Mongol clothing. Different styles of Mongol clothing were shared and used among different social classes. Example of Mongol clothing and hats which influenced the Han Chinese were the boli hat (Chinese: 钹笠帽), terlig, jisün, Mongol-style dahu. The customs of Goryeo clothing became popular at the end of the Yuan dynasty among Mongol rulers, aristocrats, queens and imperial concubines in the capital city. During this period, men’s casual clothing follows those of the Han Chinese; aristocrats women mainly worn Mongol clothing while common women wore ruqun and banbi. 2005 study by senior researcher Choi. In the twenty fourth year of Hongwu (1391), there was an imperial edict which banned the wearing of Hufu; this was specifically for women of gentry. Following the fall of the Yuan dynasty, Emperor Taizu promulgated an imperial edict to restore Tang-style clothing and hats in the first year of his reign. Several other bans were made regarding the wearing of nomad clothing, which was recorded in the Ming dynasty historical records (for example, in 1442, 1491, etc.). Throughout the Ming dynasty period, there were several prohibitions on Mongol style clothing; however, certain clothing of the Ming dynasty influenced or derived from the Mongol clothing continued to be used, such as yesa and dahu. King Huiwen wore the same guan as his father, King Wuling of Zhao, which was a hufu-style hat decorated with marten tail. King Huiwen of Zhao. 2017). Between history and philosophy : anecdotes in early China. Paul van Els; Sarah A. Queen, eds. Albany: State University of New York Press. 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When talking about Chinese costumes, Tang suit (Chinese suit), the Mao suit, and Cheongsam are the three most frequently mentioned forms. Recently, with the revival of Confucian culture, Hanfu has been realized by people and more and more people like to wear Hanfu in important events, holidays or ceremonies. Hanfu (or Han Chinese clothing) is one of the longest history ethnic costume in the world, from 21st century B.C. Besides these costumes, Hanfu is another form of traditional Chinese costume, which had been ignored for many years. Unlike other ethnic costumes, Hanfu is a mass of ethnic Han clothes from Xia and Shang Dynasties to modern days with characteristics of ethnic Han. 17th century, nearly 4000 years history, basing on the Han nationality culture, through the natural evolution, and then formed a unique costume system. This period was a strict hierarchy society, the length of the skirt, the wideness of the sleeve or the degree of ornamentation of Shenyi (a common type of Hanfu in this period) represented different positions. Shenyi (Xia-Shang dynasty to Han dynasty), it was primarily worn by women. Shenyi (Xia-Shang dynasty to Han dynasty), it was primarily worn by men. The style of Hanfu changed with the dynasties, concise beauty was respected in the early stage (Xia-Shang dynasty to Han dynasty). Tang dynasty was the golden time of ancient China, the culture and economy developed rapidly. Foreign culture came in ancient China and had been well accepted, old notions like the low status of women had been changed, which directly reflected by the change of Hanfu. It used to call for clothes should be covered up the whole body, in Tang dynasty, Hanfu became broad and loss. Hanfu n Tang dynasty. From Song dynasty to Ming dynasty, Hanfu changed a lot, the collar mainly became circular type instead of symmetrical type. ‘The proportion of the upper outer garment to lower skirt in Ming dynasty was significantly inverted. Hanfu in Song dynasty, Yuan dynasty, Ming dynasty and Qing dynasty. In late Qing dynasty period, the clothing was affected by western style clothes, especially in the modern society, these western-style clothes instead of Hanfu and became people’s daily wearing. Hanfu in Qing dynasty inherited these characteristics. In Nvember, 2003, Wang Letian, an ordinary man, he wore Quju (a form of Hanfu) went to the street, which was based on the limited information and made by other Hanfu fans and himself. Now Hanfu has become a historical heritage of ancient China, it usually appears in important festivals and media entertainment. Journalist Zhang Congxing reported this news in ‘Lianhe Zaobao (the largest Singapore-based Chinese-language newspaper)’, and attracted worldwide attentions, this was the beginning of Hanfu renaissance. He is the first man who wore Hanfu in public places. Hanfu amateurs sued the company and won this case. 2004 is an important year for Hanfu, on October 7th, ‘Beijing Times’ reported a Hanfu activities, a false report appeared at night, and some websites changed the title and called Hanfu ‘shroud’. After this, Hanfu had been well-known, more and more people took part in the Hanfu revival. In 2006, the Chinese government official website changed the image of Han Chinese to Hanfu, it represented the government approved Hanfu. In 2009, Hanfu fans in British propagandized Hanfu, it was the first overseas Hanfu event had been reported, and it started popularity of Hanfu all over the world. On April 30th, 2013, the first Cross-Strait Hanfu Culture Festival was held in Fuzhou. In the following year, Hanfu had been proposed in CPPCC (Chinese People’s Political Consultative Conference) and the National People’s Conference that Hanfu can represent Han Chinese clothing. In the following years, more and more Hanfu activities will be held, modern hanfu the biggest wish of Hanfu fans is that Hanfu can be accepted by the public in the future. Tang Yan is a big fun of Hanfu. So far, Hanfu had been widely known by both Chinese people and foreigners, the number of Hanfu amateurs increased from only a few people to over 465,000, this is the efforts by Hanfu fans and the government support. Tang went to a Hanfu exhibition with her friend, the exhibition shared the beautiful clothes and the culture of Hanfu. The first time she knew it was 6 years ago, when she was a college student. After the exhibition, Tang searched more information about Hanfu, then she realized that Hanfu had become a historical and cultural sign of ancient Chinese rather than the daily clothes. ‘I fell in love with Hanfu at the first sight! ‘They said that was so strange. It was minority, and it was hard to find someone who had the same interests, her friends could not understand why Tang suddenly liked Hanfu and wanted to wear it in daily life. Hanfu is an old thing, people do not wear it now. Hanfu is a vague concept to them, it only has significance to culture. I felt so depressed,’ Tang said. With our efforts, people around us gradually accepted Hanfu, ’Tang smiled. ‘When I found Hanfu Post bar (like Google Group), I felt so happy, I made lots friends, and they are all Hanfu fans. In summer days, Tang and her friends organize activities together, they wear Hanfu and go to streets to introduce Hanfu. Not everyone can understand her dressing, several time when Tang was walking along the street, people thought the clothes were Kimono (Japanese costume) or Hanbok (Korean costume). ‘Some people thought I was wearing Kimono, I had to explain it is Hanfu. Actually Kimono and Hanbok are both derived from Hanfu in Tang dynasty, but now people believe Hanfu copies Kimono, that is so ridiculous! Tang and her friends want to broadcast Hanfu and arise people’s attention, not only because its historic significance, but also because Hanfu is Han Chinese’s costume. Tang’s Hanfu are all made by Li, a tailoress who owns an online taobao shop. Tang Yan wore Hanfu. Most of her goods are Chinese ancient costumes. From 2010, the sales of Hanfu had increased quickly, it soon become the best-selling in Li’s shop. ‘There are so many forms of Hanfu, I could not distinguish them very well at first. Even in Hanfu was better known in 2010 than before, but for most people, they only heard Hanfu before, but did not know exactly what Hanfu is. The information of Hanfu was not as completely as now, there were few ways to know about it’, Li said, she had to ask her clients several times to make sure the clothing is right. But now things go better, Li can get the information online, the information is a complete system. ‘From 2010, I have made over 300 Hanfu. At first I knew nothing about Hanfu, and now I can explain Hanfu very well, I think I am an observer of the process of Hanfu revival,’ Li laughed. ‘People hold different opinions about the Hanfu revival. I really knew little about it, so I searched online, and I found I am not the only one knew little about Hanfu. The arguments of Hanfu revival are mainly focus on three aspects. The first one is about whether Hanfu is the clothing of Han Chinese, because in the process of national assimilation, the costumes and culture of different nationalities were interacted, it is hard to define what Hanfu is. Some people criticize Hanfu revival’, Caicai explained, she is a journalist who had published several news about Hanfu. The second one is about if people can accept Hanfu well, the disappearance of Hanfu is because of historical reasons, in modern days, Hanfu cannot replace western-style clothing, some people argued there is no need to revive Hanfu in modern society. The reconstruction of national pride and the revival of Chinese culture are the original intention of Hanfu renaissance, it is purely a cultural consciousness and heritage. The biggest debate it that, critics argue some Hanfu fans are too radical, which may cause ultranationalist problem, some opponent even called the revival ‘Nazism’, which is unreasonable. In the future, Tang and her friends will continue promote Hanfu. The culture of Hanfu is a way to help people understand the history, maybe this is the biggest significance of Hanfu revival. ‘What we have done is just want to spread our culture, and we do not care the result’.

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This pair of fantasy gowns were heavily inspired by hanfu, which are traditional Chinese clothing, specifically those of the Tang Dynasty (618-907 CE). However, this has about as much in common with actual historical Chinese clothing as this paper doll has in common with actual historical English clothing. That’s to say- not a whole heck of a lot. This gave me fits! I initially planned on the two dresses coordinating, but then decided that seemed boring, so broke out and did two very different color schemes inspired by seasonal Japanese colors. Rarely have I had a set that I have more trouble with coloring. So, I tried to base these color schemes on traditional seasonal colors of Japan. One dress uses February colors, crimson and purple. The other dress uses March colors which are peach and khaki. The Kimono Lady, a defunct blog, has a really detailed write up about March colors here. In Japan, traditional kimonos are styled with seasonal color schemes. I love color, but I find my own eye attracted to specific color schemes. I had a little more trouble finding references for February colors, but this yukata influenced the colors I chose. It’s really valuable to see how different cultures combine colors. I never would have used purple and crimson together in the way that I did, but once I did it- I really loved how graphic it made the dress.

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That would be awsome. I tried to translate it and I had soo much trouble with the sice of my pattern. Sorry its for a school project. Whats the publishing organization? I would also measure from the top of my shoulder to the length I want, and add 1-3″ for a hem. Double this and add 40″ (for the sleeves) to know how much fabric to get. The simple cuts for the neck and sleeves just take measuring (and marking with pins, traditional qipao chinese dress ) then cutting as directed. The pattern IS here – just follow the directions, including measuring your hips to know how wide the back is… I’m going to look for some fabric tomorrow! How can I get a copy of the pattern for this? I absolutely LOVE this design, and the tutorial is fantastic! I don’t see the download for the PDF pattern on here, anywhere. I would love to be able to download the pattern and get to work on making this! You made a Chinese Hanfu actually. Thank you so much for sharing! This is very beautiful, I will definitely try this. Thank you for the tutorial.

HWA International School, in collaboration with China’s Eazy Education, recently organized a cultural exchange event to promote the Hanfu culture. The aim of this event was to provide international students with a deeper understanding of Eastern history and culture while fostering cultural exchange and interaction among young people from different backgrounds. During the event, sleeveless cheongsam students presented the background of Hanfu culture and explained how Hanfu embodies the natural beauty and harmonious aesthetics of the East. The students took turns showcasing Hanfu from different time periods, including the Han Dynasty, Wei and Jin Dynasty, Northern and Southern Dynasties, Sui and Tang Dynasty, Song Dynasty, Ming Dynasty, and the Republic of China. Additionally, students from our school’s martial arts CCA class delivered a spectacular martial arts performance. This exhibition demonstrated the ancient Chinese people’s unique pursuit of beauty. They showcased the charm of traditional Chinese martial arts skills and introduced the depth of Chinese martial arts culture to international students.

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Items & Feature The gorgeous Mamian skirt can be chosen for both daily outfits and festive attire, showcasing its versatility. 2.54 cm; Please make sure the product’s measurements will fit your daily wear size, or view the complete Size Guide Chart to get more help. This ensemble of the Mamian skirt exudes a strong sense of fashion, effortlessly allowing you to stand out. Recommend Hand-wash with your favorite mild detergent; Cold or warm water, maximum temperature 40°C. When washed, shake off any excess water and let them air dry. Guarantee: If the item has any small and big quality issues, we will offer free return or refund for you. Shipping: Once the package is in transit, you will receive an email notification of the shipping status and location, also you can directly Track Shipping online. Learn more about the Return & Refund Policy. The top is an enhanced version of the airplane-sleeve blouse with a distinctive red collar and print. A visually stunning hanfu set is undoubtedly a delightful surprise, and this set featuring an improved airplane-sleeve top paired with a Mamian skirt achieves just that. The loose-fitting silhouette is simple yet natural, requiring minimal body shape requirements. The black Mamian skirt features subtle patterns that enhance its texture while adding intricate details to the entire hanfu ensemble. The pattern on the hem of the skirt is the highlight of this entire look, depicting mountains, oil-paper umbrellas, and flowers, as if capturing the scenery of spring on this exquisite Mamian skirt.

Soon after the summit between the Chinese and South Korean presidents in November 2022, users of the Chinese over-the-top (OTT) platform Tencent Video found that South Korean movie “Hotel by the River” appeared on the content list. That followed a decision in December 2022 to allow the 2020 Korean movie “Oh! My Gran” to show in China. With some South Korean cultural products returning to China after more than six years, observers think China is in the process of lifting its ban on hallyu. Hallyu, or the Korean Wave, refers to the cultural charm offensive launched by South Korea since the late 1990s, the first targets of which were South Korea’s East Asia neighbors: China and Japan. In fact, the term hallyu was first coined in relation to China, when it was used in the Chinese name of a Korean pop music CD. In 2000, K-pop boy group H.O.T’s concert attracted 100,000 fans and set a record for attendance at the Beijing Workers Stadium venue. The word was then widely adopted by Chinese media to describe the success of Korean singers, and later expanded to other media after the airing of K-dramas in China. Since then, hallyu has boomed in China and been endorsed by China’s top leaders, such as Hu Jintao and former Politburo Standing Committee member Wang Qishan. Hu also managed to meet the drama’s actress, Lee Young-ae, three years later during his visit to South Korea. In 2005, then-President Hu told Korean journalists that he really enjoyed the drama “Dae Jang Geum,” but was too busy to finish it. The comparison indicated hallyu’s popularity in China at that time. Furthermore, when President Xi Jinping visited South Korea in 2014, China’s first lady, Peng Liyuan, told Korean officials that she thought photos of her husband in his youth looked like the protagonist from “My Love from the Star” – a clear confirmation that she had watched the K-drama series. Not only were Korean artists coming to China to perform, but many Chinese singers went to South Korea as trainees and eventually made their debuts there, such as Han Geng from Super Junior, Victoria Song from f(x), Meng Jia and Wang Feifei from miss A, and Lu Han and Huang Zitao from EXO. 2016. Although the Chinese authorities never recognized the existence of an official ban on hallyu and said China was open to cultural exchanges, people could easily witness that Korean celebrities disappeared from China since then. However, the landscape totally changed when Beijing decided to retaliate against Seoul’s decision to deploy a U.S. China’s ban on hallyu not only caused huge financial losses to the Korean cultural industry, but more importantly, the incident forced the Korean cultural industry to realize the need to reduce reliance on the Chinese market. China’s de facto ban on Korean cultural content was summarized in five points: Prohibit Korean media teams from coming to China to direct; prohibit new investment from Korean entertainment companies; prohibit Korean idol groups from performing to audiences of more than 10,000; prohibit new cooperation projects for K-dramas and variety shows; and prohibit Korean actors from appearing in dramas. Inspired by the huge success of the song “Gangnam Style” on social media, hallyu began to harness various platforms for greater influence: YouTube, Facebook, Instagram, Twitter, and Spotify. Besides, Korean idol groups started to absorb members from outside China and Japan, like Thailand (BLACKPINK’s Lisa), Australia (BLACKPINK’s Rosé) and Canada (NCT’s Mark Lee). From 2016 onwards, hallyu has evolved into a more international phase. On the other hand, because a large group of K-pop artists from China returned to their homeland in the wake of the THAAD issue, China grasped the opportunity to develop its own idol-making TV programs in 2018. Lay Zhang from EXO and Jackson Wang served as judges of “Idol Producer” while Huang Zitao appeared on “Produce 101.” Still, these Chinese talent shows had deep Korean imprints, as in the case of “Idol Producer” champion Cai Xukun, who used to be a trainee in South Korea. This brings us back to the unfreezing of hallyu in China since 2022. Even though the restriction on Korean cultural contents has been at least partially lifted, hallyu’s fate is still vulnerable to China’s political sentiments. Perhaps the most famous example of hallyu intersecting with Chinese politics came in 2016. Chinese netizens expressed indignation after TWICE’s Taiwanese member, Chou Tzu-yu, waved a Republic of China flag in a variety show. But this indirect influence did not last long, as the Chinese authorities imposed a series of crackdown on the entertainment industry in 2021. Targets included male idols that are derided as too feminine and the fandom culture originating from South Korea. In another incident, in 2020 the leader of BTS made a comment on the Korean War while receiving an award celebrating South Korea-U.S. This led to Tzuyu making an apology video, in which she asserted that “there is only one China.” The incident even forced the candidates of that year’s Taiwanese presidential election to respond. China. The foreign ministries of both China and South Korea gave restrained answers regarding the event in a bid to keep ties even. In recent years, hallyu has also been caught up in the wider cultural controversy among two countries. Korean kimchi, qing dynasty hanfu hanfu vs. There have been countless examples of what some Koreans call China’s “cultural imperialism” and some Chinese counter is Koreans’ “cultural appropriation”: China’s Northeast Project regarding the Goguryeo Dynasty, a South Korean city’s application for World Heritage status regarding the Dragon Boat Festival, a delegate wearing hanbok at the opening of Beijing Winter Olympic Games, Chinese paocai vs. Most recently, there was a dispute centered on China’s Chinese New Year and South Korea’s Lunar New Year online. Therefore, even if the doors for Korean cultural content are now open, the era when artists could win the hearts of the people of both countries may be over. According to a survey conducted by Stanford University in January 2022, 84 percent of South Koreans had a negative view of China, with cultural conflicts between the two countries as the main reason. The percentage who had an unfavorable impression of China is at an all-time high. It is also noteworthy that South Korea is the only country where young people had a more unfavorable view on China than the elder generation. Amid the geopolitical schism taking place in the Indo-Pacific, Beijing and Seoul are growing further apart as the Yoon administration prioritizes strengthening the South Korea-U.S. China’s lifting of its ban on hallyu may be a boon to K-pop fans, but it is still a drop in the bucket in the bilateral ties.

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Free with membership or admission to Lan Su. This presentation will take you through the intricate details of Tang Dynasty clothing, highlighting the luxurious fabrics, vibrant colors, traditional chinese male clothing and elaborate designs that characterized the era. We will also explore the sophisticated makeup styles and beauty rituals that defined Tang Dynasty beauty, revealing the cultural and social influences behind these trends. Chuyan Wang is a Hanfu enthusiast and educator, better known by her tiktok as Mochi Hanfu. Renowned for its cultural prosperity and artistic achievements, the Tang Dynasty (618-907 AD) was a golden age in Chinese history, leaving an indelible mark on the realm of aesthetics. Featured on Dazed Magazine and 2023’s Dazed 100 List. After first learning about Hanfu in 2020, Chuyan has dedicated her life to reviving and sharing the history behind these garments that have long remained a relic of the past. Combining traditional makeup, Chinese myths, and history, Chuyan creates an immersive experience for her 700k followers.

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Casual women’s Hanfu ensemble that reimagines the traditional attire of the Ming Dynasty for the modern lifestyle. Available in stark black and pristine white, designed for those who appreciate the fine balance between laid-back sophistication and cultural heritage. This two-piece set pairs the timeless beauty of Ming fashion with the ease of contemporary wear, offering a stunningly versatile outfit that blends historical charm with casual flair. The upper garment of the Hanfu set comes in two distinctive styles: a white crossover-collar shirt with delicate embroidery, and a black shirt adorned with vintage buttons. The white version features a tranquil, embroidered neckline and cuffs, adding a touch of intricacy to its serene palette. Each stitch is a testament to the craftsmanship, echoing the ornate aesthetics of Ming Dynasty embroidery. In contrast, the black shirt showcases a straight collar with a double-breasted front, highlighted by retro-style buttons that capture the eye. The buttons are not merely closures but focal points that define the garment’s character, merging historical inspiration with contemporary design sensibilities. This design pays homage to the classic silhouettes of Ming attire while infusing it with a dash of modernity. Both shirts are designed to pair seamlessly with the set’s piece de resistance: the Mamian skirt. This skirt is steeped in tradition, its black base color setting the stage for embroidered bamboo leaves at the waist, symbolizing grace and strength. The hem features an intricate print of cranes, peaches, and pavilions – motifs rich with symbolism and aesthetic appeal in Chinese culture.