Author: enlae

Ming hua tang hanfu

caseycasey-22hh121What is a Modern Hanfu? The modern hanfu is on the basis of Western-style clothing, formed by integrating the basic elements of traditional hanfu outfit. The modern hanfu is an improved version of traditional Chinese clothing, also called as new hanfu. If you take the word “Hanfu” back to its roots, it simply was the Chinese word for “Han People’s Clothing.” Later on, it evolved to mean specifically, traditional Chinese clothing. The new hanfu is split into several varieties based on its features that can be part of the form characteristics, patterns, or aesthetic. As they came into popularity in the ancient period, manufacturers began producing these pieces of hanfu with many cutting methods, and they’d cut various lines of fabric, sew them together. Eventually, hanfu style developed and people began wearing on a large scale, integrated into their everyday style. It’s usually a very loose design that meant they wouldn’t have to have multiple sizes and fits. Hanfu designers improved their craft to such an extent that it became an art form and not simply as apparel. That’s not to say that an appreciation of the hanfu today has to be all about historical artifacts. “Many westerners will say the hanfu is somehow non-changing and is simply traditional attire,” says Lee, who did her doctorate work at Peking University in Chinese art history. Traditional hanfu became more valuable and more collectible as pieces of art. “But it has changed historically. They adored the cool actors and martial arts masters on TV, as well as handcrafted hanfu costumes and other beautiful, traditional goods. Lots of China’s kids spent their childhoods watching ancient costumes dramas and kungfu films many times. And they realized that numerous people across the globe use and love hanfu-like garments, and even though most don’t know where it comes from. When the children grew up, qipao dress plus size and some of them became fashion designers. However, in modern life, only a few people wear hanfu everyday, and a lot of people don’t even know how to wear hanfu. It became special clothes for modern Chinese people and got avoided because it took more time to wear one compare to modern garments. So these passionate reformers decided to take the historical roots of traditional Chinese clothing and use it as inspiration for modern hanfu. It’s hard for the public to understand what it means and how did hanfu has evolved into today. They quickly made a try, hope to create a new style focused on the contemporary woman. The modern woman is a work of art, strong, soft, beautiful, and versatile. She has many roles, wears many dresses, and has many dreams. These are what they have in mind when the grown children decide to design the modern styles for today’s modern woman. She is a boss, a mom, an artist, a CEO, a teacher, and the cornerstone of her community, no matter how big or small. Rather than the 2D plane design of traditional hanfu, modern hanfu has the western modern 3D design. Modern hanfu embraces more close-fitting tailoring, and this allows each piece to fall uniquely on each unique body type. Fashion designers believe beauty is in the distinctive attributes of each woman, and it strives for each piece to highlight those beautiful qualities. Of course, elements of hanfu are indispensable, for instance, retro patterns, cross-collar and silk embroidery, echoing the historical traditions of the piece. These are also denoted through motifs and placement, fabric choice, type of decoration and color. Hanfu’s elements take lessons it’s learned in the past and apply them to the needs of today, which keeps changing and shifting, adapting to what’s new, and bringing its own flair and style to present life. Most of the modern woman is fashion & beautiful. That’s why we wanted to create fashion hanfu for the beauty of the modern woman, like a gorgeous gown or hip-pop streetwear that is meant to drape effortlessly with a fluid curve around each beautiful shape. It is well-known that we’ve come to an age where the 21st century’s culture is much closer to recognizing the beauty in all body types, not just those deemed attractive by a small fragment of society. “Bring something new to life every day.” This artistry is something young people value almost above all else. Each beautiful new hanfu as unique as you are, it’s not just an item of clothing, it’s a work of art, and offering a piece that looks just as good hanging as it does being worn. Over time, the hanfu has garnered a reputation for being inconvenient and difficult to wear. Traditional hanfu is mostly worn to formal events or be worn for important public holidays and folk festivals and weddings. Since the turn of the century, new hanfu enthusiasts have grown in number, promoting the garment as a comfortable and fashionable item of dress. Now, it’s very popular to be worn as everyday clothing. Modern hanfu is both functional and elegant. However, it has experienced several improvements and revivals in popularity throughout the decades. Simply care for it by washing in cold water on a gentle cycle and then hang to dry. It’s the luxury the modern woman wants, whether layering or lounging, this piece is durable and soft. With advanced cotton & silk fabric blend, this style is one that’s easy to wear and easy to wash. Congratulate, hanfu is no longer a drag on a fast-paced life. The people who tend to wear modern hanfu most often – in some cases on a daily basis – are young girls and boys, students and teachers, tourist and cultural workers. In 2019, more than 3 million people wear modern hanfu as their daily clothes in study, office and holiday, say China’s Fashion. Unconsciously, hanfu has become a new fashion trend for Chinese young people. In recent years, the public has started to take an interest in traditional Chinese culture due to the heightened attention of China from other countries. Because of this, young people began to pay more attention to conventional hanfu as fashion. In some unique ancient garden scenic spots, it’s required to wear traditional or modern hanfu dress whenever appearing in public. Surprisingly, that style was just born at the end of the last century – Chinese people started to accept western culture due to the opening of the country to the world by the government, at the same time, the culture of the west had percolated through to the Chinese lifestyle. At the moment, dressing hanfu with western taste items came into a trend among them. Modern hanfu base on western design, but also has an original design that western clothes don’t have. That is why young people see traditional items as hanfu as cool and fashionable. In modern China’s new age, western culture and eastern culture will be crossed, integrated, and reinforced with each other. They are having fun that arranges their own fashion with their favorite things. Not only that, the fresh idea of modern always makes trends; young people will lead to more and more new styles. Hanfu is becoming closer to people in an unconventional way, and the new hanfu fashion is a representation of diversified cultural confidence. For a while now, the garment has been rising in popularity, not only with youth but also with tourists and leading global fashion creatives. New hanfu has become a part of modern young people’s new lifestyle. There are many different types of hanfu styles have changed over the years. Nowadays, mainstream fashion takes inspiration from traditional spirit. “It is younger people that didn’t previously know much about the hanfu who are driving the trend, or even tourists visiting China,” fashion researcher says. The hanfu is your canvas, which can say anything you want it to say and can be worn whenever you want. If you’re good with a needle, you could try embroidery yourself or attach some cool patches. What’s happened for sure is that hanfu styling became more free. Just like with any outfit, you can mix and match freely with the modern hanfu, everything is possible! People aren’t afraid to wear patterns that are out of season and will mix and match their traditional style with modern accessories. Don’t be afraid to have fun with it!

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Hanfu robe daz

sunsetRecently, on June 2nd, the South Coast Chinese Cultural Center hosted a unique Hanfu experience party as part of its family support program. This program aims to bring more benefits and colorful cultural life to the community’s families and has been widely welcomed and actively participated in. At the beginning of the event, Hanfu experts gave detailed explanations of the historical origins, development processes, and characteristics of various dynasties of Hanfu. In this Hanfu experience event, participants not only had the opportunity to personally experience the elegance and charm of Hanfu but also gained a deeper understanding of the history and culture behind Hanfu. Through exhibits and illustrated introductions, participants learned about the different styles and uses of Hanfu, as well as the significant position of traditional Han clothing in Chinese culture. Subsequently, guests tried on various exquisite Hanfu costumes themselves. Costumes from various periods from the Han Dynasty to the Qing Dynasty were prepared on-site, each with its own unique features, cheongsam male showcasing the unique charm of ancient clothing. The experts’ explanations were not only imparting knowledge but also praising and inheriting ancient culture. Staff patiently provided dressing guidance to each participant and listened to their preferences to ensure that everyone could find the most suitable Hanfu style for themselves. To ensure that this wonderful experience remains unforgettable, professional photographers were arranged on-site to take photos for everyone to keep as memories. The try-on process not only deepened the understanding of Hanfu but also allowed people to feel the nobility and elegance conveyed by traditional Han clothing. Participants posed with various graceful poses in front of the camera, showcasing the charm and elegance of Hanfu. This Hanfu experience event not only deepened everyone’s understanding of Hanfu but also made the community’s families feel the cultural benefits and care brought by the South Coast Chinese Cultural Center. The beautiful moments of wearing Hanfu were captured in each photo, recording this unforgettable memory. Through such activities, the South Coast Chinese Cultural Center successfully combined traditional culture with modern life, bringing rich and colorful cultural experiences to the community’s families. Looking forward to more similar events in the future, continuing to bring joy and cultural edification to the community.

Chinese drama male hanfu

Morning Clarity all the pretty colors character coffee fashion illustration nathan walker shoes sneaker art sneakersI sat down this morning to work on a project looking at sword aficionados in China, their customers in the West, and how the relationship between the two creates both spaces for innovation in Chinese martial arts and as well as political arguments about the proper relationship between martial artists, society, and the state. Sadly, my OCD will not allow me to address the task at hand until I first clear and organize my computer’s cluttered desktop. I am sure that many of you can relate. In starting that task I ran across a small collection images, taken at another point in time, when changing perceptions of China fueled an explosion of interest in their traditional weapons by Western collectors. Whereas the current moment focuses on elevating a certain view of historical martial arts, and is rooted in a fundamental admiration for Chinese culture, the circumstances around this prior spread were very different. In the final years of the 19th century a vast media empire had grown up around the need for regular reports on the progress of the Boer War. Following its conclusion this entire information infrastructure, steeped as it was in the imperialist ideology of the time, turned its attention to Boxer Uprising in China, and the subsequent intervention by Western and Japanese military forces. The global export of increasingly sophisticated hand-made swords in the current era is a supply side project, meaning that it began when a relatively small number of Chinese aficionados decided to create a new market largely as a means of changing the perception of Chinese sword making (as well as legislation around the keeping and use of these weapons) at home. Certainly one might make a bit of money exporting high quality swords to the vanishingly small numbers of Western collectors and martial artists capable to appreciating the care and effort that went into these weapons. It is hard to understand this recent development as anything other than a passion project. Yet if we are honest, one must admit that you could make vastly more money producing and exporting almost anything else. These are individuals who really love archaic Chinese sword design and would like more people to appreciate it as well. Loving archaic weapons is slightly eccentric in our modern world. Of course, Paul Bowman might ask us to take a step back for a moment and apply some rudimentary psycho-analysis to the situation. Weapons, such as these, have not been carried in anger in hundreds, and in some cases thousands, of years. So what do these individuals desire by desiring to recreate and evangelize such swords? And what about martial artists in the West, small our numbers may be, who are the primary consumers of such pieces? Of course those arms were not recreations, but the real deal. Perhaps we may start by thinking about the last time that highly utilitarian Chinese swords flooded global markets in early 20th century. As the preceding Russian Postcard reminds us, the Chinese were not only armed with swords at this time. They were seized in huge numbers following the failed Boxer Uprising. Modern firearms had been a critical part of the Empire’s arsenal since the massively destructive Taping Rebellion. Comparatively well armed imperial soldier, sometimes trained by European officers, were the greatest threat to Western troops. And while Western images of the period tend to focus on groups of soldiers armed with archaic matchlocks or massive, strange looking, wall guns, the Western armies marching on Beijing in 1900 quickly learned that other Chinese until were armed with the latest technology and knew how to use it. Yet media reports from the period tended to focus instead on fanatical peasant martial artists streaming into the capital armed with nothing except a sword or perhaps a spear. Anyone of moderate means who could own their own piece of one of saddest incidents in modern Chinese history if they so desired. It goes without saying that this sort of commercial interaction reinforced Western beliefs about both the “backwards” and ideologically dangerous nature of Chinese society. In the wake of the failed uprising large numbers of these traditional weapons were seized and shipped to the West where they were sold through curio shops, auction houses and even mail-order catalogs. Nor were the boogeymen of paganism and the “occult East” far behind. It would be difficult to imagine a more different situation than the production and export of high-end, hand made, Chinese swords today. The answers may differ, but I suspect that some of the unspoken questions motivating current trade would still be familiar to earlier collectors. The collection and display of Chinese arms in this period was practically an argument for Western imperialism rendered in steel. Steeped in imperialist propaganda coming from the daily news and penny dreadful novels extolling the “yellow peril,” Western consumers in the early 20th century found themselves repeatedly asking “Is China dangerous? Indeed, even prior to the Boxer Uprising most Chinese intellectuals had been calling for a very similar set of reforms. ” The fact that their arms seemed to be 100 years out of date and could be ordered from the Sears catalog following the defeat of the Boxer Uprising offered a reassuring “No.” Not only that, they seemed to justify the imposition of a type of colonial dependence necessary for further economic modernization, military rationalization and missionary work. I love antique arms more than most, but it must be admitted that the collection of an adversaries swords, at a time like, that was not just a byproduct of conflict. It was an actual political act – the embrace of an imperialist ideology at the individual level. The indelible association between the blade and violence, not to mention the strong mythic resonances that such weapons tend to evoke in the modern imagination, suggests that the collection and study of weapons probably continues to be a political act today. Of course it is a bit more subtle now. This is politics by subtext. For instance, the creation and ownership of swords is very tightly controlled in modern Japan for several reasons, a full exploration of which would go beyond the current post. But the primary concern motivating the Western occupation forces in the 1940s, or the Japanese government today, is not that someone would use a $20,000 shinto Katana to rob the local 7-11. Rather, the strong association between swords and the extreme right wing of Japanese politics, and the memory of the shocking political violence that it unleashed in the 1920s, is the issue. We do not say, nor do we admit, how these object function in the social and the symbolic realm. Rather than banning something that remains a key symbol of the nation, the state instead asserts its ability to regulate who has access to these blades, and it does so in such a way to promote a specific relationship between Japanese society and the state. It is the state alone that dictates who will wield the symbolic, as well as the kinetic, properties of the blade. But rather than focusing on the Western consumers, let us instead consider, for a moment, the individuals in China who are developing and promoting these weapons. This bring us back to the psychoanalytic question of what we desire by desiring a finely made Chinese sword. On one hand, the Chinese government has expressed strong interest in promoting a certain version of wushu as being key to producing healthy citizens and promoting uniquely Chinese values and identities. Again, the concerns and goals of the state set the parameters of any discussion. Taking part in such training is one way that citizens can feel the influence of, and personally participate in the completion of, these larger goals. This process can be seen in many degrees and registers. It manifests in the promotion of highly athletic taolu by elite, university trained, martial artists, the development of Sanda as an indigenous combat sport (“MMA with Chinese characteristics” if you will) and the re-imagination of certain types of traditional or “folk” martial practices as vessels of intangible cultural heritage. Ultimately the state is grows through the strengthening of its citizens. Yet what one is unlikely to see in any of these setting is a functional sword. While some of these arms are in circulation, it is not easy to purchase or ship them domestically, and certainly not on a larger scale. The end result of this is that the buying, collecting and use of high-quality hand made blades in mainland China exists in what might be thought of as a legal grey area. However, the government has no qualms about the export of these same weapons from the postal offices of Longquan, the center of traditional Chinese blade smithing, to consumers in the West. Yet unlike the exports of the early 20th century, this is a deeply cooperative project. On the most basic level, the development of what can be thought of as a new “cultural heritage industry” within China, driven by a relatively small number of aficionados and martial artists, is dependent on global consumers to secure both respectability and an economic foothold. As Andrea Molle argued in his recent book on Krav Maga and nationalism, there is no martial practice that is not, on some level, a political act. The intrinsic connection between swords, violence and community regulation makes those connections even more obvious in weapon based systems. And that is important as the Chinese state has seen itself in the leadership position, dictating terms and shaping society, in order to advance its vision of the development of the nation. As scholars of wuxia literature in the early and mid-twentieth century have noted, these alternate pathways have been document in a wide, and surprisingly sophisticated, body of literature. Yet martial arts communities in China traditionally helped to defend and shape their communities, and their culture has spawned its own, somewhat different vision, of what the ideal relationship between society and the modern Chinese state should be. Nor has the basic discontent that spawned these calls ever really gone away. If anything, the rapid economic development of the past several decade, and growth of a more secure middle class, has led some of these longings to resurface and assume new, consumer driven, forms. This movement, in which young, typically urban, workers spend their days off dressed in sometimes fanciful recreations of Han dynasty (or sometimes Tang) clothing quite consciously bemoan the loss of traditional Chinese culture while articulating a demand to look back to a time when China was the strongest state on the planet. Perhaps the place where this is most obvious is in the “Hanfu” fashion trend. These were also periods in which the social strictures and limitations were different than they are now, as was the relationship between individuals and the state. This sort of subtle discontent can be safely expressed when wrapped in an entirely patriotic (and sometimes even nationalistic) discourse that openly romanticizes notions of a resurgent China reclaiming its culture. The difference, however, is that now private actors are asserting their own vision of what the relationship between modern Chinese society and the state should be through a creative reinterpretation of the past. Other scholars have already addressed the Hanfu movement. Indeed, many of the people producing and consuming these weapons in China are themselves practitioners of Hanfu. I think what has been missed is that this same basic ideological framework can be seen in various areas of China’s diverse martial arts communities, though perhaps nowhere more strongly than in the recent resurrection of Han and Tang dynasties weapons. While not the weapons that most modern martial artists need for daily practice (something that is rooted quite strongly in the much different blades of the Qing and Republic eras), we again see a desire to look back and recapture the genius of Chinese smiths in an era when they were acknowledged by all for their innovations and brilliance. Such anxieties do not darken the historical annals of the Han dynasty, at least not at first glance. By comparison, the more modern martial arts of the Ming, Qing and Republic periods are all colored with concerns of foreign influence and social decay, whether in the form of the of the Manchu invasion of the Ming, their subsequent occupation of China, or later humiliations at the hands of European armies. While there were foreign threats, the Han were largely successful in overcoming them and expanding their influence along the silk roads. Critically, existing literary works, surviving artworks, and the archeological record, all seem to suggest that this was a period in which civilians owned and openly carried weapons. Not only did the Han dynasty generate some of the most sophisticated blades in China’s history, but it also spawned a unique martial culture that centered around the mastery of these weapons. Unfortunately the historical record is scant and almost no reliable sources survive. Yet it is this very silence that allows them to become an important ideological space for those who would seek to contest the current direction of the Chinese martial arts, dominated as it is with flashy taolu and the floppy props that the state sponsored athletic officials allow in the place of true dao and and jian. Ironically, traditional chinese hanfu the first step in this process seem to be creation of desire and legitimacy by Western martial artists and collectors. Thus we will never know with certainty what the actual techniques or values of these martial systems were. Such questions can never be answered in a vacuum. We are destined to come back to such nagging doubts over and over again. Once that is accomplished it may be easier to call on the government to do the patriotic thing and promote a more realistic set of practices domestically as well. And in every iteration of the question it is not just the Chinese martial arts that change (the Boxer Uprising, Bruce Lee, Crouching Tiger Hidden Dragon, Tiajiquan, Xu Xiaodong) but also the global political and economic forces that frame that answer (imperialism, defeat in Vietnam, end of the Cold War, growing economic friction with China). This is a long established patterns that even predated the Boxer Uprising itself. There is nothing new about using Western views of the Chinese martial artists to frame domestic debates as to what the Chinese martial arts, or Chinese society, should be. It is seems that not only the practice of martial arts, but the discussion of them, is intrinsically political in an era of increasing competition. Perhaps they did not alway share exactly same desires or goals, yet both benefited from the exchange. Still, the values of different actors are not monolithic, and that means that during the period of globalization that lasted from roughly the end of the 1970s to the present that there has been a unique window for cooperation between martial artists enthusiasts in China and the West. The question that remains to be answered is what will happen to these relationships as the current iteration of globalization evolves, or perhaps withers. All of that promises to reframe of the question “Is China dangerous? ” in ways that might have profound impacts on the practice of martial arts in the West.

Chinese ti chi hanfu

Agenda-setting intelligence, analysis and advice for the global fashion community. BEIJING, China – Dressing for Beijing’s winter sometimes means compromising on style. But members of the Beijing Hanfu Society persist in dressing in gauzy gowns and silk robes – at least indoors. With similar groups popping up everywhere from Brisbane to Toronto, Hanfu is rapidly growing in popularity, especially among young Chinese women – the average age of wearers is just 21, and nine out of ten are female, according to an industry report published on Sohu. That’s a relatively small fraction of China’s 1.39 billion people, but the growing fascination with ostensibly traditional Chinese clothing has broad implications for fashion brands. Combination ear muffs and face masks are ubiquitous now that temperatures have fallen below zero and pollution levels regularly read “unhealthy”. Why ostensibly? Because Hanfu’s historical credentials are dubious. Some commentators see the trend as retrofitting in service of a new Chinese nationalism. For most Hanfu wearers, though, historical accuracy and nationalism are beside the point. Together, wuxia and palace dramas constitute an imaginative world that’s vaster and more compelling to Chinese viewers than the Marvel Universe, which has made over $5 billion in merchandise sales. “When I was really small, I liked to wear a sheet to pretend I was one of the fantasy characters on TV,” said Sun Ying, explaining her interest in Hanfu. Sun, 28, lives in Huzhou, Zhejiang province, where she runs a fried chicken store. She said she spends several thousand renminbi on Hanfu each year, including material to make her own. Most Hanfu outfits cost 300-500 RMB ($45-70). I see it in some sense as a form of fantasy and escapism, like cosplay or role-playing video games are for a lot of people. According to the Sohu report, about 92 percent of people buy their Hanfu from stores (rather than making it or having it made). Online sales are especially popular. Led by Guangzhou’s ‘Han Shang Hua Lian’, the top ten Hanfu stores on Taobao made 50.67 million transactions in November 2018, up 266 percent on the previous November. The vast majority of people who wear Hanfu do so during hobbyist get-togethers or for photo shoots. Some Hanfu wearers resent that comparison – “If I’m a cosplayer, then I’m cosplaying your ancestors! ” Kang Wei told the Chengdu Business Times – but even if Hanfu were only worn as costumes, that’s still a market with significant growth potential. “I see it in some sense as a form of fantasy and escapism, like cosplay or role-playing video games are for a lot of people,” said Eric Fish, the author of China’s Millennials: The Want Generation. Comparing Hanfu to Halloween is perhaps not as farfetched as some might claim it to be. The annual Hanfu spend is estimated to be about 570 million RMB ($83 million), while Americans spent $3.4 billon on Halloween costumes in 2017. The vast gap between the two signifies a considerable opportunity for some Hanfu entrepreneurs. Last year, video platform Bilibili and the Communist Youth League together declared April 18 China Hanfu Day, an opportunity to dress up not as ghosts or vampires, but in all kinds of traditional-looking Chinese clothing. It was their attempt to stand up for Han culture after myriad historical foreign invasions, ethnic Manchu rule during the Qing dynasty (1636-1912), and what they see as phoney multiculturalism in contemporary China. National Dress or Nationalist Dress? Hanfu’s current popularity stems, in part, from the Hanfu Movement, started in the early 2000’s when a few members of China’s Han majority began wearing what they imagined as traditional Han clothing. Ethnic minorities therefore constitute approximately 139 million people, counting groups as diverse as the Zhuang, Hui, Miao, Muslim Uyghurs, Tujia, Mongols and Tibetans. For the small minority who do see Hanfu as a nationalist movement and a rejection of foreign culture, its growing popularity might bring with it a modest movement away from the foreign brands with which China has been so enamoured. Han had a singular clothing style is a projection of nationalist, racialist, unificiationist ideology into a far more complex past,” he said. Fish said that the movement does have “patriotic undertones”, but that “most Hanfu enthusiasts are in it for the fashion and community more than a racial or xenophobic motivation.” In fact, contrary to popular belief, China’s “young people overall are progressively getting less nationalistic, and there have been studies to back that up,” he said. China is the biggest market in the world for major luxury brands, but consumers here have been quick to boycott foreign retailers and brands they perceive as racist – Dolce and Gabbana is one recent example. When Sun lived in Hangzhou, where she worked at a Toyota dealership, she bought clothes by Coach, Vero Moda and Taiwanese brand Girdear. “Chinese consumers are still avid buyers of foreign brands, but Chinese brands are gaining ground on them,” said Fish. “There is a desire to see Chinese brands succeed and be internationally respected, so I think it’s possible that an informal ‘buy made in China’ drive could unfold in the fashion industry as higher quality products meet a desire to express national pride. “I see Hanfu as part of a growing confidence in the idea of China, at least. Whether that translates into confidence in Chinese brands is another matter altogether, he said. The popularity of Hanfu does seems to be congruent with greater confidence in domestic fashion and design. While wearing Chinese traditional clothing is a way for some to avoid conventional fashion boutiques and ignore what’s coming down the runway, for others it’s an aesthetic that marries well with contemporary fashion. Leading Chinese designers such as Uma Wang and Guo Pei have drawn extensively on traditional Chinese fashion in their designs. “Like Han clothing, nationalist declarations are primarily performative. Subcultures like Hanfu that hearken back to simpler, romanticised times can be very appealing. Younger Chinese designers are also drawing influences from Hanfu. “Lots of my designs incorporate Hanfu thinking,” she said. Hiuman designer Lola Chau, for instance, drew on the trend in her Spring/Summer 2016 collection. For now, Sun said, “I’m not interested in trendy clothes, or meme clothes. It is certainly easier for Chinese brands and designers to tap into the fantasy of life in ancient China than it would be for their foreign counterparts. “In ancient times girls didn’t go out. “Modern life is not like the old times,” she continued. They stayed in sewing, so they could wear super long dresses and long sleeves, but they don’t suit modern life.” For that reason, she makes her Hanfu skirts shorter and the sleeves tighter. As China Becomes the World’s Largest Fashion Market, Could Local Players Dominate? 2024 The Business of Fashion.

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The Cherry Grace set includes a hair comb, hair clip, and hairpin, each meticulously crafted to highlight the delicate beauty of cherry blossoms. The combination of these accessories ensures a cohesive and enchanting look, enhancing any traditional outfit with a touch of timeless elegance. The hair comb in this set measures approximately 8.3 centimeters in length and 8.2 centimeters in width, featuring intricate cherry blossom designs intertwined with green leaves. The fresh and elegant color scheme effortlessly blends with various Hanfu styles, making it a versatile addition to your accessory collection. The hair clip, measuring about 9 centimeters in length and 6 centimeters in width, showcases similar floral motifs, offering a versatile option for different hairstyles. Each piece in the Cherry Grace set is crafted from high-quality materials, ensuring durability and comfort. The hairpin, with a length of approximately 13.3 centimeters and a width of 5.5 centimeters, adds a graceful finishing touch, perfect for securing updos or adding detail to loose hairstyles. The floral elements are made from premium resin, giving them a lifelike appearance, while the metal components provide sturdy support. The pearls and delicate green leaves further enhance the overall aesthetic, making this set not only beautiful but also functional for long-term wear. The coordinated pieces allow you to effortlessly achieve a polished and traditional look, while the fresh and elegant tones integrate seamlessly with your Hanfu colors. The Cherry Grace set is designed to make your Hanfu ensemble complete with ease. Whether you’re attending a formal event or simply embracing the beauty of traditional attire, this accessory set will help you stand out with grace and poise.

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Jelly Charm - Lip & Blush Glazed Keychain StainThis set consists of two carefully curated pieces: a sleeveless blouse and an elegant eight-panel Ma Mian skirt. Drawing from traditional Hanfu design, these pieces incorporate stylish modifications to ensure effortless wearability in modern settings. The harmonious design elements, such as flowing lines and delicate pink hues-evoke an atmosphere of tranquility, as if one is wandering through a secluded peach blossom grove, embraced by nature’s serenity. The blouse is crafted from premium Tencel fabric, known for its lightweight, breathable qualities, making it an ideal choice for warm weather. The sleeveless, shoulder-covering design adds a touch of modern flair while maintaining a hint of traditional influence through the mandarin collar and slanted placket. The Ma Mian skirt, featuring delicate prints of trees and flowing water, evokes the imagery of natural landscapes. This combination accentuates the wearer’s individuality, ensuring a balance between elegance and comfort throughout the day. An inner lining ensures a comfortable and secure experience, preventing any concerns about transparency or discomfort, so you can move with confidence and ease. With a cleverly designed waistband that adjusts for a perfect fit, it offers convenience for daily wear while maintaining a classic silhouette. Its thoughtful design, comfortable materials, and refined aesthetics make it an ideal choice for various occasions, from casual strolls to formal gatherings. The Joy Peach Hanfu set is the perfect blend of cultural heritage and contemporary style. Immerse yourself in the romantic beauty of this Hanfu and let each step you take be a graceful journey through a modern-day peach blossom wonderland.

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Hanfu holding lantern

blackThe ancient Chinese people had very distinctive social classes. Each of these has specific styles and significance of dressing. The ancient Chinese clothing has varied greatly throughout different periods of time. Each social or historical period brought about a new style. Varied symbols are used on the clothing to distinguish between various strata of society. Chinese civil or military officials had an assortment of motifs to depict their rank and position. Hat knobs were used as an icon of their rank. Another popular insignia was the Mandarin square or rank badge. The Chinese clothing known as the Hanfu (also referred to as guzhuang meaning “ancient clothing”), was the traditional dress of the Han Chinese folk. There were nine types of color coded hat knobs that represented the nine distinctive ranks. It was fascinating for these visitors to see the characteristic outfit – like a kimono and sandals made out of rice reed. As you can see, chinese traditional clothes for male the Hanfu has a colorful history dating back 3000 years and more. In fact the dress was even worn by the legendary Yellow Emperor. It was popular since long before the Qing Dynasty came into power in the mid seventeenth century. Since the material of this ancient Chinese clothing was always silk, supposedly discovered by the Yellow Emperor’s consort, Leizu, the Hanfu was also called ‘silk robes’. However, there are attempts on to try and make it a part of more day to day wear or at least during Chinese celebrations and festivals especially in China as well as among the non resident community. The Hanfu now is worn only at special occasions which are mostly historical reenactment, hobby, coming of age/rite of passage ceremonies, ceremonial clothing worn by religious priests, or cultural exercise. It would be totally different from the traditional garment of other ethnic groups in China like the Manchurian qipao. There is a great difference between the Han way of dressing and the Manchurian influence. The Ancient Chinese clothing in its most traditional best can be explained as different parts of specific cloth that are draped in a special style. It is as yet an unsolved problem which of the two would be the correct traditional costume of the ancient Chinese. Some costumes commonly thought of as typically Chinese, such as the qipao, are the result of influence by brutal laws (Queue Order) imposed by Manchurian rulers of the Qing Dynasty, and are regarded by some advocates as not being “traditionally” Han. Christopher Schwebius is an entrepreneur who seeks out sharply defined, specifically focused topics to research. Upon finishing his research he provides relevant, un-biased information to his readers based on his discoveries and/or personal experiences.

Hanfu purpose

5 Best Wineries to Visit in North Texas Wine CountrySeriously, it isn’t that hard to tell what’s Chinese and what’s Japanese. To Sinologists and Sinophiles, it probably isn’t surprising to know that the Chinese have always worn long robes with “y”-shaped collars, just like the Japanese and Koreans. What’s all this “Hanfu Movement” buzz? Why are the members in this movement so fervant and adament on re-establishing this extravagant but seemingly cumbersome set of robes? And here’s the whole background story. At the dawn of 1912, the 293-year long reign of the Manchus laid to a dwindling end as a group of revolutionists declared China a republican state in Nanjing. However, to the uninitiated and to the Chinese public (who grew up learning that everything traditional was just BAAAD), the truth isn’t that obvious, and are often VERY (self) justified in doing so. Overnight, the entire male population of Hong Kong adorned a short cut, bidding a harsh farewell to the much-despised pigtail, cheongsams a symbol of repression and backwardness. The rest of the nation were very soon to follow suit. Defense of Jiangyin, led to total slaughter of the city and surrounding population by Manchu forces. Thinking that any orderly power was better than a bunch of rowdy peasants, he committed the worst mistake known to Han Chinese history. For the next thirty years, three quarters of the Chinese population were wiped out in resisting the new Qing regime and its Queue Order, which demanded that the clothing and hairstyle of men and women be changed according to its new Manchu rulers. To the Chinese, having to shave men’s heads was equivalent to ripping out their parents’ flesh with their own hands, as well discarding the national and ethnic identity and cultural symbols that defined everything Chinese, spiritually and materially. Rewind to Autumn of 1644. Sitting on the Great Wall, General Wu Sangui had a choice to repel a huge northern barbarian invasion army set out to conquer the falling Ming Dynasty, or repress the rebel army of Li Zicheng that just invaded Beijing, caused the Emperor to hang himself on a dead tree overlooking the Forbidden City, and mocked at Wu by capturing his beloved courtesan. As the world’s most technologically advanced and economically developed civilization at the time, the idea was ludicrous. But alas, the state was already in upheaval and resistance was not a well-concerted effort, which eventually led to the total assimilation of Chinese tradition and image into a Manchu one. Throughout its reign of nearly three centuries, countless resistance movements continued in the last dynasty’s name: this was unique throughout Chinese history, and is interpreted as a cause in a concept of ethnicity and race, rather than strictly for a royal family. A rift in tradition? The Chinese ethnic image are still perceived much in negative light even in the beginning of the new millennium. Despite the cutting of the queue, the clothes have not been restored. Chinese history and tradition has been spared under the exceptions of surviving books, paintings, the clerical traditions in Daoism and Buddhism, and the stage (or the TV today). The current People’s Republic ethnic policy as well its propaganda give an ambiguous image for the Han Chinese, representing them as a ‘modern’ person in a Mao suit, T-shirt, or the same Manchu outfit dating to the times of their oppressive regime. However, to bring it back out to general life with such great difficulty is nothing short of being a strange face of general historiographical concensus. Hanfu is unceasingly and increasingly promoted as the true Chinese image and tradition, and its supporters stand adament on this because of the unique and direct relation between the clothing design and the Chinese political and cosmological views. The Yellow Emperor (Huang Di), who “draped in the robes and gowns, He governs all under Heaven”. Each component of the shenyi (deep-robe, one of the many designs, particularly favoured by Confucian scholars) and its later derivations symbolize the Chinese cosmological view. To list a few examples, the Shang (the skirt or lower part of the long robe) is comprised of 12 pieces of fabric sewn together, symbolizing the months of the year; the collars are folded over left-over-right, symbolizing self-control and civility (‘barbarian’ tribes wear their robes in reverse).

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Han qing dynasty new hanfu

Christmas Morning Taking PhotosThis product is currently out of stock and unavailable. The overall design features the classic red and black color scheme, decorative pendants on the front opening, and floral embroidery, adding an exquisite texture. 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. Items & Feature This hanfu ensemble consists of a short shirt with airplane sleeves paired with a one-piece pleated skirt. Recommend Hand-wash with your favorite mild detergent; Cold or warm water, maximum temperature 40°C. When washed, traditional qipao chinese dress 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.