Female Traditional Chinese Hanfu

There are typically two types of clothing worn in Japan: traditional clothing known as Japanese clothing (和服, wafuku), including the national dress of Japan, the kimono, and Western clothing (洋服, yōfuku), which encompasses all else not recognised as either national dress or the dress of another country. Traditional Japanese fashion represents a long-standing history of traditional culture, encompassing colour palettes developed in the Heian period, silhouettes adopted from Tang dynasty clothing and cultural traditions, motifs taken from Japanese culture, nature and traditional literature, the use of types of silk for some clothing, and styles of wearing a primarily fully-developed by the end of the Edo period. The most well-known form of traditional Japanese fashion is the kimono, with the term kimono translating literally as “something to wear” or “thing worn on the shoulders”. Modern Japanese fashion mostly encompasses yōfuku (Western clothes), though many well-known Japanese fashion designers – such as Issey Miyake, Yohji Yamamoto and Rei Kawakubo – have taken inspiration from and at times designed clothes taking influence from traditional fashion. Japanese fashion industry itself, with many designers either drawing from or contributing to Japanese street fashion. Despite previous generations wearing traditional clothing near-entirely, following the end of World War II, Western clothing and fashion became increasingly popular due to their increasingly-available nature and, over time, their cheaper price. It is now increasingly rare for someone to wear traditional clothing as everyday clothes, and over time, traditional clothes within Japan have garnered an association with being difficult to wear and expensive. Traditional Japanese clothing has garnered fascination in the Western world as a representation of a different culture; first gaining popularity in the 1860s, Japonisme saw traditional clothing – some produced exclusively for export and differing in construction from the clothes worn by Japanese people everyday – exported to the West, where it soon became a popular item of clothing for artists and fashion designers. As such, traditional garments are now mainly worn for ceremonies and special events, with the most common time for someone to wear traditional clothes being to summer festivals, when the yukata is most appropriate; outside of this, the main groups of people most likely to wear traditional clothes are geisha, maiko and sumo wrestlers, all of whom are required to wear traditional clothing in their profession. Fascination for the clothing of Japanese people continued into WW2, where some stereotypes of Japanese culture such as “geisha girls” became widespread. Little is known of the clothing, of the Yayoi period. Over time, depictions and interest in traditional and modern Japanese clothing has generated discussions surrounding cultural appropriation and the ways in which clothing can be used to stereotype a culture; in 2016, the “Kimono Wednesday” event held at the Boston Museum of Arts became a key example of this. Until the 5th century CE, there is little artistic evidence of the clothing worn in Japan. Japan. It describes broad cloth (possibly double-width), made into unshaped garments by being tied about the waist and shoulders. Kofun period clothing is known from clay sculptures used atop haniwa offering cylinders. These figures likely do not represent everyday dress; they may represent riding dress. In the Kofun period, the right side was wrapped over the left (unlike in China), and the overlapped edge was secured with ties on the right side. Female figures often wear a skirt, with male figures wearing trousers tied with garters just above the calf, so that they balloon over the knee, allowing freedom of movement. Sleeves and trousers were tubular. Mo, wrapped skirts, were worn by men and women, sometimes over hakama (trousers). The Imperial Japanese court quickly adopted Chinese styles of dress and clothing. Traditional Chinese clothing had been introduced to Japan via Chinese envoys in the Kofun period, with immigration between the two countries and envoys to the Tang dynasty court leading to Chinese styles of dress, appearance and culture becoming extremely popular in Japanese court society. Women’s dress under tang dynasty influence, with overlapping collar and mo skirt. As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar that of Han dynasty China. Takamatsuzuka Tomb, c. 686 CE. Contemporary men’s dress, with green hō, white hakama, and kanmuri cap. This reconstruction is probably outdated; the hō should be shorter, with a short pleated frill beneath, as in the women’s costume. The Asuka period began with the introduction of Buddhism, and the writing system of Chinese characters to Japan; during this time, Chinese influence over Japan was fairly strong. Judging by the depictions in the Tenjukoku Shūchō Mandala, during the reign of Empress Suiko (593-628), male and female court dress were very similar. Both wore round-necked front-fastening hō with non-overlapping lapels, the front, collar, and cuffs edged with contrasting fabric, possibly an underlayer; the ran skirt, above knee-length, had a matching edge. Below the ran and extending below it to about knee length, a more heavily pleated contrasting skirt called a hirami was worn. Below the hirami, men wore narrow hakama with a contrasting lower edge, and women wore a pleated mo long enough to trail. Nara-period upper-class clothing was much simpler than some later styles, taking no more than a few minutes to don, with the clothing itself allowing for freedom of movement. Women also sometimes wore a lap-fronted overvest, and a narrow rectangular stole. The Takamatsuzuka Tomb (c. Nara-period women’s clothing was heavily influenced by Tang-dynasty China. Clothing was belted with narrow sashes. Women adopted tarikubi (垂領, “drape-necked”) collars, which overlapped like modern kimono collars, though men continued wearing round agekubi (上領, “high-necked”) mandarin collars, which were associated with scholasticism, only later adopting tarikubi. In 718 CE, the Yoro clothing code was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions. 133-136 China considered right-over-left wraps barbaric. Lower-body garments (mo and hakama) had been worn under the outermost upper-body garments, but now, following the newer Chinese fashion, they transitioned to being worn on top (again, by women, but not yet by men). In 752 CE, a massive bronze Buddha statue at Tōdai-ji, Nara, was consecrated with great ceremony. This convention of wear is still followed today, with a right-to-left closure worn only by the deceased. The ceremonial clothing of attendees (probably not all made in Japan) was preserved in the Shōsō-in. Collar shapes include narrow, round or v-shaped. Most of them close left-over-right, but some abut or overlap right-over-left. There is craftsmen’s clothing in asa (domestic bast fiber), with long, round-collared outer robes. Richer garments in silk are ornamented with figural and geometric patterns, woven and dyed; some have flaring sleeves. Social segregation of clothing was primarily noticeable in the Nara period (710-794), through the division of upper and lower class. People of higher social status wore clothing that covered the majority of their body, or as Svitlana Rybalko states, “the higher the status, the less was open to other people’s eyes”. Aprons, hakama, leggings, socks and shoes have also been preserved. For example, the full-length robes would cover most from the collarbone to the feet, the sleeves were to be long enough to hide their fingertips, and women carried fans to protect them from speculative looks. During the Heian period (794-1185 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods-including clothing-from entering the Imperial Palace and disseminating to the upper classes, who were the main arbiters of traditional Japanese culture at the time and the only people allowed to wear such clothing. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as “national culture” or “kokufū culture” (国風文化, kokufū-bunka), the term used to refer to Heian-period Japanese culture, particularly that of the upper classes. The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Others, such as the wrapped-front robes, also worn by men and women, were kept. Clothing became increasingly stylised, with some elements-such as the round-necked and tube-sleeved chun ju jacket, worn by both genders in the early 7th century-being abandoned by both male and female courtiers. Men’s formal dress included agekubi collars and very wide sleeves. The concept of the hidden body remained, with ideologies suggesting that the clothes served as “protection from the evil spirits and outward manifestation of a social rank”. This proposed the widely held belief that those of lower ranking, who were perceived to be of less clothing due to their casual performance of manual labor, were not protected in the way that the upper class were in that time period. This was also the period in which Japanese traditional clothing became introduced to the Western world. The courtiers in the foreground are wearing their hitoe off-the-shoulder, showing the kosode beneath. During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the kosode (lit., “small sleeve”) garment-previously considered underwear-becoming outerwear by the time of the Muromachi period (1336-1573 CE). Note red hakama of standing woman. Tarikubi collars on husband and wife, in their home. Note red and purple naga-bakama with trailing waist ties. Fugen and the Ten Rasetsunyo, detail. Empress Shoshi and son, 13th century illustration. Carpenters in common dress, 1309; kosode and hakama do not match. The kosode worn as outerwear. Note wider cut, and unisex narrow obi and shorter sleeves. Originally worn with hakama, the kosode began to be held closed with a small belt known as an obi instead. The kosode resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the Sengoku period (1467-1615)/Azuchi-Momoyama period (1568-1600), decoration of the kosode developed further, with bolder designs and flashy primary colours becoming popular. During the Edo period (1603-1867 CE), both Japan’s culture and economy developed significantly. Genroku culture was spearheaded by the growing and increasingly-powerful merchant classes (chōnin); the clothing of chōnin classes, representative of their increasing economic power, rivalled that of the aristocracy and samurai classes, brightly coloured and utilising expensive production techniques, such as handpainted dyework. A particular factor in the development of the Edo period was the early Genroku period (1688-1704 CE), wherein “Genroku culture” – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. In response to the increasing material wealth of the merchant classes, the Tokugawa shogunate issued a number of sumptuary laws `for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed shibori patterns. Rinzu, a damask fabric, also became the preferred material for kimono at this time, replacing the previously popular nerinuki plain-weave silk, which had been used to create tsujigahana. As a result, a school of aesthetic thought known as iki, which valued and prioritised the display of wealth through almost mundane appearances, developed, a concept of kimono design and wear that continues to this day as a major influence. The sleeves of the kosode began to grow in length, especially amongst unmarried women, and the obi became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material to support them. In the Edo period, the kimono market was divided into craftspeople, who made the tanmono and accessories, tonya, or wholesalers, and retailers. From this point onwards, the basic shape of both men’s and women’s kimono remained largely unchanged. Assorted types of kimono, Western dress, a court lady in keiko, and a schoolgirl in a high-collared shirt, kimono and hakama. All wear both purple and red. Family of Horiai Setsuko, May 1912, some in European dress, some in kimono, some wearing hakama. In 1869, the social class system was abolished, and with them, class-specific sumptuary laws. Women’s hakama spread from the court as part of Japanese reform dress. Following the opening of Japan’s borders in the early Meiji period to Western trade, a number of materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimono being relatively common in pre-1960s Japan; the use of safflower dye (beni) for silk linings fabrics (known as momi; literally, “red silk”) was also common in pre-1960s Japan, making kimono from this era easily identifiable. During the Meiji period, the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of “modernity”. 147 particularly with the advent of synthetic dyestuffs such as mauvine. Western clothing within their job roles, with the adoption of Western clothing by men in Japan happening at a much greater pace than by women. Initiatives such as the Tokyo Women’s & Children’s Wear Manufacturers’ Association (東京婦人子供服組合) promoted Western dress as everyday clothing. With the opening of Japan’s ports for international trade in the 1860s, clothing from a number of different cultures arrived as exports; despite Japan’s historic contact with the Dutch before this time through its southerly ports, Western clothing had not caught on, despite the study of and fascination with Dutch technologies and writings. In Japan, modern Japanese fashion history might be conceived as a gradual westernization of Japanese clothes; both the woolen and worsted industries in Japan originated as a product of Japan’s re-established contact with the West in the early Meiji period (1850s-1860s). Before the 1860s, Japanese clothing consisted entirely of kimono of a number of varieties. The first Japanese to adopt Western clothing were officers and men of some units of the shōgun’s army and navy; sometime in the 1850s, these men adopted woolen uniforms worn by the English marines stationed at Yokohama. Wool was difficult to produce domestically, with the cloth having to be imported. Outside of the military, other early adoptions of Western dress were mostly within the public sector, and typically entirely male, with women continuing to wear kimono both inside and outside of the home, and men changing into the kimono usually within the home for comfort. The Ministry of Education ordered that Western-style student uniforms be worn in public colleges and universities. From this point on, Western clothing styles spread outwards of the military and upper public sectors, with courtiers and bureaucrats urged to adopt Western clothing, promoted as both modern and more practical. Despite Western clothing becoming popular within the workplace, in schools and on the streets, it was not worn by everybody, and was actively considered uncomfortable and undesirable by some; one account tells of a father promising to buy his daughters new kimono as a reward for wearing Western clothing and eating meat. By the 1890s, appetite for Western dress as a fashion statement had cooled considerably, and the kimono remained an item of fashion. Businessmen, teachers, doctors, bankers, and other leaders of the new society wore suits to work and at large social functions. By the beginning of the 20th century, Western dress had become a symbol of social dignity and progressiveness; however, the kimono was still considered to be fashion, with the two styles of dress essentially growing in parallel with one another over time. With Western dress being considered street wear and a more formal display of fashionable clothing, most Japanese people wore the comfortable kimono at home and when out of the public eye. A number of different fashions from the West arrived and were also incorporated into the way that people wore kimono; numerous woodblock prints from the later Meiji period show men wearing bowler hats and carrying Western-style umbrellas whilst wearing kimono, and Gibson girl hairstyles – typically a large bun on top of a relatively wide hairstyle, similar to the Japanese nihongami – became popular amongst Japanese women as a more low-effort hairstyle for everyday life. By 1930, ready-to-wear meisen kimono had become highly popular for their bright, seasonally changing designs, many of which took inspiration from the Art Deco movement. 1920 and 1930, the fuku sailor outfit replaced the kimono and undivided hakama as school uniform for girls. It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. 85 were dyed using a stencil pattern before weaving. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. Until the 1930s, the majority of Japanese still wore kimono, and Western clothes were still restricted to out-of-home use by certain classes. Fibres such as rayon became widespread during WWII, being inexpensive to produce and cheap to buy, and typically featured printed designs. Cloth rationing persisted until 1951, so most kimono were made at home from repurposed fabrics. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of the hōmongi, divisions of tomesode (short-sleeved) kimono for women, and montsuki hakama. Formalisation sought perfection, with no creases or uneveness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono. Japanese using the English phrase “Time, Place, and Occasion” (TPO). The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class. Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation. By the 1970s, formal kimono formed the vast majority of kimono sales. Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but also a perception of kimono knowledge, allowing them to dictate prices and heavily promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. £18 billion). The sale of informal brand new kimono was largely neglected. It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals. US$5), a few percent of the bought-new price. Japanese clothing. The kimono is worn wrapped around the body, left side over right, and is sometimes worn layered. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this. Kimono differ in construction and wear between men and women. 1603-1867), the symbolic meaning of the kimono shifted from a reflection of social class to a reflection of self, allowing people to incorporate their own tastes and individualize their outfit. Post-WW2, kimono schools were built to teach those interested in kimono how to wear it and tie a number of different knots. A number of different types of kimono exist that are worn in the modern day, with women having more varieties than men. The furisode (lit., “swinging sleeve”) is a type of formal kimono usually worn by young women, often for Coming of Age Day or as bridalwear, and is considered the most formal kimono for young women. Whereas men’s kimono differ in formality typically through fabric choice, the number of crests on the garment (known as mon or kamon) and the accessories worn with it, women’s kimono differ in formality through fabric choice, decoration style, construction and crests. The uchikake is also worn as bridalwear as an unbelted outer layer. The houmongi and the tsukesage are semi-formal women’s kimono featuring a design on part of the sleeves and hem. The kurotomesode and irotomesode are formal kimono with a design solely along the hem, and are considered the most formal kimono for women outside of the furisode. The iromuji is a low-formality solid-colour kimono worn for tea ceremony and other mildly-formal events. The komon and edo komon are informal kimono with a repeating pattern all over the kimono. Other types of kimono, such as the yukata and mofuku (mourning) kimono are worn by both men and women, with differences only in construction and sometimes decoration. In previous decades, women only stopped wearing the furisode when they got married, typically in their early- to mid-twenties; however, in the modern day, a woman will usually stop wearing furisode around this time whether she is married or not. The word kimono literally translates as “thing to wear”, and up until the 19th century it was the main form of dress worn by men and women alike in Japan. Traditionally, the art of wearing kimono (known as kitsuke) was passed from mother to daughter as simply learning how to dress, and in the modern day, this is also taught in specialist kimono schools. First, one puts on tabi, which are white cotton socks. Then the undergarments are put on followed by a top and a wraparound skirt. Finally, the kimono is put on, with the left side covering the right, tied in place with one or two koshihimo and smoothed over with a datejime belt. The obi is then tied in place. Next, the nagajuban (under-kimono) is put on, which is then tied by a koshihimo. Kimono are always worn left-over-right unless being worn by the dead, in which case they are worn right-over-left. When the kimono is worn outside, either zōri or geta sandals are traditionally worn. Funeral kimono (mofuku) for both men and women are plain black with five crests, though Western clothing is also worn to funerals. Women typically wear kimono when they attend traditional arts, such as a tea ceremonies or ikebana classes. Any plain black kimono with less than five crests is not considered to be mourning wear. At these annual celebrations, women wear brightly coloured furisode, often with fur stoles around the neck. Kimono are matched with seasons. The “coming of age” ceremony, Seijin no Hi, is another occasion where kimono are worn. During these months, kimono with more rustic colours and patterns (like russet leaves), and kimono with darker colours and multiple layers, are favoured. Awase (lined) kimono, made of silk, wool, or synthetic fabrics, are worn during the cooler months. In the warmer weather months, vibrant colors and floral designs (like cherry blossoms) are common. Lightweight cotton yukata are worn by men and women during the spring and summer months. Up until the 15th century the vast majority of kimono worn by most people were made of hemp or linen, and they were made with multiple layers of materials. Today, kimono can be made of silk, silk brocade, silk crepes (such as chirimen) and satin weaves (such as rinzu). Modern kimono that are made with less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers, are more widely worn today in Japan. Kimono are typically 39-43 inches (990-1,090 mm) long with eight 14-15 inches (360-380 mm) wide pieces. These pieces are sewn together to create the basic T-shape. However, silk is still considered the ideal fabric for more formal kimono. Kimono are traditionally sewn by hand, a technique known as wasai. However, even machine-made kimono require substantial hand-stitching. Kimono are traditionally made from a single bolt of fabric called a tanmono. Tanmono come in standard dimensions, and the entire bolt is used to make one kimono. Kimono fabrics are frequently hand-made and -decorated. Kimono are worn with sash-belts called obi, of which there are several varieties. In previous centuries, obi were relatively pliant and soft, so literally held the kimono closed; modern-day obi are generally stiffer, meaning the kimono is actually kept closed through tying a series of flat ribbons, such as kumihimo, around the body. The finished kimono consists of four main strips of fabric – two panels covering the body and two panels forming the sleeves – with additional smaller strips forming the narrow front panels and collar. The two most common varieties of obi for women are fukuro obi, which can be worn with everything but the most casual forms of kimono, and nagoya obi, which are narrower at one end to make them easier to wear. Because it was made for warm weather, yukata are almost entirely made of cotton of an often lighter weight and brighter color than most kimono fabrics. It is worn for festivals and cherry blossom viewing ceremonies. The hakama, which resembles a long, wide pleated skirt, is generally worn over the kimono and is considered formal wear. Although it was traditionally created to be worn by men of all occupations (craftsmen, farmers, samurai, etc.), it is now socially accepted to be worn by women as well. The yukata (浴衣) is an informal kimono worn specifically in the spring and summer, and it is generally less expensive than the traditional kimono. The obi is similar to a belt, wrapping around the outer kimono and helping to keep all of the layers together, though it does not actually tie them closed. Obi are typically long, rectangular belts that can be decorated and coloured in a variety of different ways, as well as being made of a number of different fabrics. Modern obi are typically made of a crisp, if not stiff, weave of fabric, and may be relatively thick and unpliant. Zōri are a type of sandal worn with kimono that resemble flip-flops by design, with the exception that the base is sturdier and at times forms a gently sloping heel. Zōri can be made of wood, leather and vinyl, with more formal varieties featuring decorated straps (known as hanao) that may be embroidered and woven with gold and silver yarn. These shoes are typically worn with white socks usually mostly covered by the kimono’s hem. Geta are sandals similar to zōri that are made to be worn in the snow or dirt, featured with wooden columns underneath the shoes. Initially men used it under kimono. By 2012 new variations of it emerged. Multiple designers use the kimono as a foundation for their current designs, being influenced by its cultural and aesthetic aspects and including them into their garments. Issey Miyake is most known for crossing boundaries in fashion and reinventing forms of clothing while simultaneously transmitting the traditional qualities of the culture into his work. He has explored various techniques in design, provoking discussion on what identifies as “dress”. Miyake found interest in working with dancers to create clothing that would best suit them and their aerobic movements, eventually replacing the models he initially worked with for dancers, in hopes of producing clothing that benefits people of all classifications. He has also been tagged the “Picasso of Fashion” due to his recurring confrontation of traditional values. His use of pleats and polyester jersey reflected a modern form of fashion due to their practical comfort and elasticity. His two most popular series were titled, “Pleats, Please” and “A-POC (A piece of Cloth)”. Yohji Yamamoto and Rei Kawakubo are Japanese fashion designers who share similar tastes in design and style, their work often considered by the public to be difficult to differentiate. Over 10 years of Miyake’s work was featured in Paris in 1998 at the “Issey Miyake: Making Things” exhibition. They differ from Miyake and several other fashion designers in their dominating use of dark colors, especially the color black. Traditional clothing often included a variety of colors in their time, and their use of “the absence of color” provoked multiple critics to voice their opinions and criticize the authenticity of their work. They were influenced by social conflicts, as their recognizable work bloomed and was influenced by the post war era of Japan. American Vogue of April 1983 labeled the two “avant-garde designers”, eventually leading them to their success and popularity. The Japanese are often recognized for their traditional art and its capability of transforming simplicity into creative designs. As stated by Valerie Foley, “Fan shapes turn out to be waves, waves metamorphose into mountains; simple knots are bird wings; wobbly semicircles signify half-submerged Heian period carriage wheels”. With traditional clothing, specific techniques are used and followed, such as metal applique, silk embroidery, and paste- resist. These art forms have been transferred onto fabric that then mold into clothing. The type of fabric used to produce the clothing was often indicative of a person’s social class, for the wealthy were able to afford clothing created with fabrics of higher quality. Japanese street fashion emerged in the 1990s and differed from traditional fashion in the sense that it was initiated and popularized by the general public, specifically teenagers, rather than by fashion designers. Different forms of street fashion have emerged in different Tokyo locales, such as the rorīta in Harajuku, the koakuma ageha of Shibuya or the Gyaru subculture fashion style. Lolita fashion became popular in the mid-2000s. Stitching techniques and the fusion of colors also distinguished the wealthy from the commoner, as those of higher power had a tendency to wear ornate, brighter clothing. Different sub-styles of lolita include casual, sweet, gothic, black and hime (“princess”). It is characterized by “a knee length skirt or dress in a bell shape assisted by petticoats, worn with a blouse, knee high socks or stockings and a headdress”. Women with this style tan their bodies and faces to a deep brown colour, and will frequently use light lipstick to accentuate the darkness and brownness of their complexion. Kogyaru or kogal is another Japanese street fashion based on a Shibuya club-hostess look. The kogal trend is found in both Shibuya and Harajuku, and is influenced by a “schoolgirl” look, with participants often wearing short skirts, oversized knee-high socks, and sparkling accessories. English, Bonnie. 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Peirson-Smith, Anne; II, Joseph H. Hancock (15 July 2018). Transglobal Fashion Narratives: Clothing Communication, Style Statements and Brand Storytelling.

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Hanfu. It was introduced to China through the Silk Road and popularized during the Tang dynasty, where it became an accessory for Han Chinese clothing. Pibo was subsequently passed on to the Korean Peninsula, Japan, and Vietnam. Primarily worn by women, it is often draped over the shoulders or wrapped around the elbows. While crossing the arms, it hangs at the back, creating an elegant and graceful appearance. The ceremonial silk is also frequently seen in depictions of deities and immortals. The ‘pibo’ (披帛) garment can be divided into two major types, ‘pi’ (帔) and ‘bo’ (帛), with lengths often exceeding two meters. The materials are delicate and soft silk gauze adorned with bright and colorful designs. Decorative patterns can be made using various methods, such as embroidery, dyeing, or printing. It was possibly introduced to China via the Silk Road. The Pibo likely originated from Persian kingdoms in West Asia and potentially influenced by Hellenistic culture. It was particularly popular during the Sui and Tang Dynasty, where the silk pibo can be found both in the Western regions of Dunhuang and Turpan and the central region of Chang’an, reflecting the vibrant silk trade during that time. In the poetry, murals, and artworks of the Sui and Tang dynasties, fashionable women are often depicted draped in pibo silks. This style could be achieved using a shorter length of ceremonial silk. In the late Tang and Five Dynasties, it became fashionable to loop the ceremonial silk from behind and then have it drape over the arm, requiring a pibo with a length of about five meters or more. In early Tang, one side of the garment was tucked into the skirt or the banbi, and the other end hung naturally over the shoulder. 月滿天心 (2015). 《美人醉》. 北京: 九州出版社. 龔元之 (2019). 《古裝穿搭研究室：超乎你想像的中國服飾史》. 臺北: 時報文化. 盧秀文, 徐會貞 (June 2015). “《披帛與絲路文化交流》”. 敦煌研究. This page was last edited on 12 March 2024, at 18:09 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. 中原文化家 (2019). “古代披帛起源於何時？”. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Futari wa Pretty Cure Splash Star (ふたりはプリキュア Splash Star, Futari wa Purikyua Supurasshu Sutā), often shortened simply to PreCure Splash Star, is a magical girl anime series produced by Toei Animation that aired on TV Asahi between February 5, 2006 and January 28, 2007. It is the third series in Izumi Todo’s Pretty Cure metaseries, and follows a new story different from the previous two series that features the second generation of Cures. The character designs were done by Akira Inagami, who previously worked on the character designs for the previous installments. The series is directed by Toshiaki Komura, who previously directed Kinnikuman Nisei. Saki Hyuga and Mai Mishou met for the first time when they were both nine years old, after they followed two glowing balls that flew towards the Sky Tree, a big tree situated atop a mountain in their town. The series’ main motif is based on Nature, with its concept deriving from the Japanese idiom “flower, bird, wind, moon” (花鳥風月, kachōfūgetsu), which symbolizes the beauty of nature and the traditional themes of natural beauty in Japanese aesthetics. Five years later, they reunite at the Sky Tree and meet Flappy and Choppy, spirits from the Land of Fountains who reveal that they were the glowing balls they saw that day and that they were chosen to protect the Fountains hidden in their world, which they refer to as the Land of Fountains. Together, they fight against Dark Fall, who are searching for the Fountain of Sun, the last of the seven fountains that are connected to the World Tree – the source of life in all worlds. Through Flappy and Choppy’s power, Saki and Mai become Cure Bloom and Cure Egret respectively, and later on gain new forms called Cure Bright and Cure Windy from the power of the two spirits Moop and Fuup. The leader of Dark Fall has set his sights on the Tree, and it is the Pretty Cure’s job to protect it. In the Splash Star movie, Sirlion, a warrior from Dark Fall, opens up a gateway to the Land of Clocks using directions from Mai. He plans to freeze time by halting the Eternal (Infinite) Clock, which will cut off everyone’s future. Saki and Mai were in disagreement after Saki overslept and Mai wandered into a nearby clock store, causing them to miss the sign-up for the karaoke singing contest. The Splash Star Pretty Cures are warriors chosen by the Land of Fountains to restore the Seven Holy Fountains and prevent Dark Fall from taking over the Land of Greenery. After being thrown into an endless maze, Saki and Mai have to work together to solve the maze’s puzzles. They both transform using the Mix Commune (ミックス・コミューン, Mikkusu komyūn) through the phrase “Dual Spiritual Power” (デュアル・スピリチュアル・パワー！, Duaru Supirichuaru Pawā!). After transforming, the duo introduces themselves with “We are Pretty Cure!” (ふたりはプリキュア!, Futari wa Purikyua!) with Mai saying “Those who defiled the Holy Fountains!” (聖なる泉を汚す者よ!, Seinaru izumi o yogosu mono yo!) and Saki saying “We’re here to stop your cruel behavior!” (アコギな真似はお止めなさい!, Akogina mane wa oyamenasai!). The main protagonist. Saki is a 13/14-year-old girl, she is cheerful and athletic. Later on in the series, both Saki and Mai transform using the Splash Commune (スプラッシュ・コミューン, Supurasshu komyūn), harnessing the powers of Moop and Fuup. Unlike Nagisa, Saki has a mild personality and has a habit of saying “I’m on top form!” (絶好調！, Zekkōchō!) when she is excited. Like Nagisa, Saki is excellent at sports, being a member of the girls’ softball team at Yuunagi Middle School, is not good at academics and has a huge appetite, just like Nagisa. Saki is bright and energetic, and remains positive even when facing the darkest situations. Her family runs the Panpaka Pan bakery, which she works at; she is good at cooking and making delicious bread. Although Saki appears childish at times, she is sociable and gregarious, and her cheerful and outgoing personality often cheers up others. She has a sister named Minori, who she shares a room with and is often annoyed by. As Cure Bloom and Cure Bright, her short auburn hair becomes bright reddish blonde and is worn with a headband. Saki also has a crush on Mai’s older brother, Kazuya. Cure Bright her theme color is yellow and she represents the moon. She introduces herself as “The shining golden flower, Cure Bloom!” (輝く金の花, キュアブルーム!, Kagayaku kin no hana, Kyua Burūmu!) while as Cure Bright, she introduces herself as “The full moon in the sky, Cure Bright!” (天空に満ちる月, キュアブライト!, Tenkū ni michiru tsuki, Kyua Buraito!). The secondary protagonist. Mai is a 13/14-year-old girl who likes art and has a gentle and calm nature. She and her family live in an observatory. Mai is very observant and aware, often noticing subtle details that others would easily miss. As Cure Egret and Cure Windy, her long dark blue hair becomes dark purple and is worn in a long ponytail. Cure Windy her theme color is blue and she represents the wind. Her father is an astronomer, her mother is an archeologist, and her brother, Kazuya, aspires to be an astronaut when he grows up. He seemingly has a crush on Choppy, but she is either unaware of or doesn’t understand his feelings for her. The spirit of the flower, who likes to eat rice and ends his sentences with the phrase “lapi”. He functions as Saki’s transformation device, allowing her to transform into Cure Bloom and Cure Bright. The spirit of the bird, who ends her sentences with the phrase “chopi”. A mysterious spirit of the moon that first appears in episode 24 and has some connection to Michiru, as the Kiryuu sisters once rescued Moop and Fuup from a falling tree at the Fountain of Sky. She functions as Mai’s transformation device, allowing her to transform into Cure Egret and Cure Windy. A mysterious spirit of the wind that first appears in episode 24 along with Moop and has some connection to Kaoru, as the Kiryuu sisters once rescued Moop and Fuup from a falling tree at the Fountain of Sky. He ends his sentences with the phrase “mupu”. She ends her sentences with the phrase “pupu”. Moop and Foop can use the powers of the moon and wind to power up the Pretty Cure with the Spiral Ring Set, and later serve as the power sources for Cure Bright and Cure Windy. The princess of the Land of Fountains, who appears each time the Pretty Cure duo restores a Fountain and leaves them a keyword about what will happen in the future before vanishing. Throughout the whole series, Pretty Cure’s enemies are the villains of Dark Fall (ダークフォール, Dāku Fōru). In episode 41, Goyan used the Fairy Carafe to bring the previously killed villains (except Michiru and Kaoru) back to life to defeat Pretty Cure. In the last episode, Flappy reveals that Filia’s true identity is the spirit of the World Tree. He has sent out minions to search for the location of the last of these fountains, the Fountain of Sun. The evil ruler of Dark Fall, who seeks to take over the World Tree, and has managed to capture six of the seven Fountains that are connected to it. He appears as a shadowy towering demon-like being wearing robes, with glowing red eyes that shine out of the cave in which he lives. Akudaikaan’s aide, who Ms, Shitataare calls “Gōchan”. In the series’ final battle, it is revealed that Goyan created him and Dark Fall as a tool, and that Goyan is the true villain. It is later revealed in episode 47 that he created Akudaikaan as a tool, and that his true intent is to destroy the universe and all its life. Before his battle against the girls, he appears to be polite, yet mean and vicious, and the Dark Fall minions often mock him. He almost kills Cure Bloom and Cure Egret by taking them with him, but they defeat him with the Pretty Cure Spiral Heart Splash Star. After killing Akudaikaan, he transforms into a gigantic monster and turns the Land of Greenery into a wasteland, then has a fierce battle against the girls. Karehaan is the first of Dark Fall’s members to attack Earth, and is also their weakest member. He is sent to capture Flappy and Choppy in order to force them to tell where the Fountain of Sun is. He attacks the Pretty Cure with wood-related Uzainaa. When they refuse to reply, he begins to harm them until Saki and Mai step in and transform for the first time. In episode 7, the Cures defeat him and he returns to his original form of dead leaves, but he is later resurrected in episode 42 along with the other generals of Dark Fall. However, he is defeated in the same episode. His name is often mispronounced as “Curry-pan”, much to his displeasure. His appearance is based on Brazilian carnival dancers. Moerumba is the second of Dark Fall’s members to attack Earth, after Karehaan’s defeat. He attacks the Pretty Cure with fire-related Uzainaa. He is feminine, speaks Spanish, such as calling the Pretty Cure “Señorita” (“young lady”), and loves to dance and snap his fingers. He is defeated in episode 13 and returns to his original form of flames and glass, but is later resurrected in episode 42 along with the other generals of Dark Fall. He is then defeated once more in episode 43. Episode 41 has him flirt with Karehaan, who doesn’t appreciate it. He resembles an arachnid and prefers to travel underground. Dorodoron is the third of Dark Fall’s members to attack Earth, after Moerumba’s defeat. He transforms earth-related objects such as rocks and cobblestone into Uzainaa. He also occasionally takes advice from Michiru and Kaoru, despite his ire against them for attacking when he is supposed to. He is defeated in episode 20 and returns to his original form of soil, but is later resurrected in episode 42 along with the other generals of Dark Fall. Ms. Shitataare is the fourth of Dark Fall’s members to attack Earth, after Michiru and Kaoru. She dresses in a modern adaption of a Hanfu mixed with a high-slit dress and manipulates water, which she also usually turns into Uzainaa. The Pretty Cure duo’ receive their power-ups, the Spiral Ring Set and the Bright/Windy form, while she is the main villain. Saki calls her “Hanamizu-taare”, derived from hanamizu, which means nasal mucus. She’s later reveals that Michiru and Kaoru are still alive at Dark Fall, despite having seemingly died. According to Moop and Foop, she was responsible for destroying the Fountain of Water and the Fountain of Sky. She is seemingly ambitious and obsessed with her career as a minion of Dark Fall, and uses several tricks and disguises against the Pretty Cure. In episode 32, she is defeated and returns to her original form of water, but is later resurrected in episode 42 along with the other generals of Dark Fall. The last of Dark Fall’s members to appear, after Ms. Shitataare’s defeat. Despite this, she helped them to infiltrate Dark Fall in episode 30 since she believes she is the only one allowed to defeat them and won’t let Goyan do so. He is the strongest member of Dark Fall and has skin that is gold in color. He often buys bread from Saki’s family bakery and occasionally provides guidance to the girls. He likes to exercise and work out, and so respects strong opponents, seemingly preferring his rivalry with the Pretty Cure over his mission to defeat them. He is defeated in episode 40 and returns to his original form of gold dust, but is later resurrected in episode 42 along with the other generals of Dark Fall. He, along with Ms. Shitataare, are defeated once more in episode 45, but not before confessing his love for her. She is later revealed to be a member of Dark Fall tasked with guarding the Fountain of Sky alongside her younger sister. She and Michiru infiltrate Yuunagi Junior High School as transfer students to gather information about the Pretty Cure, but gradually befriend them. Michiru’s older sister. A girl with long blue hair and blue eyes who first appears in episode 14 along with Michiru. In episode 23, she and Michiru sacrifice themselves to save Saki and Mai from Akudaikaan. Like Mai, as Cure Windy, her theme color is blue and she represents the wind. She is later revived in episode 42 through the Fairy Carafe’s power, turning into Cure Windy, modern qipao and assists the Pretty Cure in defeating Dark Fall and Goyan. Kaoru’s younger sister. A girl with short red hair and red eyes who first appears in episode 14 along with Kaoru. She is later revealed to be a member of Dark Fall tasked with guarding the Fountain of Sky alongside her older sister. Upon infiltrating the Land of Greenery as transfer students, she and Kaoru soon learn the meaning of their names, with “霧” meaning “fog” and “生” meaning “life, birth”. In episode 23, she and Kaoru sacrifice themselves to save Saki and Mai from Akudaikaan and send them back to the Land of Greenery. Like Saki, as Cure Bright, her theme color is yellow and she represents the moon. She is later revived in episode 42 through the Fairy Carafe’s power, turning into Cure Bright, and assists the Pretty Cure in defeating the Dark Fall and Goyan. Uzainaa are monsters that are fused with objects, with different members of Dark Fall fusing them with objects pertaining to different elements, such as Karehaan using wood-related Uzainaa. Saki and Minori’s father, who owns a bakery called PANPAKA. When defeated, element spirits are released from them and thank the Pretty Cure for freeing them. Saki and Minori’s mother, who is a bread craftsman at PANPAKA. Saki’s cat, who she adopted five years before the series. Mai’s mother, who is an archaeologist. Mai’s elder brother, who admires her and aspires to be an astronaut. Mai’s father, who is a notable astronomer. An English teacher who is the Cures’ homeroom teacher and advisor to the softball club. Yuunagi Middle School (夕凪中学校, Yūnagi Chūgakkō) is a junior high school that the Cures attend. A member of the softball team alongside Saki. Saki and Mai’s classmate. Mai’s friend and a member of the Art Club. A classmate of the Cures who is a student counsellor. The series is produced by Toei Animation and Asahi Broadcasting Corporation, having been broadcast across Japan via ABC and other ANN stations from February 5, 2006 to January 28, 2007. The opening theme for all of the episodes is “Makasete★Splash☆Star★” (まかせて★スプラッシュ☆スター★, Makasete Supurasshu Sutā, “Leave it to Us Splash Star”) by Yuka Uchiyae with Splash Stars. A classmate of the Cures and the captain of the softball club Saki is in. 映画 ふたりはプリキュアSplashStar チクタク危機一髪！

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Hanfu (Simplified Chinese: 汉服; Traditional Chinese: 漢服; pinyin: hànfū) is the traditional outfit of Chinese clothing worn by the Han people. It has represented an important aspect of Han culture and it remains a fundamental keystone to understanding China’s traditional aesthetics. Although in modern times casual dress such as Zhongshan suits have more practical purposes, the Hanfu has been re-emerging in popularity among young people in China these days. What Is Hanfu Made of? Hanfu was made up of a yi (Chinese: 衣; pinyin: yī), a narrow-cuffed, knee-length tunic tied with a sash, and a chang (Chinese: 裳; pinyin: chánɡ), a narrow, ankle-length skirt worn with a bixi (Chinese: 蔽膝; pinyin: bìxī), a length of fabric reaching the knees. Hanfu was said to be the clothing of the legendary Yellow Emperor, a great sage king of ancient China when it first appeared in China over three thousand years ago. Han-Chinese clothing has changed and evolved with the times since its first appearance. A whole set of the Han Chinese Garment has three layers: underwear, an inner garment, and an overcoat. They were red and green silk scarves. Also, accessories such as socks, shawls, and jade belts are used on hanfu. The three layers embrace ten elements: collar, hem, sleeve, lapel, belt, and so on. There are three main styles of hanfu: the jacket and shirt, one-piece dress, or jacket and trousers. The basic type is the jacket and skirt. Later robes became the customary costume. However, the jacket and skirt were women’s favorites. Depending on the dynasty and time period, the hanfu style ranges from colorful and extravagant to simple and modest. In addition, elaborate hats for men and hairpieces for women were worn to compliment the look. Each period also has its own hairstyle and make-up look. The Hanfu Movement is a social movement aimed at popularizing hanfu and incorporating traditional Chinese elements into modern clothing design in order to promote traditional Chinese culture, red cheongsam dress especially among the youth in China. If you’d like to study Chinese culture and language in China, check out our Chinese language school in Yangshuo, China! Want to Learn More About Chinese Culture? Also, Yangshuo is very famous for being the background of many hanfu photoshoots!

It was most popular during the Song dynasty, Ming dynasty, and from the early Qing to the Mid-Qing dynasty. The beizi originated in the Song dynasty. When worn by men, it is sometimes referred as changyi (Chinese: 氅衣), hechang (Chinese: 鹤氅; pinyin: hèchǎng; lit. According to Zhu Xi, the beizi may have originally been clothing worn by concubines and maidservants, and it was then named after these people as they would always walk behind their mistress. In the Ming dynasty, the beizi was referred as pifeng (Chinese: 披風; pinyin: pī fēng). In earlier times, the beizi did not exist according to both Zhu Xi and Lu You, and it only became popular by the Late Northern Song dynasty. In the Song dynasty, the beizi was worn by all social strata regardless of gender; however, it was a more prevalent in people of the higher social status. According to Ye Mende, the beizi was initially worn as a military clothing with “half-sleeves”; the sleeves were later extended and hanging ribbons were added from the armpits and back. Emperor Zhezong and Emperor Huizong both wore yellow beizi while the Grand Councillors of the Northern Song period would wear purple beizi with a round collar; this form of fashion remained until the Xuanhe period. The beizi had a straight silhouette, and the Song dynasty people liked its elegance which reflect the cultural and psychological development of the Song dynasty people who liked simplicity. While women were prescribed to wear beizi as a regular dress, men could only wear it in informal situation. Zhu Xi also created some rules for dressing, which included the wearing of beizi by unmarried women and concubines. The male Song dynasty beizi was worn as informal clothing at home because it could be left unfastened in the front, because of the relaxed waistline and as the beizi could come in variety of length and width. During the Song dynasty, the hechang (Chinese: 鶴氅; pinyin: hèchǎng; lit. Hechang was long and loose, and it could be made of down of crane and other birds, it was long enough for its lower hem to reach the ground. Examples of beizi artefacts worn by women dating from Song dynasty were unearthed from the tomb of Huang Sheng. Commoner women wearing beizi, Song dynasty. Song dynasty women wearing beizi (褙子), Northern Song dynasty (960-1127 AD). Unearthed beizi with narrow sleeves from the tomb of Huang Sheng, Southern Song dynasty. Song dynasty relief of a woman wearing a beizi. Women wearing beizi, Song dynasty Tomb Painting Found in Tengfeng City. Court Ladies of the Former Shu wearing post-Tang Style beizi. Song dynasty beizi, 12th century. A man wearing a “Song Style” beizi, or hechang (鶴氅). Portrait of Bi Shichang wearing hechang. A man wearing a hechang. In the Ming dynasty, the women’s pifeng became so long by the 16th century that it caused some anxieties to government officials as the women’s pifeng started to look closer to the men’s clothing; i.e. traditionally, woman’s upper garment had to be levelled at her waist with a lower garment which meets the upper garment in order to represent “earth supports heaven”. In the Ming dynasty, when the pifeng came to be lengthened to the point that woman’s upper garment covered the lower skirts; it was perceived as a confusion between man and woman as it was men who traditionally had their upper garments covering their lower garments to symbolize “heaven embraces earth”. The pifeng was a prominent clothing for women in the late ming dynasty as a daily dress in the 16th and 17th century. Ming dynasty portrait of a Woman wearing a “Ming Styled” beizi (also known as pifeng). Ming dynasty portrait of a man wearing a “Ming Styled” beizi. During the Qing dynasty, the Ming-style form of clothing remained dominant for Han Chinese women; this included the beizi among various forms of clothing. The pifeng continued to be worn even after the fall of the Qing dynasty, but eventually disappeared by the 19th century. Qing dynasty beizi, illustration d. Qing dynasty beizi, illustration d. Qing dynasty beizi, illustration d. Woman wearing beizi, Domestic Scene from an Opulent Household, Qianlong period. Woman wearing beizi, Qing dynasty. In the 17th and 18th century AD, the beizi (褙子) was one of the most common clothing and fashion worn by women in Qing dynasty, along with the ruqun, yunjian, taozi and bijia. The beizi and pifeng which are based on various dynasties regained popularity in the 21st century with the emergence of the Hanfu Movement and were modernized or improved. Beizi, from the 18th century novel Dream of the Red Chamber. The beizi could also be found with side slits which could start at beginning at the armpit down its length or without any side slits at all. In the song dynasty, the beizi was not fastened so that the inner clothing could be exposed. The beizi also came in variety of length, i.e. above knees, below knees, and ankle length, and the sleeves could vary in size (i.e. either narrow or broad). The beizi has a straight silhouette with vents and seams at the sides. There is a style of beizi wherein ribbons could be hung from both the armpits and the back, with a silk belt which fastened the front and back of the beizi together, or the front and back parts of the beizi could also be left unbound. According to Cheng Dachang, the use of ribbons under the armpits was assumed to have been a way to imitate the crossing ribbons of earlier ancient Chinese clothing in order to maintain the clothing of the ancient times. A “half-beizi”, a beizi with short sleeves; it was originally worn as a military uniform but it was then worn by the literati and the commoners despite being against the Song dynasty’s dressing etiquette. They were made of ramie or raw silk fabric. A “sleeveless beizi”, which looks like a modern sleeveless vest, was used as a casual clothing and could be found in the market. The beizi also developed with time. In the Song dynasty, the sleeves of the beizi was fuller, but it became more tubular in shape in the Ming dynasty. The earlier Song dynasty beizi had a band which finished the edges down to the bottom hem, but with time, it developed further and a contrasting neckband which encircled the neck down to the mid-chest; a closing was also found at the mid-chest. By the late Ming dynasty, the beizi (also known as pifeng) had become longer and almost covered the skirts completely which came to look almost like the men’s clothing and the sleeves grew larger trailing well below the finger tips. The neckband, however, was shortened to reach mid-chest and the robe was made wider. The gender difference is that while wide-sleeved beizi were considered formal wear for women (narrow-sleeved beizi were casual wear for women), both wide and narrow-sleeved beizi were only used as casual wear for men. In the Romance of the Three Kingdoms, Zhuge Liang is said to be wearing hechang. Zhu Geliang wearing a hechang (also known as beizi). In Chinese opera, costumes such as nüpi (Chinese: 女帔; a form of women’s formal attire) and pi (Chinese: 帔; a form of men’s formal attire) were derived from the beizi worn during the Ming dynasty (i.e. pifeng). In the Ming dynasty, qipao dress modern beizi can be secured at the front either with a metal or jade clasp button called zimu kou (Chinese: 子母扣). Water sleeves were also added to the sleeves for both pi and nüpi; the water sleeves worn with the nüpi are longer than those worn with the pi. The nüpi had straight sides and vents and was knee length; the length of the nüpi was historically accurate. The pi had a flared side seams with vents and was ankle-length. Both pi and nüpi had tubular sleeves which were longer than then wrist length. It could be closed with a single Chinese frog button or with a fabric tie. Qing dynasty period pi costume (front view). Qing dynasty period pi costume (back view). The hechang (known as hakchang in Korea) was introduced during the 17th and 18th century in Joseon by people who had exchanges with Chinese or liked Chinese classic styles and gradually became popular among the Joseon people; Joseon scholars started to borrow the looks of Zhuge Liang due to the popularity of the Romance of the Three Kingdoms; and thus, the hakchangui was increasingly worn by more and more Joseon scholars. In Joseon, fans with white feather and the hakchangui became the representative clothing of Zhuge Liang, hermits, and scholars who followed taoism. The Ao Nhat Binh was further developed in the Nguyen dynasty to denote social ranking of women through the use of colours and embroidery patterns. Latin script (pos 1) (help)), which was a casual outer garment worn by the female royal family, female officials, and high noble ladies of the Nguyen dynasty during informal occasions, originated from the Ming dynasty pifeng (Vietnamese: Áo Phi Phong) which was popular in China. Zhongguo gu dai ming wu da dian. Fu Hua, 華夫. Zang, Yingchun; 臧迎春. Jinan Shi: Jinan chu ban she. 2003). Zhongguo chuan tong fu shi. 李竹润., 王德华., 顾映晨. Beijing: Wu zhou chuan bo chu ban she. Frontiers of History in China. Hua, Mei; 华梅 (2004). Zhongguo fu shi (Di 1 ban ed.). Beijing: Wu zhou chuan bo chu ban she. Yuan, Zujie (2007). “Dressing for power: Rite, costume, and state authority in Ming Dynasty China”. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Cambridge, United Kingdom: Cambridge University Press. University of Hawaii Press. B. Bonds, Alexandra (2008). Beijing Opera Costumes: The Visual Communication of Character and Culture. New York: Columbia University Press. 朱和平 (July 2001). 《中国服饰史稿》 (PDF) (in Chinese) (1st ed.). Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation. 中州古籍出版社. 梅·華 (2011). Chinese Clothing. Zhu, Ruixi; 朱瑞熙 (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties. Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Cambridge University Press. p. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Cambridge, United Kingdom. pp. Burkus, Anne Gail (2010). Through a forest of chancellors : fugitive histories in Liu Yuan’s Lingyan ge, an illustrated book from seventeenth-century Suzhou. Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing. Wang, Anita Xiaoming (2018). “The Idealised Lives of Women: Visions of Beauty in Chinese Popular Prints of the Qing Dynasty”. Yuan, active Liu. Cambridge, Mass. Arts Asiatiques. 73: 61-80. doi:10.3406/arasi.2018.1993. Cloak” and “Cape” in Hanfu?”. Bonds, Alexandra B. (2008). Beijing opera costumes : the visual communication of character and culture. Ge, Liangyan (2015). The scholar and the state : fiction as political discourse in late imperial China. Bonds, Alexandra B. (2019). Beijing opera costumes : the visual communication of character and culture. Honolulu: University of Hawaiʻi Press. New York, NY. pp. Park, Sun-Hee; Hong, Na-Young (2011). “A Study on Hakchangui, the Scholar’s Robe with Dark Trim”. Kim, Da Eun; Cho, Woo Hyun (2019-11-30). “A Study on Hakchanguis between the 17th and 18th Century : Focused on Confucian Clothing Portraits by Jang Man”. Journal of the Korean Society of Costume. Journal of the Korean Society of Costume. Áo dài Cô Sáu. This page was last edited on 27 November 2024, at 10:54 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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This product is currently out of stock and unavailable. Items & Feature Classic wuxia style men’s hanfu set, the design is inspired by the ancient Chinese ink painting and the legend of Kirin beast. 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. 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. Shipping: Once the package is in transit, you will receive an email notification of the shipping status and location, horse-faced skirt also you can directly Track Shipping online. Guarantee: If the item has any small and big quality issues, we will offer free return or refund for you. Learn more about the Return & Refund Policy.

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Baidiequn (Chinese: 百迭裙), also known as Hundred-change skirt, refers to an ancient style of qun (Chinese: 裙; lit. The baidiequn is typically a long, wrap-around densely pleated skirt with two flat surfaces at each end of the skirt. Han Chinese women in ancient China and is currently worn as a lower garment item in Hanfu. 144 It is also one of the two early Song dynasty prototypes of the mamianqun. The baidiequn is made of a single panel of fabric. It started to be worn at least since the Song dynasty, where unearthed artifacts of what is now referred as baidiequn were found in the Tomb of Huang Sheng (黄升墓) of the Southern Song dynasty, Fuzhou, Fujian Province. Its pleats tend to be very narrow and/or dense and almost covers the entire circumference of the skirt, except for the two edges of the skirts which are left non-pleated. 144 Due to the non-pleated edges of the skirt, the skirt form two rectangular flat panels, which are referred as guangmian (光面); when worn, the two guangmian of the baidiequn overlaps each other appearing to be a single flat panel. The modern variation of the baidiequn features narrow pleats, which are about one to two centimetres in term of pleat width. It has a wide waist band and long ribbons which are used as ties. The length of the baidiequn can also vary depending if it worn alone or is combined with other garments: the classic baidiequn is a long-length skirt which is about ankle or floor-length and can be worn as a stand-alone lower garment; it also the most commonly seen variation of the baidiequn; the hewei baidiequn (合圍 百迭裙), also called encircling baidiequn, usually reaches the mid-calf and is used as an over-skirt which can be worn over another qun or ku; the last type is the qianduan houzhuang (前短 後長), which has a shorter guangmian compared to its pleated regions are floor-length; due to its special construction, the qianduan houzhuang is the only form of baidiequn which requires having its guangmian located at the front of the body. There is typically no rule on where the guangmian need to be located on its wearer’s body, as such the guangmian can be found at the sides, back, or front depending on its wearer’s desire. Carol Bier, Helen Foresman Spencer Museum of Art (1st ed.). Dusenberry, Mary M. (2004). Flowers, dragons and pine trees : Asian textiles in the Spencer Museum of Art. Bonds, Alexandra B. (2019). Beijing opera costumes : the visual communication of character and culture. This clothing-related article is a stub. New York: Hudson Hills Press. You can help Wikipedia by expanding it.

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First off, I am Vietnamese American. Although I enjoy living my C-drama fantasy through these photoshoots, I have nearly zero knowledge of the Chinese language, making it difficult for me to research efficiently. The photographer, who shot the attached images above, labeled the style as “Trang Phục Ba Tư.” On my own, I found out that this roughly translates to “Persian Historical Time Period Costume.” To conclude that this fashion is “Persian” inspired or influenced is pretty big with some background knowledge. I couldn’t just accept it. I’m familiar with the main styles of Hanfu and even Dunhuang costumes, but I know this style is something else. Still no historical context, but it did help me search for more photos and video clips of this style on the 小红书 (Little Red Book) app. One of my Chinese friends said this style was recognized as “异域风情” or “Yìyù Fēngqíng” which she could not directly translate, cheongsam heart but she described it as western-region-influenced clothing. I’ve come up with my own theories from my knowledge of the 11th-grade Dynasties in China unit (lol) and from watching a fair share of palace C-dramas. Wealthy and influential foreigners were invited over to frequent the palace. These foreigners would share their culture in various flashy forms. Like the C-dramas, I like to think this exotic style became popular from dance and entertainment held at palace banquets that may have come from the western regions. I still cannot conclude that it really does originate from Persia like the Vietnamese label I referred to before.

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What is a Modern Hanfu? The modern hanfu is an improved version of traditional Chinese clothing, also called as new hanfu. The new hanfu is split into several varieties based on its features that can be part of the form characteristics, patterns, or aesthetic. The modern hanfu is on the basis of Western-style clothing, formed by integrating the basic elements of traditional hanfu outfit. 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. 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. It’s usually a very loose design that meant they wouldn’t have to have multiple sizes and fits. Eventually, hanfu style developed and people began wearing on a large scale, integrated into their everyday style. Traditional hanfu became more valuable and more collectible as pieces of art. 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. “But it has changed historically. “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. 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, 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. They quickly made a try, hope to create a new style focused on the contemporary woman. It’s hard for the public to understand what it means and how did hanfu has evolved into today. She has many roles, wears many dresses, and has many dreams. She is a boss, a mom, an artist, a CEO, a teacher, and the cornerstone of her community, no matter how big or small. The modern woman is a work of art, strong, soft, beautiful, and versatile. These are what they have in mind when the grown children decide to design the modern styles for today’s modern woman. Rather than the 2D plane design of traditional hanfu, modern hanfu has the western modern 3D design. 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. 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. 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. Modern hanfu embraces more close-fitting tailoring, and this allows each piece to fall uniquely on each unique body type. “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. However, it has experienced several improvements and revivals in popularity throughout the decades. 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. With advanced cotton & silk fabric blend, this style is one that’s easy to wear and easy to wash. Simply care for it by washing in cold water on a gentle cycle and then hang to dry. Modern hanfu is both functional and elegant. It’s the luxury the modern woman wants, whether layering or lounging, this piece is durable and soft. 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 some unique ancient garden scenic spots, it’s required to wear traditional or modern hanfu dress whenever appearing in public. Because of this, young people began to pay more attention to conventional hanfu as fashion. 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. 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. In modern China’s new age, western culture and eastern culture will be crossed, integrated, and reinforced with each other. That is why young people see traditional items as hanfu as cool and fashionable. They are having fun that arranges their own fashion with their favorite things. Hanfu is becoming closer to people in an unconventional way, and the new hanfu fashion is a representation of diversified cultural confidence. Modern hanfu base on western design, but also has an original design that western clothes don’t have. Not only that, the fresh idea of modern always makes trends; young people will lead to more and more new styles. For a while now, the garment has been rising in popularity, not only with youth but also with tourists and leading global fashion creatives. “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. 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. If you’re good with a needle, you could try embroidery yourself or attach some cool patches. Nowadays, mainstream fashion takes inspiration from traditional spirit. The hanfu is your canvas, which can say anything you want it to say and can be worn whenever you want. What’s happened for sure is that hanfu styling became more free. People aren’t afraid to wear patterns that are out of season and will mix and match their traditional style with modern accessories. Just like with any outfit, you can mix and match freely with the modern hanfu, everything is possible! Don’t be afraid to have fun with it!

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