Female Traditional Chinese Hanfu

Amidst a burgeoning global interest in China’s past, pioneering designers and brands have taken up the mantle to navigate hanfu through the waters of international haute couture. Ethnic minorities in China also have their own styles of xiuhuaxie and their own traditional customs around these shoes. Hanfu has traversed time, from its origins during the prime of imperial dynasties to its repression in a China eager to modernize, and now its remarkable revival. The dahu combined the features of the Tang and Song dynasties hanfu and the Mongol Yuan dynasty clothing. How did it evolve as Dynasties changed and replaced each other? Perfect for cultural events, festivals, or as a unique addition to your wardrobe, the Medium size is tailored to fit gracefully, providing an authentic and flattering silhouette. This hair piece embodies the essence of antique Chinese hair styling, perfect for cosplay events, cultural festivals, tang dynasty hanfu or themed parties. Whether you’re attending a themed event or simply appreciate the rich cultural heritage of the Tang Dynasty, this Hanfu costume is sure to turn heads and bring the opulence of ancient China to life. The Ez sofei Women Chinese Traditional Ancient Stage Performance Costume Hanfu Dress is a beautifully crafted attire that embodies the elegance and cultural heritage of ancient China.

Crafted from premium quality fabrics, the Ez sofei Hanfu dress is both comfortable to wear and visually stunning. Delving into hanfu’s fabrics, one resurfaces with stories of mulberry-harvested silk and the shimmer of satin, each material selected with purposed intent to confer status, occasion, or even ethereal beauty to the wearer. The hanfu is more than a sum of its fabrics, patterns, and cuts-it is a testament to cultural resilience. This cultural phoenix’s rise in the 21st century is more than a fashion statement; it’s a blend of heritage and aesthetic, of old-world charm and contemporary sensibility. In 2008, Xiangyun silk was included in the Chinese National Intangible Cultural Heritage list. Any hanfu connoisseur will tell you that fabric choice and design are far from mere aesthetic decisions-they are narratives woven in silk and brocade. Weddings arrayed in hanfu forge connubial imagery that is nothing short of a time-traveling experience, where couple and guest alike are ensconced in the elegance of bygone eras, allowing tradition to bless and bear witness to modern love narratives. The silk weaving technology of the time was highly advanced, allowing for intricate embroidery and detailed patterns tailored to individual preferences by skilled artisans.

The sheer fabric of the top layer adds a touch of mystique, allowing for a subtle play of light and shadow to enhance the overall aesthetic. From the regal robes fit for a sage-born ruler to the artfully tailored attire of a merchant-class fashionista, hanfu’s aesthetic continues to expand and include a spectrum of identities in present-day fashion dialogues. In its fabric, weave, and flow lies a story of a civilization that has influenced the modern fashion world profoundly. Whether you’re an actress, dancer, or enthusiast of historical attire, this Hanfu dress is designed to offer a true sense of immersion into the world of ancient Chinese culture. There’s no denying the magnetism of hanfu’s aesthetic, something that rising stars and legal eagles like Dasha Nekrasova could attest to, embodying both dramatic presence and a deep-rooted sense of tradition. Explorations within film, like those where The Witcher season 3 cast dons fantasy garments, speak to a wider audience of hanfu’s potential. Offline, events like the Hanfu Culture Festival, bringing together legions of aficionados, chinese traditional men’s clothing showcase the rich history and ongoing evolution of these garments.

The assumption about a collectivist culture in Japan is thud vague since it is only based on the premise that rice farmers are cooperative due to the nature of rice growing activities. A silk Hanfu, costing between $50 to $100 per yard, might need more ease than a cotton one due to the fabric’s drape and movement. This year’s autumn is colorful, it may be more concerned with some colourful. I think a lot of people, myself included, don’t know a lot about all the different types of clothing throughout China’s five-thousand-year history and all the different types of make-up as well. In an engaging twist of trivia, did you know that the traditional attire, while steeped in centuries of tradition, can still hold its own in the face of modern cinematic appeal? The Oligage Hanfu Wig Headband is an exquisite accessory designed for women who wish to embrace the elegance of traditional Chinese hairstyles with a modern twist. Sporting a delicate pink and light blue color scheme, this outfit is made from premium fabric that promises both comfort and style, transporting anyone who wears it back to the dynastic periods of Chinese history. The fascinating intersection of hanfu with emerging technologies in textile manufacturing, injected with the genius of avant-garde designers, promises a vibrant kaleidoscope for the hanfu future.

The Hanfu clothing style was often made from silk and other fine fabrics, and it was usually very brightly colored and ornately decorated. The zaju chuishao fu can be further divided into two categories of clothing style based on its cut and construction: the guipao, and the guichang (or guishu). A: Hanfu can be worn by anyone who appreciates and respects Chinese culture. Han Chinese people, or simply Han people (漢族, hàn zú), is the majority ethnic group in China and Taiwan, consisting of 92% of the total Chinese population and 97% of the Taiwanese population. Proponents of Hanfu launched the website Hanwang (Chinese: 漢網) to promote “traditional Han clothing”. It was introduced during Jin dynasty from the North; originally it was used to secure horse gear instead of clothing. Feel the spirit of the Tang Dynasty without the need of constantly pulling up your skirt in our Yuan Yang Mandarin Duck Hanfu set! This combination of transparency and embroidery brings a fresh, airy feel to the traditional Hanfu, suitable for both formal occasions and casual cultural gatherings.

On May 18, the International Museum Day, several cultural and museum sites in Luoyang will prepare “surprises” for visitors dressed in Hanfu, which refers to a full set of traditional Chinese costumes with elegant makeup and hairstyle. Full of auspicious figures representing fortune, beauty, and purity, all fabrics in the set are lovingly made in-house. Forhåndsvis nettsteder direkte fra vår søkeresultatside, samtidig som du opprettholder full anonymitet. For those interested in the ritualistic aspects of Hanfu, the Chinese Rituals and Ceremonies Wikipedia page can provide more details. A complete set of Hanfu, covers the clothing, clothing accessories, jewelry etc, and reflects the rituals of Chinese culture from that era. The Tang Dynasty was a period of great cultural and artistic advancement in China, and the Hanfu clothing style of the era was a reflection of that. The peak period of Xiangyun silk was during the late Qing Dynasty to the early 20th century. Xiangyun silk(or Xiangyun Sha or 香云纱) is a handcrafted dyeing and finishing technique with a history of 1,700 years. The production technique of Xiangyun silk was once on the verge of extinction in the last century. The production of Xiangyun silk involves 13 pure handcraft processes in a repetitive cycle, taking nearly a year to complete one piece.

The juice of yam plants is used as the dye for Xiangyun silk. Tang Dynasty clothing utilized various materials, including silk, cotton, linen, and wool, with silk being the most favored for its lightness, softness, and comfort. The material is silk. Because ramie is a natural material and is handmade, there will be minor knots and defects during the weaving process. The transparency of the material adds a layer of depth and intrigue, allowing the bamboo embroidery to stand out against the simple elegance of the white robe beneath. It was Han Chinese defectors who carried out massacres against people refusing to wear the queue. Based on this belief, the left lapel needs to be outside (i.e. youren) to indicate that the power of the yang is suppressing the yin, and was thus reserved for the clothing of living people. There was accounts of such massacres perpetuated by Qing soldiers at southern cities, such as Jiading, and Jiangyin, where tens of thousands of people were deliberately and brutally killed.

There are many different styles available, so it is important to consider what you want from a traditional Chinese hanfu dress before making a purchase. 85 By the mid-Tang dynasty around the mid-8th century, upper garments with low décolletage lost popularity and women started to cover themselves with shawls; there were also new ideals of beauty favouring extremely plump and voluptuous women over the youthful slenderness of the Sui and the early Tang dynasties. Clothing for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) women usually accentuates the Chinese clothing body’s natural curves through wrapping Chinese clothes, Asian clothes and oriental clothes upper garment lapels or binding with Chinese traditional clothes and Chinese ancient clothes sashes Chinese dress, Asian dress and oriental dress the Chinese clothing waist. The clothing was a representation of the Tang Dynasty’s taste for luxury and sophistication. The wearing of these long robes by Buddhist monks is a legacy of the Tang and Song period.

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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. The duijin ao in the 19th century could be round neck with no collar or have small stand-up collars. 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. Kimono differ in construction and wear between men and women. 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. Then the undergarments are put on followed by a top and a wraparound skirt. Emperors would dazzle themselves in dragon-embroidered longpao, while scholars might prefer the simplicity of the shenyi-a wraparound robe that emanates scholarly austerity. The Japanese are often recognized for their traditional art and its capability of transforming simplicity into creative designs. The houmongi and the tsukesage are semi-formal women’s kimono featuring a design on part of the sleeves and hem. In the Qing dynasty dictionary called Gujin Tushu Jicheng《古今圖書集成》, the banbi is depicted with no sleeves.

The tongtianguanfu was composed of a red outer robe, a white inner robe, a bixi, and a guan called tongtianguan, and a neck accessory called fangxin quling. Clothing with shuling dajin (竖领大襟), also called liling dajin or shuling xiejin or liling xiejin, has a standing collar and a large lapel which closes on the right. 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. 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. Cloth rationing persisted until 1951, so most kimono were made at home from repurposed fabrics. When the kimono is worn outside, either zōri or geta sandals are traditionally worn. 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.

After the four-class system ended in the Tokugawa period (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. In the early years of the 21st century, the cheaper and simpler yukata became popular with young people. Over 10 years of Miyake’s work was featured in Paris in 1998 at the “Issey Miyake: Making Things” exhibition. By 2020, according to a study done by Forward Industry Research Institute (a Chinese research institute), the number of hanfu enthusiasts in China has reached 5.163 million, creating a market size equivalent to 6.36 billion yuan (US$980 million), a proportional increase of over 40% compared to the previous year. 129 and ended a number of expensive practices. A number of different types of kimono exist that are worn in the modern day, female hanfu with women having more varieties than men. These pieces are sewn together to create the basic T-shape. 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. These art forms have been transferred onto fabric that then mold into clothing.

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. Red silk tassels extended down from the finial to cover the hat, and a large peacock feather (with one to three “eyes”) could be attached to the back of the hat, should the merit of wearing it have been granted by the emperor. With traditional clothing, specific techniques are used and followed, such as metal applique, silk embroidery, and paste- resist. However, silk is still considered the ideal fabric for more formal kimono. However, before giving them a try, please read reviews of Muzkin here and find out what other customers who have patronized them before had to say about them. Find companies you have experience with and write reviews about them! Your reviews contribute to a more transparent market and improve the reliability of companies.

Event Type: Casual Hanfu is great for everyday wear or meeting friends. You can wear it as a casual hanfu top, which is also great for wearing on the hot summer days. Material Choices: From breathable silk for summer days to warm brocades for winter. For summer, look for sets made of light, chinese male hanfu breathable materials like linen or thin silk. Collar Styles: Choose between styles like the classic cross-collared or the straight-collared Yi. Noble lady wearing a round-collared jacket as upper garment and a skirt as lower garment (front) Lady-in-waiting wearing a short-sleeved round collar jacket with a skirt (left), Ming dynasty. The upper outer garment was shorter and the lower garment was longer, and the outer coat became longer to shorten the exposed skirt’s length. Length and Design: Can be ankle-length for formal occasions or shorter for more casual events. Design: Simplified patterns and fewer layers make for a more casual feel. Design: Look for intricate embroideries or traditional motifs to make a statement. Fit: Make sure your undergarments fit well to avoid any discomfort or awkward bunching under the Hanfu.

Fit and Style: From loose and breathable to tailored fits for more formal settings. Material: Choose undergarments made from breathable materials like cotton for comfort. Summer: Choose fabrics like linen and lightweight silk for a more comfortable wear. Most Hanfu are made from delicate fabrics like silk or cotton, so you’ll want to handle them with care to avoid any snags or tears. Decorative items like jade pendants or intricate sashes can also be added to complete the look. Material: Go for breathable fabrics like cotton or linen for a relaxed look. The fabric used can range from lightweight materials like silk to heavier fabrics like brocade. It is often made from heavier materials and comes in both short and long versions. Length Options: Available in long versions for formal events and shorter ones for more casual settings. Public events and exhibitions that accurately depict historical attire can play a crucial role in bridging the gap between modern interpretations and authentic historical garments. Sleeve Variations: The dramatic “water sleeves” for theatrical events or simpler, narrower sleeves for daily wear. Layering is also more common in colder seasons, so you might wear a Pao over your Yi and Chang or Ku.

Material Choices: Common materials include cotton, linen, and sometimes even hemp. Material Choices: Typically made from materials such as cotton, linen, or silk. Winter: Opt for heavier materials like wool or embroidered silk to keep warm. For winter, you’d want to go for heavier materials like wool or thicker silk. You might choose a simpler Yi and Ku set made of breathable fabrics like cotton or linen. You might opt for a complete set, including Yi, Chang, and Pao, made of luxurious silk or brocade, perhaps embellished with traditional motifs like dragons or phoenixes. The mangao was a in the style of the Ming dynasty yuanlingshan which was typically decorated with Chinese dragons and was used to be worn by the Han Chinese women as a court robe in the Ming dynasty. You can play around with knots and twists to suit your circumference and style. Waist and Ankle Ties: These help secure the Ku and can vary from simple ties to intricate knots.

Headgear: Options range from simple cloth hats to more ornate headpieces. Sleeveless or short-sleeved options are also available for hot weather. Design: Sleeveless or short-sleeved Hanfu are excellent choices for the hot weather. They are comfortable, lightweight, and provide an elegant look. Jewelry: Consider adding a jade pendant or other traditional Chinese jewelry to enhance your look. Traditional Chinese clothing underwent an unprecedented convergence during this tumultuous period. This was also the period in which Japanese traditional clothing became introduced to the Western world. At the beginning of the Tang dynasty, the skirts were narrow but became looser in the High Tang period. Der Hanfu, Zhongshan Anzug (Mao Anzug), chinese clothes traditional Tang Anzug und Cheongsam (Qipao) sind die vier markantesten Arten der traditionellen chinesischen Kleidung. “Chinese” clothing is often typified by the qipao (a close-fitting dress also called the cheongsam). A white cotton undershirt is often worn underneath the cheongsam. Footwear: Traditional Hanfu shoes, often made from cloth or embroidered fabrics.

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Traditional Hanfu, the traditional attire of the Han ethnic group in China, is an embodiment of elegance, grace, and cultural heritage. With its rich history dating back thousands of years, Hanfu holds a significant place in Chinese culture. The history of Hanfu can be traced back to ancient China, with its origins dating back to the Xia Dynasty (c. This article explores the beauty of Hanfu, its historical significance, styles, and variations, as well as its revival in modern times. Each dynasty left its unique mark on the style, fabric, and overall design of Hanfu, creating a diverse and fascinating tapestry of clothing. Hanfu encompasses various styles and variations, reflecting the cultural diversity and regional differences within China. From flowing robes to layered garments, Hanfu offers a range of choices for different social classes, genders, and occasions. Some popular styles include Ruqun, Daxiushan, Beizi, and Zhiduo, each with its distinctive features and occasions for wear. The colors, patterns, and accessories used in Hanfu often convey specific meanings, such as prosperity, purity, and filial piety. Hanfu carries profound significance and symbolism, representing not only fashion but also social status, virtues, and cultural identity. Hanfu acts as a visual language that communicates the wearer’s values and beliefs. In recent years, there has been a resurgence of interest in Hanfu, driven by a desire to reconnect with traditional Chinese culture and heritage. Hanfu enthusiasts, known as “Hanfu Movement,” are actively promoting the revival of this ancient attire. Wearing Hanfu is an art in itself, with specific guidelines for dressing correctly. This section provides a step-by-step guide on how to wear Hanfu, from selecting the appropriate layers to understanding the proper way of accessorizing. Through social media, events, and grassroots initiatives, they are bringing Hanfu back to the forefront of fashion and cultural appreciation. Accessories play a vital role in complementing and enhancing the overall Hanfu ensemble. Embracing the beauty of Hanfu involves paying attention to details and adhering to the traditional customs associated with this attire. This section explores the different types of Hanfu accessories and their historical and cultural relevance, offering insights into the intricate details that make Hanfu truly exquisite. The allure of Hanfu extends beyond its historical context, making appearances in popular culture, particularly movies and TV dramas. This section highlights notable productions that feature Hanfu, discussing their impact on promoting cultural awareness and appreciation. From hair ornaments to jewelry and footwear, every accessory has its significance and completes the desired look. Hanfu enthusiasts gather at various festivals and events dedicated to celebrating this traditional attire. Through these visual mediums, Hanfu has the opportunity to captivate global audiences and spark interest in its timeless beauty. From grand parades to costume competitions, these gatherings provide opportunities for like-minded individuals to share their passion for Hanfu. Wearing Hanfu is not merely a fashion choice but a way for individuals to express their cultural identity and connect with their heritage. This section explores some of the prominent Hanfu festivals and events, offering a glimpse into the vibrant community that exists around Hanfu. This section delves into the role of Hanfu in shaping cultural identity and the sense of belonging among Chinese communities worldwide. Through Hanfu, individuals can rediscover their roots and foster a deeper appreciation for their cultural legacy. Hanfu has become a significant driver of tourism in China, with an increasing number of travelers seeking out locations that offer immersive experiences related to traditional attire. This section highlights some of the notable Hanfu-related sites and destinations, providing travelers with a curated list of places to visit to indulge in the world of Hanfu and experience the beauty of ancient China. While Hanfu enjoys a growing resurgence, it is not without challenges and controversies. By addressing these challenges, the Hanfu community aims to ensure the integrity and respect for this cherished cultural heritage. This section explores some of the issues faced by the Hanfu movement, such as cultural appropriation, commercialization, and the preservation of authenticity. The influence of Hanfu extends beyond traditional wear, impacting contemporary fashion and design. Hanfu’s timeless elegance continues to captivate designers, leading to the fusion of traditional elements with modern aesthetics. This section examines the ways in which Hanfu has inspired modern fashion trends, runway collections, and even global brands. In the fast-paced modern world, Hanfu represents a bridge between the past and the present. This section explores how Hanfu enthusiasts are embracing tradition in the 21st century, integrating Hanfu into their daily lives and special occasions. By wearing Hanfu, individuals not only honor their heritage but also contribute to the preservation and promotion of this treasured cultural legacy. Traditional Hanfu stands as a testament to China’s rich cultural heritage, showcasing the beauty, elegance, and symbolism that transcends time. Its revival in modern times highlights the enduring fascination with tradition and the importance of cultural preservation. Q: Can anyone wear Hanfu, or is it exclusive to the Han ethnic group? A: Hanfu can be worn by anyone who appreciates and respects Chinese culture. By embracing Hanfu, individuals can embark on a captivating journey into the past, connecting with the roots of Chinese civilization. It is not limited to a specific ethnic group. Q: Where can I purchase authentic Hanfu? A: Authentic Hanfu can be found in specialized Hanfu stores, both online and offline. It’s essential to research reputable sellers to ensure quality and authenticity. Q: Can Hanfu be worn on any occasion, or are there specific events for its use? A: Hanfu can be worn on various occasions, from formal ceremonies to casual outings. Q: Are there any rules regarding the colors and patterns of Hanfu? A: Hanfu colors and patterns are diverse and hold different meanings. However, some events, such as traditional weddings or cultural festivals, often have specific Hanfu dress codes. While there are no strict rules, it is advisable to consider the occasion and cultural symbolism when selecting colors and patterns. Q: How can I support the preservation and promotion of Hanfu? A: Supporting local Hanfu communities, attending Hanfu events, and spreading awareness about Hanfu’s cultural significance are all ways to contribute to its preservation and promotion.

Elevate your attire with our Blue Hanfu, a symbol of serenity and grace. Crafted in a stunning shade of blue, this traditional long hanfu exudes a sense of tranquility and sophistication. Paired with a matching blue belt, this ensemble offers a harmonious and elegant look suitable for various occasions. Traditional Silhouette: Embrace the timeless elegance of ancient Chinese fashion with our hanfu’s traditional long silhouette, offering a graceful and dignified appearance. Tranquil Blue Hue: Immerse yourself in the calming allure of our Blue Hanfu, featuring a serene shade of blue that evokes a sense of peace and tranquility. Versatile Style: The classic design and color of our hanfu make it suitable for a wide range of occasions, from formal events to casual gatherings, allowing you to express your personal style with ease. Matching Blue Belt: Complete your ensemble with the included blue belt, providing a cohesive and polished look while accentuating your waistline for a flattering fit. If not, feel free to explore the variety of Men’s Kimono we offer on our site. If this Kimono caught your eye, you’ll likely be drawn to Black and red Kimono as well. And if you’re still on the hunt for your ideal attire, check out our Men’s Japanese Clothing collection for more options. Immerse yourself in the timeless elegance of our Blue Hanfu and elevate your wardrobe with its serene beauty. Shop now and experience the unmatched comfort and style of this exquisite garment. Care Instructions: Dry clean or gentle hand wash in cold water for best results.

Hanfu, the sweeping silk robes worn for millennia in China until the early 1900s, conjures images of flowing feminine grace. This requires an examination of hanfu historical gender conventions as well as modern reinterpretations. However, some people have raised questions around whether hanfu is in fact unisex or at least could be made more gender neutral hanfu in modern times. Throughout imperial China, hanfu differentiated heavily between men’s and women’s garments in keeping with highly gendered Confucian social order. Men of the scholar-gentry class wore spacious knee-length robes called changshan or pao paired with belts and black hats with fins. Strict sumptuary laws dictated appropriate fabrics, colors and decorations based on not just gender but also class and occasion. Gentlemen’s hanfu used more muted, darker colors with minimal ornamentation except royalty. Women’s hanfu allowed far more colorful, decorative fabrics and accessories like hairpins and jewelry. Women wore form-fitting hip-length tops called Changqun or ruqun with wrapped, narrow skirts draped beautifully from elaborate sashes. Within these commoner garments, further distinctions signified imperial, bridal, mourning and official dress. In recent decades, the traditional gender conventions around hanfu have come into question. The differentiation between male and female hanfu was quite pronounced across class and occasion. At hanfu cultural events, some women elect to wear changshan robes adapted for a feminine silhouette. For some contemporary Chinese, the historic restrictions chafe against modern gender norms and efforts to achieve greater equality. Others style their hair in masculine historical modes when wearing gender-neutral hanfu jackets. These individuals see integrating elements across genders as empowering self-expression. However, some hanfu hobbyists argue strictly separating male and female outfits maintains respect for authentic cultural traditions. They feel modern modifications disregard proper protocol and blur meaningful historical distinctions. Adjustments made in the spirit of cultural evolution differ from arbitrarily dismissing tradition. Several unisex hanfu garment types offer potential entry points for modern crossover looks. Zhongyi short jackets were commonly worn by scholars and officials of any gender. Others adopt a balanced perspective, feeling creativity and inclusiveness can be achieved without entirely erasing gendered nuances accumulated over centuries. Beizi plain robes were everyday garments for the working class, less strictly gendered. Accessories like sashes and hairpieces traditionally worn only by women can style changshan robes in a feminine way. Adapting these basic styles with less restrictive colors and fabrics creates options. Combining tailored male changshan tops with softer, draped feminine skirts produces an androgynous aesthetic. Creative use of luxurious fabrics, bold colors, and embroidery may expand perceptions of masculinity in hanfu without fully erasing gendered nuance in garment silhouettes. The strict historic gender conventions reflected Confucian philosophy but need not define its future. Like all cultural traditions, hanfu has evolved over eras to reflect changing values. Their reinterpretations enlarge possibilities for identity and belonging. At the same time, upholding certain classical cultural vectors lends continuity. Many young Chinese today desire greater flexibility to explore individuality and diversity within their own heritage. The path ahead likely integrates both progression and tradition for a nuanced vision of hanfu inclusive to all yet still resonant with its long lineage in Chinese history. With creativity and sensitivity, hanfu can grow beyond past gender divisions to embrace greater fluidity – honoring both its elegantly differentiated traditions and modern desire for equality. Is Hanfu unisex? Or is Hanfu gender neutral? Traditionally, hanfu styles and detailing were highly differentiated between men’s and women’s clothing in line with historical Chinese gender conventions. Completely eliminating gender differences in hanfu is still controversial and risks losing cultural meaning. A balanced approach retains some traditional distinctions while allowing more flexibility. Accessories, fabrics, colors and creative styling can open options for integrating both feminine and masculine aesthetics in modern looks. However, some modern hanfu enthusiasts have started incorporating cross-gender elements or adapting common pieces like zhongyi jackets into more unisex or androgynous styles. But reinterpretations are evolving to greater fluidity between genders, reflecting modern values of diversity and inclusion. Overall hanfu has historically not been a wholly unisex garment. So in summary, while traditionally gendered, hanfu today allows more room for creativity and non-binary expression between historical male and female fashion elements. The tradition continues evolving.

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Many African cultures share the same structure to their coming of age process. Within this time frame, they are taught the ways of society including mannerisms, religious teachings, seduction, and law. For the new women of society, they must undergo “female circumcision”. Adolescences are isolated from their homes, family and friends, for weeks, to months at a time. For the past 20 years, “The World Health Organization” has been trying to promote different types of rituals to avoid such a dangerous and taboo procedure. This can be broken down into three different procedures, “clitoridectomy”, “excision”, and “infibulation”. This process is called “na’ii’ees”. Apache boys and girls, when they come of age would undergo a four day ritual to achieve their adulthood. The coming of age in Australia, New Zealand, the United Kingdom, Ireland, Ukraine, the Republic of Poland and the Scandinavian Countries are celebrated at either 18 or 21. As the age of legal majority, being 18 legally enables one to vote, purchase tobacco and alcohol (wine in Norway), get married without parental consent and sign contracts. In comparison, turning 21 has few legal effects (except Poland & Ukraine, where all the laws are applied after 18). Eighteenth or twenty-first birthday celebrations typically take the form of an extravagant party; presents given are often higher than usual value, and champagne may be served, as at other formal celebrations. For the women, it is a grueling task involving multiple hours of dancing, prayer, and lessons of self esteem, sexuality, and healing. Drinking plays a large part in 18th birthdays, as it is the age where one can legally purchase alcohol. As such, many 18th birthdays are celebrated with a large party with friends, with drinking as a central motif. Despite 18 being the legal age of adulthood, most do not immediately take on the roles of adult, such as moving out of home or gaining full-time employment, instead studying or working as an apprentice. There are few set ceremonies or rituals to be observed, although if the celebrant is a male he may be challenged to consume a yard glass which is typically full of beer. Historically, the Confucian coming of age ceremony has been the “Guan Li” for men and the “Ji Li” for women. At New Zealand and Australian 21st birthdays, it is customary for family members to assemble embarrassing photos, videos or other childhood memorabilia to display at a celebration and for a good friend to give an equally embarrassing speech. These ceremonies are now rarely practiced in China, but there has been a resurgence, especially from those who are sympathetic to the Hanfu Movement. The age is usually around 20 and during the ceremony, the person obtains a style name. In some Latin American countries, when a woman reaches the age of 15, her relatives usually organize a very expensive celebration. It is usually a large party, called a Quinceañera in Spanish speaking countries and Baile de Debutantes in Brazil. Girls’ 16th Birthdays are traditionally called Sweet Sixteens. In the United States and in Canada, when a child reaches the age of 16 he or she is allowed to drive and sometimes receives the responsibility of owning their own car. Depending on the family’s religion or family background, there may be a ceremony signifying their coming of age. The quintos were the boys of the village that reached the age of eligibility for military service (18 years), thus forming the quinta of a year. In Spain during the 19th century, there was a civilian coming of age bound to the compulsory military service. In the days before their departure, the quintos knocked every door to ask for food and drink. In rural Spain, the mili was the first and sometimes the only experience of life away from family. They held a common festive meal with what they gathered and sometimes painted some graffiti reading “Vivan los quintos del año” as a memorial of their leaving their youth. By the end of the 20th century, the rural exodus, the diffusion of city customs and the loss of prestige of military service changed the relevance of quintos parties. In some places, the party included the village girls of the same age, thus becoming less directly relevant to military service. Years later, the quintos of the same year could still hold yearly meals to remember times past. In others, the tradition was simply lost. Since 1948, the age of majority in Japan has been 20; persons under 20 are not permitted to smoke, drink, or vote. At the ceremony, all of the men and women participating are brought to a government building and listen to many speakers, similar to a graduation ceremony. At the conclusion of the ceremony, the government gives the new adults money. Kovave is a ceremony to initiate Papua New Guinea boys into adult society. Coming-of-age ceremonies, known as seijin shiki, are held on the second Monday of January. It involves dressing up in a conical hat which has long strands of leaves hanging from the edge, down to below the waist. The name Kovave is also used to describe the head-dress. During the feudal period, the coming of age was celebrated at 15 for noblemen. In Bali, the coming of age ceremony is supposed to take place after a girl’s first menstrual period or a boy’s voice breaks. Nowadays, the age is 18 for girls and 20 for boys. However, due to expense, it is often delayed until later. The upper canines are filed down slightly to symbolize the effacing of the individual’s “wild” nature. In the rite of initiation of Baka Pygmies, the Spirit of the Forest ritually kills the boys to propitiate their rebirth as men. He became a member of a baka patrilinear clan and completed his trans-cultural coming of age. The Monday of the third week of May is “coming-of-age day”, a recent tradition influenced by Western culture. The Italian anthropologist Mauro Campagnoli took part in this secret rite of men’s initiation in order to better understand its meaning. On that day, those entering adulthood are to receive three gifts: flowers, perfume and a kiss. There has been a traditional coming of age ceremony since before Goryeo dynasty, but it has mostly disappeared. When boys or girls are between the ages of fifteen and twenty, boys wear gat, a Korean traditional hat made of bamboo and horsehair, and girls do their hair in chignon with binyeo, a Korean traditional ornamental hairpin. In the Philippines, a popular coming of age celebration for 18 year-old women is the debut. The débutante traditionally chooses for her entourage “18 Roses”, who are 18 special men or boys in the girl’s life such as boyfriends, relatives and brothers, and “18 Candles”, who are the Roses’ female counterparts. Each presents a rose or candle then delivers a short speech about the debutante. It is normally a formal affair, with a strict dress code such as a coat and tie for the upper-middle and upper classes, and usually has a theme or color scheme that is related to the dress code. The Roses sometimes dance with the débutante before presenting their flower and speech, with the last being her father or boyfriend. Filipino men, on the other hand, celebrate their debut on their 21st birthday. Other variations exist, such as 18 Treasures (of any gender; gives a present instead of a candle or flower) or other types of flowers aside from roses being given, but the significance of “18” is almost always retained. There is no traditionally set program marking this event, and celebrations differ from family to family. Both men and women may opt not to hold a debut at all. There are also various Religious festivals worldwide that mark the passage of child to adult.

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. Japanese fashion designers : the work and influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo. Valk, Julie. “The ‘Kimono Wednesday’ protests: identity politics and how the kimono became more than Japanese.” Asian Ethnologyno. Boivin, Mai (22 April 2013). “Okinawa Traditional Costume – Ryuso”. Kennedy, Alan. “Japanese Traditional Dress and Adornment”. Department of Asian Art. Retrieved 16 October 2021. See “Explanation” button for relevant costumes. Seattle: University of Washington Press. Elizabeth LaCouture, Journal of Design History, Vol. Dalby, Liza (1993). Kimono: Fashioning Culture (1st ed.). Rebecca A. T. Stevens, Yoshiko Iwamoto Wada, Textile Museum (1st ed.). Textile Museum (Washington, D.C.) (1996). The kimono inspiration : art and art-to-wear in America. Washington, D.C.: Pomegranate. p. New York: Kodansha USA, Inc. pp. Wada, Yoshiko Iwamoto; Rice, Mary Kellogg; Barton, Jane (2011). Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (3rd ed.). Liddell, Jill (1989). The Story of the Kimono. Rogers, Krista (14 December 2015). “Dress like an aristocrat from the Nara period at new costume rental shop in Nara【Photos】”. Badgley, Joshua L. “Women’s Outfits”. Stevens, Rebecca A. T.; Wada, Yoshiko Iwamoto (1996). The kimono inspiration: art and art-to-wear in America (first ed.). Washington DC, San Francisco: The Textile Museum, Pomegranate Artbooks. Cogito (2066-7094, Humanities Source, EBSCO (Host). Rybalko, Svitlana (June 2012). “JAPANESE TRADITIONAL RAIMENT IN THE CONTEXT OF EMERGENT CULTURAL PARADIGMS”. Badgley, Joshua L. “Women’s Garments”. Oxford: Oxford University Press. Ishimura Hayao et al. Fassbender, Bardo; Peters, Anne; Peter, Simone; Högger, Daniel (2012). The Oxford Handbook of the History of International Law. North Carolina Museum of Art (1988), p. Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries. 町人のきもの 1 寛文～江戸中期までの着物 Mami Baba. Jackson, Anna. “Kimono: Fashioning Culture by Liza Dalby”. Bulletin of the School of Oriental and African Studies, University of London 58 (1995): 419-20. JSTOR. Rev. of Kimono: Fashioning Culture. Dalby, Liza. (Mar 1995) “Kimono: Fashioning Culture”. Dees, Jan (2009). Taisho Kimono: Speaking of Past and Present (1st ed.). 更新日：2010年11月25日. Goldstein-Gidoni, O. (1999). Kimono and the construction of gendered and cultural identities. Milano, Italy: Skira Editore S.p.A. Ashikari, M. (2003). The memory of the women’s white faces: Japanese and the ideal image of women. Yamaka, Norio. (Nov 9 2012) The Book of Kimono. Nakagawa, K. Rosovsky, H. (1963). The case of the dying kimono: the influence of changing fashions on the development of the Japanese woolen industry. Grant, P. (2005). Kimonos: the robes of Japan. Shoji, Kaori (2012-07-17). “Suteteko: Hanging out in underwear is a cool way to survive the summer heat”. Spacey, John (July 11, 2015). “16 Traditional Japanese Fashions”. Aliyaapon, Jiratanatiteenun, et al. 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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