In a world increasingly captivated by modern fashion, a young designer at Wuhan Textile University is proving that ancient styles can be just as enchanting. Li Yanjun (李艳君), a graduate student with a passion for traditional Chinese culture, has recreated the flowing garments of the Wei-Jin period, inspired by the legendary Luo Shen Fu painting (洛神赋图) by Gu Kaizhi (顾恺之). Her meticulous work, showcased in a serene photoshoot at the Qingchuan Pavilion (晴川阁), has garnered widespread acclaim, with her video on Bilibili amassing over 14,000 views.
A Vision of Wei-Jin Hanfu
Li's recreation draws directly from the Luo Shen Fu painting, a celebrated Eastern Jin masterpiece illustrating the romantic tale of Cao Zhi and the goddess Luo Shen. The attire, known as the "zaju chuishou" (杂裾垂髾) ensemble, includes a flowing daxiushan (大袖衫, large-sleeved robe), a banbi (半臂, short-sleeved garment), a biji (蔽膝, knee cover), and a ruqun (襦裙, skirt). Li spent 40 hours intricately embroidering a crimson biji with starry cloud patterns, a design chosen to reflect the ethereal nature of the goddess.
“The biji is more than just an accessory,” Li explained. “Its triangular drape was key to the elegance and symbolism of Wei-Jin attire, marking status and adding to the clothing’s ethereal aesthetic.”
For Li, the Wei-Jin period holds a unique charm. A self-proclaimed "Wei-Jin aficionado," she admires the era's blend of scholarly refinement and philosophical depth. “The clothing style reflects the culture’s pursuit of freedom, simplicity, and inner richness,” she shared. The flowing silhouettes and muted tones—predominantly whites and soft shades—embody the timeless elegance of the era.
Reviving ancient fashion is no small feat. Li’s process began with meticulous research into historical texts and unearthed relics, given the scarcity of well-preserved Wei-Jin textiles. She aimed not just for structural accuracy but also for a replication of the era’s spirit—a concept she calls divine resemblance (神似).
“Shensi is intangible,” Li remarked. “As Laozi wrote in the Dao De Jing, ‘The Dao that can be spoken is not the eternal Dao.’ Capturing the spirit of Wei-Jin elegance required intuition and artistry, not just technical skill.”
Li chose lightweight, white fabric with cloud motifs for the daxiushan, accentuating its celestial quality. The biji demanded a particularly labor-intensive process, as its embroidered starry cloud patterns were crafted using the ancient locking stitch, a traditional Chinese embroidery method dating back to the Qin Dynasty.
“Initially, I thought I could finish the embroidery in three days,” Li laughed. “It ended up taking three weeks of near-constant work. But the result was worth every moment.”
Bridging Eras Through Fashion
Li Yanjun’s journey into historical recreation began long before her university days. As a child, she spent hours tinkering with her grandmother’s sewing machine, fashioning small items and dreaming of larger creations. Later, her love for art led her to major in oil painting at Xinyang Normal University, where she discovered a passion for blending artistic expression with practical design.
Now pursuing a master’s degree in fashion design, Li has found her niche in recreating historical garments. Her current university offers a unique environment, with workshops and resources dedicated to exploring China's rich textile heritage. With guidance from Professor Jia Qi, who specializes in historical costume replication, students like Li are encouraged to combine traditional techniques with modern sensibilities.
The Modern Revival of Hanfu
Li’s work is not just about preserving the past—it’s about making it relevant to today. By carefully studying ancient techniques like flat cutting, which minimizes fabric waste, she is aligning centuries-old craftsmanship with sustainable practices. This philosophy of conservation echoes modern environmental concerns while celebrating a timeless aesthetic.
The daxiushan and other elements of Wei-Jin clothing, characterized by their flowy elegance, provide an alternative to the structured, fast-paced world of contemporary fashion. “The goal is to bring these designs into modern life,” said Li, “to make them wearable and relatable while honoring their roots.”
Her professor, Ye Hongguang (叶红光), who heads Wuhan Textile University’s Intangible Cultural Heritage Research Center, shares this vision. “Traditional designs can thrive in modern markets,” he stated. “By merging ancient techniques with innovative trends, we create clothing that is not just beautiful but meaningful.”
The reception of Li’s work has been overwhelmingly positive, with viewers praising her attention to detail and creativity. Her handcrafted garments are not mere replicas but bridges connecting past and present. Videos documenting her process—sketching, cutting, stitching, and embroidering—offer a glimpse into the dedication behind her craft.
Looking ahead, Li hopes to explore more eras of Chinese history, using clothing to tell stories that resonate across generations. She also aspires to introduce her designs to broader audiences, blending them into contemporary wardrobes. “I want to show that traditional clothing isn’t just for reenactments or performances. It can be part of our daily lives, a way to stay connected to our heritage.”
Li’s work stands as a testament to the enduring allure of ancient artistry and its ability to inspire new generations. In her hands, the elegance of the Wei-Jin period finds its place in today’s world, reminding us that fashion, like history, is a living, breathing art form.
