Recently, baby hair bangs have made a reappearance in historical dramas. While these bangs can help contour the face, they often seem out of place in classical settings. Historically, adult women in ancient China did not wear bangs, as they were considered a transitional hairstyle for children whose hair had not fully grown. Upon reaching adulthood, women would style their hair neatly using traditional hair products like "paohua shui" (刨花水), emphasizing elegance and sophistication.
Although baby hair or air bangs may appear more natural compared to other fringe styles, they still disrupt the authenticity of classical aesthetics. This article focuses solely on the appropriateness of bangs in historical contexts, not on personal appearances. Retaining baby hair bangs can make a character look immature. For instance, actress Ju Jingyi (鞠婧祎) was often criticized for her unchanging baby hair bangs, but her recent updos have showcased a more mature and classical demeanor.
In the drama "The Purple Hairpin," the inclusion of such bangs felt particularly jarring amidst otherwise historically accurate hairstyles. Conversely, in "The Riverside Scene at Qingming Festival," Zhang Xinyu's (张馨予) noblewoman look without bangs exuded grandeur. The no - bangs style cleverly utilized "yunbin" (云鬓), a classical hairstyle from the Song Dynasty, to conceal the hairline, proving more refined than fringe.
Traditional Chinese hairstyles often relied on intricate updos or accessories to enhance facial contours without altering natural hair. "Yunbin," for example, involved curling strands around the forehead or temples to create layered elegance, masking hairlines while exuding grace. Other techniques, like the "qiuji" (囚髻) from the mid - to - late Tang Dynasty, used draped hair to frame the face with decorative accents.
Some historical dramas come close to authenticity but falter with the addition of modern bangs, highlighting how minor details can drastically alter perceptions. When paired with traditional Hanfu, any type of fringe tends to clash, as seen with Li Ziqi's (李子柒) otherwise classical ensemble. However, blending modern elements with Hanfu, as Xu Jiao (徐娇) did with wavy bangs and late Ming - style attire, can yield innovative results.
For those aiming for true classical aesthetics, retaining bangs, bold makeup, or modern accessories will hinder authenticity. It's worth noting that Chinese women only gained hair - cutting freedom in the early 20th century, using hairstyles as a statement of individuality and equality, often inspired by Western trends. Today, personal preference reigns—whether with bangs or without. For enthusiasts of classical beauty, embracing traditional techniques is key.
