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Why didn't the high-waisted hanfu skirts (齐胸裙) worn by people in the Tang Dynasty fall down? This kind of skirt didn't have elastic bands or other similar measures. Did it rely on large breasts to stay up? Could it really stay in place without falling? The Principle of Skirt Fixation As we all know, in the Sui and Tang Dynasties of China's clothing history, the waistline of skirts became popular to move up. The current popular way of wearing it is called "high-waisted". As the name suggests, since it is worn on the chest and the high-waisted skirts we often see don't have shoulder straps, the force can only go downward. Then the chest must bear the necessary pressure. Let's think in a more straightforward way. We know that a skirt won't fall when tied around the waist because the waist is like a mortise and tenon structure. As long as it is tied tightly enough to prevent the waistline from slipping, you rarely see a wrapped skirt falling off unless it isn't tied properly. Similarly, for high-waisted skirts, as long as the tying part is tightened, you can jump around without the skirt falling. Fabric and Design Considerations Of…

At a recent event, actress Zhou Ye (周也) stunned in a shawl draped in a way reminiscent of her character in Scent of Time (为有暗香来). This sparked a wave of admiration online: “Who knew a shawl could be worn like this? Fashion truly transcends time!” Indeed, the various ways modern shawls are styled bear a striking resemblance to the classical pibo (披帛) of ancient China. While today’s shawls come in a variety of materials and styles, their role in enhancing an outfit remains unchanged. And just like in ancient times, there’s more than one way to wear them. The Evolution of Draped Elegance The concept of draping fabric over the shoulders dates back thousands of years. As early as the Wei and Jin dynasties, terracotta figurines depicted women wearing short, wide scarves known as 帔 (pei) or 披 (pi). These early forms of pibo were not just functional but also stylish, much like modern scarves. A poetic reference from the Southern and Northern Dynasties describes a woman’s elegance: "Her step-shaking hairpin sways, and the red edges of her pei flutter." By the Tang Dynasty, the pibo had evolved into a long, narrow accessory, becoming an essential part of women’s fashion.…

Ancient Chinese wisdom distilled clothing choices into simple truths: light robes for summer, padded jackets for winter. But look closer, and you’ll find a nuanced system—24 solar terms (节气), 72 micro-seasons (物候), and festivals each demanding specific colors and motifs. This wasn’t just practicality; it was a silent dialogue between humans and the rhythms of nature.. Chapter 1: Lunar New Year (春节) The tradition of wearing new clothes for the Lunar New Year is widespread in Chinese culture. Regardless of social class, people are expected to wear their finest attire to usher in the new year. For officials and those of higher status, formal ceremonial clothing is a must. The colors of these garments—red, blue, yellow, white, and black—offer a range of options, but certain traditions guide their use. White is typically worn for mourning, red symbolizes celebration, and yellow was reserved for emperors after the Tang Dynasty. Red, blue, and black are more common, with red standing out as a symbol of prosperity, joy, and good fortune. Throughout the New Year festivities, red decorations such as firecrackers, lanterns, and spring couplets (春联) fill the environment, creating an atmosphere of happiness and festivity. Red has become the hallmark of wealth…

In period dramas and ancient-style photography, cloaks are a common sight, but did you know they are actually a modern hybrid of Chinese and Western influences? The traditional Chinese cloak, known as 'Dou Peng,' typically consists of a separate hood and outer garment. The cloak itself refers to the outer layer, possibly derived from the design of straw raincoats (Suoyi). This separation allows for versatility—wearing just the cloak for warmth or pairing it with a hood in harsh weather. The hood, called 'Feng Mao' or 'Guanyin Dou,' serves its own practical purpose. Illustrations from Sun Wen's 'Dream of the Red Chamber' depict cloaks without hoods: sleeveless, loose, ankle-length, with either no collar or a standing collar, and front panels that drape naturally. Some feature attached straps for ease of movement, worn draped over the shoulders. Resembling an upside-down ancient bell, these cloaks were also called 'Yi Kou Zhong' (一口钟) or 'Yi Guo Yuan' (一裹圆) during the Qing Dynasty and in modern academia. This design aligns with the cloaks seen in the 1987 adaptation of 'Dream of the Red Chamber,' where the hood and cloak are separate. Modern depictions of cloaks often blend early straw raincoats and bamboo hats (Douli). Some…

Hey, ever wanted to see a real-life fairy kick butt in ancient China? Meet Liu Yifei (刘亦菲) — the actress who's been slaying wuxia swords, brewing Song Dynasty tea, and redefining warrior princesses since she was 14. Whether you're here for the sword fights or the feels, Liu Yifei's roles are your next binge-watch obsession. Return of the Condor Heroes 神雕侠侣 Aired: 2006 Period Background: Southern Song Dynasty (13th century) Genres: Wuxia, romance, adventure Main Roles: Liu Yifei as Xiaolongnü (小龙女), Huang Xiaoming as Yang Guo (杨过) Adapted From: Jin Yong's (金庸) classic wuxia novel The Return of the Condor Heroes Return of the Condor Heroes isn't just a drama—it's the ultimate wuxia rollercoaster. Liu Yifei's breakout role as Xiaolongnü (Little Dragon Girl) turned her into an overnight icon, and for good reason: this series has everything. Sword fights on bamboo forests? Check. Forbidden romance that'd make Shakespeare sweat? Double-check. A heroine who can kill you with a silk ribbon? Oh yeah. The Setup: Xiaolongnü isn't your average girl-next-door. Raised in the Tomb of the Living Dead (活死人墓—yes, that's its actual name) by her reclusive sect, she's mastered ancient martial arts but knows zilch about the outside world. Enter Yang…

If you've ever wondered why Hu Ge (胡歌) is called the "King of Chinese Costume Dramas," his roles speak louder than titles. From sword-wielding heroes to cunning strategists, he's brought China's past to life for over 20 years—and his shows are a perfect starting point for anyone curious about Chinese history, myths, and storytelling. No frills, no jargon—just great stories that mix action, romance, and a slice of ancient China. Let's break down his best costume hits and why they're worth your watchlist. Chinese Paladin: Sword and Fairy 仙剑奇侠传 Aired: 2005 Period Background: Mythical Ancient China (Wuxia/Xianxia genre) Genres: Fantasy, Romance, Adventure Main Roles: Hu Ge (Li Xiaoyao), Liu Yifei (Zhao Ling'er), An Yixuan (Lin Yueru) Adapted From: The Sword and Fairy RPG game by Softstar Entertainment. Li Xiaoyao isn't your typical hero. He starts as a carefree, slightly lazy innkeeper in a small coastal village, cracking jokes and dodging responsibility. But when his aunt falls mysteriously ill, he's forced to leave home and seek a cure. What begins as a simple rescue mission quickly spirals into an epic adventure. Along the way, he meets Zhao Ling'er, a gentle but enigmatic girl with a secret lineage tied to ancient immortals,…

Why should hanfu makers turn to thrift stores? For the deals, of course!

Peony Perfume Persists: The New Frontier of Scented Garments In the heart of China's Shandong province, a quiet revolution is taking place. The ancient city of Heze (菏泽), long renowned for its peonies, is now at the forefront of a technological breakthrough that's set to redefine the intersection of tradition and innovation in the world of fashion. At a recent women's handicraft exhibition, all eyes were drawn to an extraordinary display from Cao County, Heze. The star of the show? A skirt that seemed to bridge centuries, combining the timeless elegance of traditional Chinese hanfu with cutting-edge textile technology. This wasn't just any skirt - it was a garment woven from peony fibers, infused with a fragrance that could last for two years. Yao Chihang, the visionary behind the "Luo Ruyan" hanfu brand, beamed with pride as she explained the intricate process behind this marvel. "We've developed a new technique to extract fibers from peonies," she revealed. "During the weaving process, we embed the peony fragrance into the fabric itself, ensuring the scent remains for at least two years." This innovation isn't just a novelty; it's a testament to the potential of merging ancient craftsmanship with modern technology. The skirt itself…

From Niche to Billions: The Explosive Growth of Hanfu Industry In the heart of bustling Shanghai, amidst the gleaming skyscrapers and neon lights, a curious sight unfolds. A group of young professionals, dressed not in Western suits or casual wear, but in flowing robes with wide sleeves and intricate embroidery, make their way through a high-tech office park. This is not a historical reenactment or a costume party - it's a typical workday in 2024 China, where the ancient meets the ultramodern in a phenomenon known as the "Hanfu Renaissance." The resurgence of Hanfu, the traditional clothing of the Han Chinese, is more than just a fashion trend. It represents a seismic shift in cultural identity, economic opportunity, and national pride that is reshaping the landscape of modern China. What began as a niche interest among history enthusiasts has exploded into a multi-billion yuan industry, with ripple effects touching everything from tourism to technology. In 2023, the Hanfu market in China reached a staggering 14.47 billion yuan (approximately $2.24 billion USD), with projections suggesting it could nearly double to 24.18 billion yuan by 2027. This growth is not just in sales figures - the number of Hanfu-related businesses registered in…

Hey, ever wanted to see a real-life fairy kick butt in ancient China? Meet Liu Yifei (刘亦菲) — the actress who's been slaying wuxia swords, brewing Song Dynasty tea, and redefining warrior princesses since she was 14. Whether you're here for the sword fights or the feels, Liu Yifei's roles are your next binge-watch obsession. Return of the Condor Heroes 神雕侠侣 Aired: 2006 Period Background: Southern Song Dynasty (13th century) Genres: Wuxia, romance, adventure Main Roles: Liu Yifei as Xiaolongnü (小龙女), Huang Xiaoming as Yang Guo (杨过) Adapted From: Jin Yong's (金庸) classic wuxia novel The Return of the Condor Heroes Return of the Condor Heroes isn't just a drama—it's the ultimate wuxia rollercoaster. Liu Yifei's breakout role as Xiaolongnü (Little Dragon Girl) turned her into an overnight icon, and for good reason: this series has everything. Sword fights on bamboo forests? Check. Forbidden romance that'd make Shakespeare sweat? Double-check. A heroine who can kill you with a silk ribbon? Oh yeah. The Setup: Xiaolongnü isn't your average girl-next-door. Raised in the Tomb of the Living Dead (活死人墓—yes, that's its actual name) by her reclusive sect, she's mastered ancient martial arts but knows zilch about the outside world. Enter Yang…

If you've ever wondered why Hu Ge (胡歌) is called the "King of Chinese Costume Dramas," his roles speak louder than titles. From sword-wielding heroes to cunning strategists, he's brought China's past to life for over 20 years—and his shows are a perfect starting point for anyone curious about Chinese history, myths, and storytelling. No frills, no jargon—just great stories that mix action, romance, and a slice of ancient China. Let's break down his best costume hits and why they're worth your watchlist. Chinese Paladin: Sword and Fairy 仙剑奇侠传 Aired: 2005 Period Background: Mythical Ancient China (Wuxia/Xianxia genre) Genres: Fantasy, Romance, Adventure Main Roles: Hu Ge (Li Xiaoyao), Liu Yifei (Zhao Ling'er), An Yixuan (Lin Yueru) Adapted From: The Sword and Fairy RPG game by Softstar Entertainment. Li Xiaoyao isn't your typical hero. He starts as a carefree, slightly lazy innkeeper in a small coastal village, cracking jokes and dodging responsibility. But when his aunt falls mysteriously ill, he's forced to leave home and seek a cure. What begins as a simple rescue mission quickly spirals into an epic adventure. Along the way, he meets Zhao Ling'er, a gentle but enigmatic girl with a secret lineage tied to ancient immortals,…

If you've ever binge-watched a Cheng Yi (成毅) drama, you know two things: he loves a good costume, and he'll make you cry—or cheer—without saying a word. From mystical immortals to scheming emperors, Cheng Yi has become the go-to actor for Chinese historical and fantasy dramas that hook viewers with their mix of heartbreak, sword fights, and intricate plots. Let's dive into his top period dramas—where every flick of his sleeve or subtle glance tells a story. Love and Redemption 琉璃 Aired: 2020 Period Background: Set in a mythical ancient China Genres: Xianxia, Romance, Fantasy Main Roles:Cheng Yi as Yu Sifeng (禹司凤), Yuan Bingyan (袁冰妍) as Chu Xuanji (褚璇玑) Adapted From: The novel Liu Li Mei Ren Sha (琉璃美人煞) by Shi Si Lang (十四郎) At its core, Love and Redemption is a saga of cosmic love and redemption spanning ten reincarnations. Yu Sifeng, a noble yet cursed disciple, falls for Chu Xuanji, whose fragmented soul lacks emotional awareness due to her divine origins. Each lifetime, Sifeng sacrifices himself to protect her—whether by taking lethal blows, enduring soul-crushing betrayal, or surrendering his spiritual essence—only to watch her forget him repeatedly. Xuanji's journey to regain her "heart" mirrors her awakening as the…

Last Friday 3/17 I was invited to a local Chinese school to give a small talk on hanfu! The aim was to share hanfu culture with more people here and to present an example to the kids of what doors can be opened to you by maintaining language skills. A little background—I myself attended this once-a-week school from kindergarten up until 6th grade, upon which I pulled out of the school to invite the Chinese teacher that taught me in 6th grade to tutor me at home privately. She was a great tutor and a key part of inspiring my interest in ancient Chinese culture through poetry, history, and more, keeping me engaged while analyzing Tang Dynasty shi and Song Dynasty ci. As I got busy, I stopped the tutoring when I was in 10th grade—and I was introduced to the concept of hanfu not even a few months later! I’ve kept up communication with this teacher for a while (whose name I won’t disclose for privacy reasons) and visited her in Taiwan throughout the years. This year she came back to teach at the local chinese school and invited me to give a talk on hanfu there. For the…

I made my first real Hanfu based on patterns from this website. First outing at the beach, with dragons and all. Here is an article with much details on my sewing journey.

Wearing armor, riding a horse, holding a traditional weapon, fighting on the battlefield. Such a scene may have appeared in the dreams of many people when they were young. But there is a person who turned the traditional Chinese armor in the dream into reality, he is the first person to restore the ancient armor of the Tang and Song dynasties, Wen Chenhua (温陈华). He has highly restoration the armor of the Song dynasty, which has been lost in China for 700 years, after 6 years. He founded the Lian Kai Tang (炼铠堂), and with his own strength, he promoted the obscure armor restoration craft, and let Chinese armor on the world-class combat stage.   #01 The first person in traditional Chinese armor restoration There are only about 1000 armor restorers in China, 90% of them are Wen Chenhua's students, and for 40 years, he has been restoring Jiazhou (甲胄, traditional Chinese armor) to the extreme. On Wen Chenhua's social platforms profile, there is only a simple sentence "Top Chinese Jiazhou maker" as an introduction. However, he has shared a lot of armor design drawings and finished armor photos, all revealing his deep love for Jiazhou. Traditional armor restoration and…

In many Tang and Song dynasty dramas, you'll notice that almost every male character wears the same type of hat—the Futou. Whether they're high - ranking officials, low - level clerks, or military generals, the Futou is a common sight. This raises the question: was this hat really that ubiquitous in ancient China? The Futou, also known as the 'Zheshang Jin' (折上巾), was the most popular headwear for men during the Tang dynasty. It originated from a simple headscarf and evolved into two main styles: the 'soft wrap' and the 'hard wrap.' The soft wrap involved directly tying the cloth around the head, while the hard wrap used a base called 'Jinzi' (巾子) to create a more structured shape. The design of the Jinzi varied slightly over time. Historical records, such as Shen Kuo's 'Dream Pool Essays' from the Song dynasty, describe the Futou's tying method in detail. It involved four straps: two tied at the back, leaving two dangling, and the other two folded and tied at the top, giving it the nickname 'Zheshang Jin'. This style was particularly popular among military personnel, as noted in the 'Tang Huiyao.' Despite its widespread use, the Futou wasn't universal. Emperors wore…

In recent years, costume dramas featuring Tang Dynasty aesthetics have surged in popularity. From the widely acclaimed "The Curse of the Pearl Screen" and "Strange Tales of the Tang Dynasty" to upcoming productions like "National Beauty and Fragrance" starring Yang Zi and Li Xian, "Midnight Return" with Tian Xiwei and Xu Kai, Liu Shishi's "Palm of the Hand," and the adaptation of Ma Boyong's novel "Lychees of Chang'an," the Tang Dynasty has become the go - to historical backdrop for filmmakers. The Tang Dynasty (618 - 907 AD) was a golden age of Chinese civilization, renowned for its cultural confidence and sartorial splendor. As historian Sun Ji noted in "Essays on Ancient Chinese Costumes," Tang noblewomen boldly embraced low - cut dresses that accentuated their beauty. The poet Ouyang Xun famously captured this aesthetic with the line: "Snow - white chests and flower - like faces." Shen Congwen's "History of Chinese Clothing" details how Tang women pioneered fashion trends. The popular "half - sleeve" jacket, worn over narrow - sleeved blouses, featured various collar styles and was tied with delicate ribbons across the chest. The pi (披帛), a long decorative scarf often made of sheer silk with intricate patterns, became…

We all know that ancient Chinese used umbrellas on rainy days, but did they also use them for sun protection on sunny days? In historical dramas, oil-paper umbrellas are no longer just for rain but have become props to create an aesthetic atmosphere. They are often seen in scenes where the protagonist walks slowly under a bright sun with an oil-paper umbrella. While beautiful, these umbrellas are made of paper—can they withstand prolonged exposure to sunlight? The answer is simple: ancient Chinese were clever. While oil-paper umbrellas weren’t practical for sunny days, they had other types of umbrellas specifically designed for sun protection. For example, during the Western Zhou Dynasty, umbrellas made of silk (bo) were used, though their primary purpose wasn’t sun protection but to signify noble status. The Northern Qi Dynasty had strict regulations: kings and high-ranking officials used purple umbrellas with pheasant tail decorations, while lower-ranking officials and scholars used blue umbrellas with green linings. The "Yuxie" records that during the Wei Dynasty, people invented oil-paper umbrellas by splitting bamboo and coating paper with oil for daily convenience. During the Qin and Han Dynasties, elaborate canopies (huagai) became popular. The painted bronze chariot unearthed from the Mausoleum…

In Chinese historical dramas, celestial beings and noblewomen are often depicted wearing exquisite arm accessories. These ornaments, known as 'Bi Huan' (臂环) or 'Bi Chuan' (臂钏), are not exclusive to deities but were also popular among the aristocracy, especially during the Tang Dynasty. The 'Bi Huan' is a type of bracelet worn on the upper arm, crafted from materials like gold, silver, jade, and glass. One notable example is the Tang Dynasty gold - inlaid jade arm ring unearthed from the Hejia Village Hoard, now displayed at the Shaanxi History Museum. This artifact consists of three curved white jade segments connected by gold animal - head hinges, showcasing exceptional craftsmanship. Historically, 'Bi Chuan' dates back to the Warring States period and became a symbol of wealth and status during the Tang and Song Dynasties. It was even included as part of the 'Three Golds' in betrothal gifts. In Buddhist art, similar arm rings are seen adorning Bodhisattva statues, highlighting their spiritual significance. Contrary to the misconception that these arm rings were difficult to wear, ancient designs often featured adjustable openings, making them practical for daily use. They could be worn singly or in pairs, with multi - loop versions called…

Is the widespread criticism of contemporary historical dramas a sign that people are awakening to Eastern aesthetics? What defines modern popular aesthetics? Think smoky eyes, heavy makeup, long lashes, sharp chins, tiny noses, glossy lips, A4 waists, enhanced busts, and body - hugging dresses. This pursuit of perfection often comes at the cost of individuality. When you're steeped in these standards, you might scoff at the classic "pearl - like" Chinese beauty, calling it a "big plate," or urge someone with a fuller figure to lose weight. Modern aesthetics act like a cage, dissecting every part of you with rigid symbols, fueling anxiety and clouding self - perception. As these fleeting "trends" wash over us, culture becomes a set of stereotypes, eroding our ability to appreciate beauty on our own terms. But this isn't a lasting majority. Many are already tired of the "snake - like" face trend, proving these are short - lived fads that don't touch the core. Take Hanfu, for example. Beyond its structure, we admire its colors, patterns, and the stories behind it—the weight of its layered collars, the flow of its long skirts, its inclusivity for all body types, empowering women of diverse shapes to…

The recent discussion on 'appearance anxiety' reminds me of the Tang Dynasty, a period that might offer some inspiration for those struggling with such concerns today. The Tang Dynasty was renowned for its inclusivity and openness, setting what could be considered the 'international beauty standard' of its time. Contrary to the common misconception that Tang women were simply 'plump,' their beauty was more about robust health and fullness. From the slender figures of the early Tang to the more voluptuous forms of its peak, ancient artworks depict a diverse range of body types, showcasing a true celebration of variety. Historical records, like the 'New Book of Tang: Biographies of Imperial Princesses,' describe figures such as Princess Taiping and Empress Wu Zetian with 'broad foreheads and wide cheeks'—features that starkly contrast with today's mainstream beauty ideals. Modern preferences lean towards narrow foreheads, low hairlines, large round eyes, and small faces, often labeling broader features as less desirable. Yet, the Tang aesthetic was rooted in health and confidence, where natural, unforced beauty reflected the dynasty's prosperity. Dunhuang murals further illustrate this, portraying female donors with double chins, visible neck lines, rounded faces, and even slight bellies—features that, while differing from Western ideals…