Fashion

The Large-sleeved shirt, known as "Da Xiu Shan" in Chinese, was a prominent aristocratic attire during the mid to late Tang Dynasty. This garment is often associated with the famous painting "Court Ladies Wearing Flowered Headdresses" by Zhou Fang, which vividly depicts noblewomen adorned in ankle-length skirts paired with sheer, large-sleeved gauze shirts that delicately cover their shoulders and arms. The artist's realistic portrayal not only captures the transparency of Tang fabrics but also the softness of the women's skin. This style persisted until the late Ming Dynasty, often paired with a ceremonial cape, and was alternatively called "Da Xiu" or "Da Shan." During the High Tang period, the influence of Hu (nomadic) clothing waned, and women's fashion gradually embraced wider sleeves. By the mid to late Tang era, sleeves often exceeded four feet in width. The attire typically included a wide-sleeved cross-collared shirt, long skirt, and a draped shawl, reserved for significant occasions like court appearances, ceremonies, and weddings. Adorned with golden hairpins and floral decorations, it was also referred to as "Floral Hairpin Large-Sleeved Shirt." Zhou Fang's painting, now housed in the Liaoning Provincial Museum, illustrates noblewomen leisurely strolling through gardens, picking flowers, and playing with butterflies. Their…

The traditional chest wrap dress, once a staple in early historical dramas and photo studios, has become increasingly rare in contemporary films and TV shows. Why is this the case? Let's start with the conclusion. Many people refer to it as the "Hezi dress." Today, there are numerous choices when it comes to clothing styles and patterns, so there's no need to obsess over controversial designs like the Hezi dress. Absence of Physical Evidence First, there is no physical evidence to confirm the exact style of the Hezi dress. Its existence is only hinted at in literature, particularly through mentions of its key component, the "Hezi." Second, the most famous depiction of the "Hezi dress" is in Zhou Fang's painting "Court Ladies Wearing Flowered Headdresses," which is believed to date back to the Five Dynasties period. The term "Hezi dress" is a modern invention, as it does not appear in historical records. Although "The Complete Collection of Chinese Textiles and Costumes" mentions the long wrap dress worn by women in the painting, paired with a thin gauze robe, it does not refer to it as the "Hezi dress." Historical Origins of Hezi The Hezi dress was once a popular representation…

Fox masks, once a common sight in Chinese historical dramas, have become a symbol of cultural appropriation, often replacing authentic Chinese designs with Japanese-inspired versions. But why has this iconic element faded from our screens? The Root of Fox Imagery in Chinese Culture Long before the Han Dynasty, fox imagery was deeply rooted in Chinese culture. The mystical nine - tailed fox (Jiǔwěihú, 九尾狐), first recorded in the "Classic of Mountains and Seas," symbolized prosperity and fertility. Legends tell of Yu the Great encountering a white fox at Mount Tu, interpreted as an auspicious sign leading to his marriage. In Han mythology, the nine - tailed fox and three - legged crow served as divine messengers under the Queen Mother of the West. The Origin of Traditional Chinese Masks Traditional Chinese masks, known as Nuómiàn (傩面), originated in ritual exorcism ceremonies. During the Zhou Dynasty, Fangxiangshi exorcists wore terrifying bear - skin costumes and golden - eyed masks to ward off evil spirits during New Year celebrations. These masks typically featured exaggerated or mythological designs, distinct from the delicate Japanese fox masks. The Transformation of Fox Symbolism While foxes were initially revered as auspicious creatures in China, their image gradually…

In the Korean drama 'Won Kyung,' Queen Won Kyung is seen wearing a full set of Zhaiyi (翟衣), along with a Yanju crown (燕居冠) adorned with Bobin (博鬓), which is typically reserved for empresses or crown princesses. Observant viewers might find this attire familiar. In recent years, Zhaiyi has frequently appeared in Chinese historical dramas set in the Song and Ming dynasties, largely because well - preserved portraits of empresses from these periods provide ample reference material. The 'Zhai' in Zhaiyi refers to the Zhai pattern (翟纹), which features the Chinese pheasant (红腹锦鸡), a bird native to China with vividly colored feathers described as 'red with five hues.' The pattern consists of twelve pairs of pheasants arranged in rows, interspersed with small floral motifs called 'Xiaolunhua' (小轮花) in the Ming dynasty. The headdress also follows a strict hierarchy: the phoenix crown (凤冠) with Bobin is the highest rank, paired with Zhaiyi, while the Yanju crown (with Bobin) is worn with a yellow Dasha (大衫) and Xiapei (霞帔). Noblewomen's Zhai crowns are paired with red Dasha and matching Xiapei. Why does Zhaiyi appear in Korean dramas? The 'Goryeo History' records that Empress Xiaoci of the Ming dynasty once bestowed Zhaiyi upon…

In countless historical dramas, we often see female characters pressing a red paper to their lips for instant color. This raises an intriguing question: Was this actually a historical practice? The answer reveals far more sophistication in ancient Chinese cosmetics than modern audiences might assume. Ancient China developed lip color products called Kouzhi (口脂) or Chunzhi (唇脂) as early as the Northern Wei Dynasty. Agricultural scientist Jia Sixie documented their production in Qimin Yaoshu: "When marrow is scarce, blend with beef tallow. Without marrow, tallow alone suffices. Steep cloves and patchouli in warm wine. Simmer with equal parts moisture - retaining agents, adding artemisia for color enhancement. Filter through silk into porcelain or lacquerware to solidify. For lip balm, mix with vermilion and wrap in green oil." Historical lip colors included: 💄 Jiangse (绛色): The quintessential "China red" described in Shuowen Jiezi as "grand crimson," immortalized in poetry like "Silent are the crimson lips and beaded sleeves." 💄 Zhuhong (朱红): A red - orange hybrid resembling imperial palace walls, praised as "Fragrant balm precedes vermilion lips' movement." 💄 Tanse (檀色): A light mauve akin to modern nude shades, depicted as "Delicate green imprints eyebrow traces, while pale tan tints fading…

Have you ever noticed the distinctive headband worn by Lan Wangji in 'The Untamed'? This traditional accessory, known as Mo'e (抹额), has recently made a comeback in popular TV dramas like 'The Dream of Splendor'. But what exactly is its purpose? Functions of Mo'e in Ancient Chinese Society Mo'e served two primary functions in ancient Chinese society. First, it acted as a ceremonial identifier, particularly in military and official settings. Historical records from the Qin to Song dynasties mention 'Junrong Mo'e' (军容抹额) - special headbands worn by soldiers and honor guards as uniform insignia. The 'Song Shi' documents imperial guards wearing purple embroidered robes with Mo'e and silver belts during grand ceremonies. Secondly, Mo'e had practical applications in daily life. Yuan dynasty women from scholar and commoner families adopted Mo'e to secure their hairstyles during work. By the Ming and Qing dynasties, Mo'e transcended social classes to become a universal fashion statement. Even Tang dynasty women wearing male attire would complement their outfits with Mo'e. Etymology of Mo'e Etymologically, the character 'Mo' (抹) implies binding or tightening. Han dynasty texts reveal early terms like 'Mo' (陌) and 'Pa' (帕) referred to similar hair-binding functions. The 'Shi Ming' describes it as…

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…

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…

Zhao Lusi's latest Tang Dynasty-inspired look in 'Pearl Curtain and Jade Screen' has fans reminiscing about her iconic Le Yan (乐嫣) character from 'The Long Ballad' (长歌行). While both styles draw from the Tang Dynasty aesthetic, there are notable differences that showcase her versatility in portraying historical roles. Le Yan's Hairstyle in 'The Long Ballad' In 'The Long Ballad', Zhao's Le Yan character sported the classic 'Bunny Ear' hairstyle, known as Baiheji (百合髻) or Lily Bun. This double-bun style, often with a center part or crisscross design, was popular during Emperor Taizong's reign (627 - 649 AD). Historical records from Ma Gao's 'Notes of Past and Present China' describe it as one of the signature hairstyles of early Tang Dynasty, perfectly complementing Zhao's sweet and youthful appearance. Hairstyle in 'Pearl Curtain and Jade Screen' The 'Pearl Curtain and Jade Screen' presents a more mature interpretation of Tang fashion. Zhao's character wears a single bun hairstyle, reminiscent of the Qiu Ji (囚髻) or Prisoner's Bun popular in mid - late Tang Dynasty. The styling features thinner, more voluminous sideburns creating a 'Chan Bin' (蝉鬓) or Cicada Wing effect - a delicate framing technique that mimics the transparency of cicada wings using…

In the latest hit series 'Seven Nights of Snow,' it's hard not to notice the prevalence of cloaks among the characters. This raises the question: when did cloaks become a staple in costume dramas? Originally, cloaks were designed as raincoats or windbreakers, with separate hoods and garments. The 'Book of Songs' mentions shepherds wearing straw raincoats and bamboo hats, illustrating their early use in weather protection. Over time, cloaks evolved from simple straw designs to include materials like animal fur, thick fabrics, and oiled silk. Terms like 'Qiu' (fur clothing) and 'Hechang' (feathered garments) often get confused with cloaks. Historically, cloaks were sleeveless, loose, and ankle - length, sometimes featuring attached straps for ease of movement. They were known as 'Yi Kou Zhong' or 'Yi Guo Yuan' during the Qing Dynasty for their bell - like shape. Modern costume dramas often depict hooded cloaks, blending ancient designs with Western influences to create a fashionable hybrid.

  You often see scenes like this in period dramas: a veiled beauty accidentally reveals her delicate features when the veil slips, just in time for the male lead to catch a glimpse. But did such veils truly exist in history? While they might not have been called "veils" in ancient times, there was a similar concept known as "mian yi" (面衣), a face-covering tradition documented since the Zhou Dynasty. This practice involved women covering their faces with cloth, serving purposes like protection from wind and sun, decoration, etiquette, and even social avoidance. According to "The Book of Rites," women were required to cover their faces when going out, aligning with Confucian ideals of gender separation. The term "mian yi" was solidified in records like "Miscellanies of the Western Capital," which mentioned a "golden-flowered purple silk mian yi" gifted by Zhao Feiyan's sister. Over time, these coverings evolved into styles like "mi li" (羃䍦) and "wei mao" (帷帽), with the latter becoming popular during Empress Wu Zetian's reign. The "mi li," originating from northwestern ethnic groups, combined a hat with a translucent veil, allowing visibility while riding. Later, the Ming Dynasty introduced "yan sha" (眼纱), a practical face cover with…

Recently, netizens have been complaining about Li Landi's makeup and hairstyles in the drama 'The Gurgling River (流水迢迢)'. They say, 'This should be the simplest makeup and hairstyles for a leading actress in history.' Some netizens even claim that the beggar makeup and prison makeup in the drama look better than the main - line makeup. In this drama, Li Landi has three main types of makeup and hairstyles. One is the loose - hair style during the beggar period; the second is the 'high ponytail' style with pulled - up hair during the 'Moonfall' period; the third is the so - called 'bun' style, a simple high - knot hairstyle. Throughout the whole drama, most of her looks revolve around these three styles. If you think the makeup and costumes in 'The Gurgling River' are perfunctory, do you still remember the high - ponytail styles in 'A Little Sugar Falls from the Sky (星落凝成糖)' where the hairstyle remained the same while only the hair accessories changed? There's always a simpler one. Why do Li Landi's makeup and hairstyles seem so simple? Especially when compared with her image in another drama, although both are in green clothes with coiled hair,…

The Origin of the Pomegranate Skirt When a woman's beauty or charm captivates a man, people often use the phrase "succumb to the pomegranate skirt" to describe this irresistible allure. So, where does this enchanting "pomegranate skirt" come from and what does it symbolize? The pomegranate, also known as Anshiliu (安石榴), originated in Iran and Central Asia. It was brought back to China by Zhang Qian after his mission to the Western Regions. It is said that the ancient version of Book of Marvels (待求证) records: "Zhang Qian of the Han Dynasty brought back pomegranate seeds from the Tulin and Anshi countries after his mission to the Western Regions, hence the name Anshiliu." The Anshi country, also known as the Parthian Empire, is now Iran and its neighboring areas. The term "pomegranate skirt" is said to have emerged during the Han Dynasty, referring to a bright red women's skirt. Its popularity stems from the vivid color of pomegranate flowers. The color of the pomegranate skirt, or pomegranate red, is a slightly deeper red like that of pomegranate fruits, or an orange - red as bright as pomegranate flowers. The ancients used pomegranate flower juice to dye fabrics, creating the distinctive…

In the past year, various concepts of 'fragmentation' and 'fatalism' have suddenly become popular online. Paired with trendy Hanfu styles such as the straight-fronted robe of the 'Warring States' period, the silk shirt of the Northern Song Dynasty, Tang-style shirts and skirts, and armor, there are all sorts of scenarios: running away in the rainy back - view, collapsing in the ice and snow, being tied up, drawing a sword, dying in battle, and even imitating Emperor Chongzhen's 'hanging himself'. It's really a wide variety, giving us a fresh feeling of fatalism. Understanding 'Fragmentation' and 'Fatalism' What exactly are 'fragmentation' and 'fatalism'? Do we really need this kind of emotional appeal? In short, this kind of aesthetic doesn't necessarily have to be called 'fragmentation' or 'fatalism'. It's a kind of incomplete, heart - wrenching but irresistible sadness. Originally more common in the fields of painting and sculpture, with the lower threshold of shooting short dramas and taking photos and the improvement of costumes and props, ordinary people have more opportunities to touch those emotional corners that are usually hard to notice and seek deep 'resonance'. Creating the Atmosphere To create this sense of fatalism, besides creating extreme environments, for example,…

Why Maids Often Wear Short-Sleeved Tops in TV Dramas Why do we often see maids wearing short-sleeved tops in TV dramas, while young ladies rarely do? Let's first talk about these so - called "short - sleeved" tops. Maids wear them mainly for the convenience of work. However, this style is not restricted to maids; it's just a type of clothing item. In ancient China, it had two names: "Banxiu" (半袖) and "Banbi" (半臂). It originally evolved from the short ru (a kind of traditional Chinese upper - body garment). Usually, it reached the waist, and the sleeve length was up to the elbow or even shorter. It was not worn alone, and the most common way to wear it today is to put it over a long - sleeved garment. Actually, men could also wear it. In the Tang Dynasty, it was often used as an inner layer, like wearing a Banbi inside a round - collar robe. The Origin and Popularity of Banbi This style emerged during the Han and Jin dynasties. The figurines of a lute - playing person and a mirror - holding person in Sichuan Han tombs were all wearing Banbi over long - sleeved…

Questioning Ancient Hair Volume Did the ancient people have astonishing hair volume? Could they create such high buns with their own hair? Well, it's a joke! The ancient people already had the "baldness crisis" and secretly wore wigs. In fact, the hair volume of the ancient people might not be as thick as that shown in Zhou Fang's Painting of Ladies Wearing Flowers in Their Hair (《簪花仕女图》). The so - called "Yiji" (义髻) in ancient times was the predecessor of the wig buns we see today. The fashion of wearing wigs started among upper - class women, aiming to increase hair volume and create more complex bun styles, similar to today's hair pads. Materials and Styles of Ancient Wigs The common materials for Yiji were hair or alternative modeling materials like wooden pieces. This spiral - shaped Yiji was made of "false hair". Lined with linen, wrapped with palm hair and dyed, it was made into a spiral shape. You could just press it on your head to complete the makeup, showing both simplicity and ingenuity. The materials for making Yiji were diverse, not limited to real human hair. For example, thin wooden pieces were used. This lacquered wooden wig…

Nowadays, young people are into black lipstick. Their families would surely be shocked and wonder about this "weird" aesthetic. But if this trend went back over a thousand years to the Tang Dynasty, you'd be amazed at the "ahead - of - time" makeup looks. People would exclaim, "It's still our ancestors who were the trendsetters!" The "Wu Gao" (乌膏) mentioned by Xi Jun and Mrs. Ma in "The Detective Diaries 2" (唐诡2) did exist in the Tang Dynasty. It was a special kind of lip balm in the "Shishi Zhuang" (时世妆), or the fashionable makeup of the time. According to "New Book of Tang -五行志", during the Yuanhe period of Emperor Xianzong of the Tang Dynasty, women favored a makeup style of "round - bun and cone - shaped hair, no hair ornaments, no rouge or powder, only using Wu Gao to paint the lips, looking like someone who had been crying." Characteristics of the Makeup Even the spider spirit in "Black Myth: Wukong" has the same "Wu Gao - painted lips". This makeup was not just about painting the lips nearly black. It also included drawing eight - character eyebrows, adding oblique red makeup on the cheeks, and…

Somewhere along the way, in TV dramas, it became trendy for brides in Tang and Song Dynasty settings to wear green wedding dresses, and the trend has only grown. After revisiting historical records, it dawned on me: have we been misled? Have you also been bombarded with images of "red - clad grooms and green - clad brides"? First, let's talk about the concept of wedding attire. In ancient times, there was no strict dress code for weddings, which has led to the current confusion about wedding dress styles. However, officials and noblewomen had corresponding strict dress codes, and their use was defined according to specific scenarios in the Five Rites. Weddings and coming - of - age ceremonies were important occasions in the auspicious rites. From the Sui and Tang Dynasties to the Song and Ming Dynasties, cyan was always a high - end color for women's formal dresses. "The Book of Sui: Ceremony 7" records that the empress's Yi dress was "made of dark cyan fabric, with woven collars and cuffs, embroidered with five - colored pheasants in twelve rows." "Tang Six Codes" states that the empress's Yi dress was "made of dark cyan woven fabric..." "New Rites…

Hanfu, the traditional clothing of the Han Chinese, has experienced a remarkable resurgence. What was once a niche interest among history enthusiasts and cultural purists has now blossomed into a full-blown fashion movement. By 2024, the Hanfu market is not just thriving—it’s evolving, adapting, and influencing modern fashion in ways that few could have predicted a decade ago. The Hanfu Phenomenon The Hanfu revival isn’t just about clothing; it’s a cultural statement. Rooted in over 3,000 years of history, Hanfu represents more than just aesthetics—it’s a symbol of identity and heritage. In 2024, this traditional attire has found its way into the wardrobes of a diverse audience, from young students to working professionals, and even international fashion enthusiasts. The driving force behind this resurgence? A combination of government support, cultural pride, and the rise of China-chic (国潮). Policies promoting traditional culture, such as the "14th Five-Year Plan for the Development of Chinese Traditional Culture," have played a significant role in boosting public interest. Events like China Huafu Day (中国华服日) and Huazhao Festival (花朝节) have further cemented Hanfu’s place in contemporary culture, turning it into a symbol of national pride. The Market Boom: Numbers Don’t Lie The numbers speak for themselves.…

Horse-face skirts, also known as "Mamian Skirts," are a timeless and iconic part of traditional Chinese clothing. Originating from the Song Dynasty and popularized during the Ming Dynasty, these skirts have evolved from simple functional garments to sophisticated fashion statements that blend cultural heritage with modern style. Whether you're a seasoned Hanfu enthusiast or just starting your journey into the world of traditional Chinese attire, this guide will help you navigate the intricacies of choosing the perfect horse-face skirt. Understanding the Structure and Design A horse-face skirt consists of two main pieces that overlap at the front, creating four skirt doors (two on each side). The outer skirt doors are often decorated, while the inner ones may have minimal or no embellishments. The sides of the skirt are pleated, and the waistband is typically made of white fabric, symbolizing longevity and marital bliss. This design not only adds aesthetic appeal but also provides practicality, allowing for ease of movement. Key Features to Consider Skirt Length Shoe-On Style: Ideal length is leg length + 7 cm, ensuring a balanced look without compromising mobility. Long Style: Opt for leg length + 9-10 cm for a more flowing silhouette that complements various occasions.…

At Fujian Museum’s latest exhibition, visitors aren’t just seeing artifacts—they’re meeting fashion. Four reconstructed outfits from Huang Sheng, a Southern Song Dynasty (1127-1279) noblewoman, have taken center stage, merging historical accuracy with runway-ready appeal. These garments, originally featured in National Treasure Season 4, reveal how designer Zhang Ting reimagined 800-year-old textiles for modern audiences. The exhibition coincides with the popular Chinese cultural series’ new season, showcasing garments worn by actress Chen Duling during her portrayal of Huang Sheng. From indigo-dyed floral patterns to gold-accented embroidery, each piece tells a story about how Song aristocrats dressed—and how contemporary designers interpret their legacy. The Closet Time Forgot Discovered in a 13th-century tomb in Fuzhou, Huang Sheng’s wardrobe became a sartorial Rosetta Stone. Her 354 burial garments revealed unexpected details: lightweight floral silks, metallic threadwork, and color palettes that defied the "muted antiquity" stereotype. Zhang Ting’s reconstructions highlight three key pieces: A blue camellia-patterned Beizi (褙子, a traditional Song Dynasty outer garment) with embroidered lotus borders A purple peony-and-crabapple Daxiu Shan (大袖衫, wide-sleeved robe) featuring gradient dye techniques A pink peony-and-osmanthus Chang Beizi (长褙子, long outer coat) using replicated Song-era brocade "These aren’t costumes—they’re wearable archaeology," explains museum curator Lin Wei. "Zhang’s team studied fabric samples under microscopes to match weaving…

The clock struck 9 PM in Beijing, but inside Paris's Palais de Tokyo, the night was just beginning. Editors from Vogue, influencers clutching their iPhones, and celebrities like Liu Yu and Yuan Shanshan buzzed under the cavernous ceilings, their eyes fixed on towering embroidered tapestries depicting mythical butterflies, celestial cranes, and love stories woven into silk. This wasn't just another Paris Fashion Week spectacle—it was SHIATZY CHEN's Fall/Winter 2025 collection, a masterclass in bridging 1,000-year-old Miao traditions with the pulse of contemporary luxury. For founder Shiatzy Chen (Wang Chen Tsai-Hsia), this show wasn't merely about aesthetics; it was a manifesto. "When I first started, department stores told me, 'No one wants Chinese styles—give us international,'" she recalls, her voice steady yet charged with defiance. Nearly five decades later, her brand stands as a beacon of neo-Chinese chic, proving that heritage isn't a relic—it's a revolution. Ancient Stitches and Avant-Garde Craft The collection, titled Far&Near, hinged on a radical proposition: What if Miao embroidery—a UNESCO-listed intangible cultural heritage—could speak the language of modern urbanites? To answer this, Chen and her team embarked on three pilgrimages to Guizhou's remote Miao villages, collaborating with seven intangible cultural heritage artisans. Their mission? To decode…