Netizens are raising questions: Is Chen Duling's costume in Noble Lady too conservative? New stills from Noble Lady have emerged, once again presenting the high - collar, vertical - front Hanfu. Some netizens have commented that Ming - style Hanfu seems overly conservative, as it almost entirely covers the body. Looking back at the history of Chinese clothing, during the mid - to - late Ming Dynasty, high collars became a popular choice among the nobility. Some netizens have noted that Ming - style high collars can make the neck appear shorter, the face rounder, and add an aged look. As a result, many people tend to prefer the more widely flattering Tang - style Hanfu. However, this actually shows a misunderstanding of traditional Ming - style Hanfu. After all, delicate beauty is one form of aesthetics, while elegance and dignity are another. The development of high collars in the Ming Dynasty was not simply about 'conservatism'. At that time, China was experiencing the Little Ice Age, which led to a sudden drop in temperature. Consequently, the clothing culture changed to adapt to the weather. Ming - style high collars evolved from the cross - collar and parallel - front…

In the TV series Si Jin, Jing Tian appears with this hairstyle so frequently that it seems to be her signature look. The only variations are the accessories, leading netizens to joke: Is this hairstyle welded onto her head? The hairstyle in question is called Shuang Huan Wang Xian Ji (双鬟望仙髻), an evolved version of the traditional Shuang Huan Ji (双环髻). Originally a youthful hairstyle, its ethereal beauty made it a favorite in classical depictions of celestial beings and noblewomen, as seen in masterpieces like Nymph of the Luo River and Eighty-Seven Immortals. Lin Yun also sported this look in How Can She Be So Charming, albeit with a more exaggerated flair. The difference lies in the evolution of the hairstyle: from the rounded, voluminous buns of the Wei-Jin and early Tang dynasties to the wavier, more dynamic forms of the mid-to-late Tang period. By the Song dynasty, it became a mainstream trend, simplified for daily wear with added pearl embellishments—akin to Jing Tian’s interpretation. Despite its celestial moniker (Wang Xian Ji translates to immortal-aspiring bun), this hairstyle is actually a wig. Crafted with wooden or rattan frames and wrapped in hair, it allowed for versatile styling without the daily…

The Red Dots: More Than Just Decoration In the upcoming drama Lychees of Chang’an, Yang Mi’s Tang Dynasty-inspired makeup has sparked curiosity—particularly the two red dots near her lips. These are no random embellishments. Known as mianye (面靥, pronounced "myan-yeh"), they trace back to the Han Dynasty (206 BCE–220 CE) and evolved into a symbol of sophistication during the Tang era (618–907 CE). Historical records, like Shuowen Jiezi (说文解字), define mianye as decorative marks near the dimples. Initially called dì (旳), they later took diverse forms—dots, crescent moons, floral shapes—and materials like gemstones, gold foil, or even dried botanicals. For example, Lingbiao Luyi (岭表录异) mentions using pressed flowers as eco-friendly alternatives. One theory links mianye to palace life. Concubines allegedly used these dots to discreetly signal menstruation, avoiding imperial duties. Over time, the practice trickled down to commoners, transforming into a beauty statement . By the Tang Dynasty, creativity soared: dots expanded to foreheads and temples, morphing into huadian (花钿, floral motifs) and zhenzhu zhuang (珍珠妆, pearl-studded designs). These weren’t just pretty—they softened facial lines, offering a timeless anti-aging hack. Tang women embraced maximalism. Imagine gold leaf swirls, ruby-studded cheeks, or peony-shaped mianye—all while maintaining harmony. Dunhuang murals reveal how…

One of the joys of wearing hanfu is discovering how effortlessly it can be adapted to different lifestyles, beliefs, and personal preferences. As a hijabi, one of my biggest considerations when choosing clothing is modesty. Thankfully, many hanfu styles already cater to this ideal with their long, flowing silhouettes, layered structures, and elegant designs. In fact, I’ve found hanfu to be one of the easiest traditional outfits to wear while staying true to both my modesty and aesthetic preferences. Although some hanfu styles are more fitted around the waist or involve shorter sleeves or lower necklines, there are many that work beautifully for hijabis without needing any extra modifications. Personally, I’m especially drawn to Ming dynasty style hanfu. These often feature a mamianqun skirt paired with either a shorter shirt (duijin shan) or a longer robe-style shirt (aoqun or dachang), both of which are generously cut and non-revealing. The fabrics drape naturally, the overall silhouette is loose, and the layering makes it feel effortlessly modest. The added bonus? Mamianqun prints are just stunning. The way the pleats open and close as you walk, revealing flashes of the pattern, creates a sense of movement and beauty that makes me feel elegant…

The historical drama Si Jin has brought attention to the fascinating clothing culture of ancient China, particularly the sleeveless garments worn by actress Jing Tian. These garments, known as Beixin (背心) or Bijia (比甲), were popular during the Song, Yuan, and Ming dynasties. They were typically worn over other clothing and featured a front-opening design with slits on both sides, extending to below the knees. Archaeological findings from the Southern Song Dynasty, such as those from the Huang Sheng tomb, reveal a variety of sleeveless garments, including Beixin, long and short shirts, two-piece skirts, and more. These garments were lightweight and breathable, making them ideal for summer wear. For instance, one dark peony-patterned Beixin measured 70 cm in length, 44 cm in waist width, and weighed only 16.7 grams—lighter than half a liang (两), a traditional Chinese unit of weight. These sleeveless garments were favored by both noblewomen and commoners. They could be worn alone at home or layered with other clothing for outdoor activities. The Ming Dynasty saw variations like Gua (褂) or Bijia, which could be worn with or without an inner Moxiong (抹胸). The lightweight fabric sometimes revealed the inner garment, adding a touch of color and…

In the spoilers for the TV series Family Business, a scarf appeared. Isn't this a drama set in the Ming Dynasty? Fans questioned: Isn't this scarf too modern? First, let's clarify: we actually had similar scarf-like accessories in ancient times, known as Xiangpa (项帕), Lingjin (领巾), Yongxiang (拥项), or Fengling (风领). The term Weibo (围脖) also appeared during the Ming Dynasty. These accessories served two purposes: protection against cold and decoration. During the Southern Song Dynasty's Yuanxi Festival, women often wore Xiangpa, a decorative neck wrap. Zhou Mi, a scholar from the Song Dynasty, documented in Old Stories of Wulin: Yuanxi: During Yuanxi, women adorned themselves with pearls, jade ornaments, and Xiangpa, often wearing white garments suitable for moonlight. This suggests Xiangpa was a silk or brocade scarf, combining warmth and style. This aligns with historical records of Lingjin from the Song Dynasty. For example, Chen Yunping wrote in Drunken Peach Blossom: With delicate accessories and a tilted Lingjin, her hair was styled in twin buns. While Xiangpa and Lingjin shared similar materials and functions, Lingjin was more versatile, worn by both men and women. Artifacts like Tang Yin's Palace Ladies of the Shu Kingdom depict Lingjin as a triangular…

In recent years, there’s been a surge of interest in hanfu, not just as traditional attire, but as something that can be part of everyday life—including the workplace. For women who love hanfu and want to express that part of their identity in professional settings, there are more options now than ever before. With both modernised and traditional hanfu being widely available online, it’s becoming increasingly realistic to integrate this historical clothing into our weekday wardrobes. Modern hanfu—sometimes referred to as “fashion hanfu”—has already been adapted for casual social use. According to NewHanfu, it “inherits the elements of traditional Hanfu, and through long-term innovation and development, it is well adapted to the convenient social life in today's modern times.” This means pieces are typically more streamlined, accessible, and comfortable, often made with materials and cuts that suit daily wear. As a result, many modern hanfu outfits can already pass for smart-casual in a workplace setting. Pairing these with accessories like a structured purse, a watch, or a blazer can easily help elevate the outfit to look more professional without compromising the hanfu aesthetic. That said, I personally think there’s also space for more traditional hanfu elements in the workplace—if styled…

Do you think ancient Chinese people didn't carry bags just because you rarely see them in TV dramas? Historical records clearly show that carrying bags has been a long-standing practice in China. In Liu Shishi's new period drama Kill My Sins, her character sports various bags with each outfit. Some netizens even counted one bag per costume! Where do you think ancient people kept their money? Did they really not carry bags? Don't get too obsessed with Liu Shishi's large and small bags in the show. In fact, we've had our own bags since ancient times, and many would be considered trendy even today. Archaeological discoveries repeatedly prove that fashion's ultimate inspiration comes from Huaxia (华夏) culture. A leather bag unearthed from Niya in Xinjiang, dating back to the Han-Jin period, stunned the world when it was revealed. It looked exactly like a modern saddle bag from a luxury brand - proving that this fashion trend existed over 1,600 years ago. This isn't an isolated case. Ancient Chinese had all kinds of bags: saddle bags, handbags, crossbody bags, waist bags, box evening bags, backpacks, net bags, underarm bags... These discoveries show remarkable similarities between ancient and modern fashion across a…

In the TV series Kill My Sins, Chen Jin portrays a sage inspired by Wu Zetian, but with minimal makeup and no elaborate hairstyles. Netizens have commented: So even emperors had no appearance anxiety! Traditionally, Wu Zetian has been depicted as a glamorous and noble figure in films and TV shows. Actresses like Liu Xiaoqing, Gui Yalei, Lü Zhong, Liu Jialing, and Fan Bingbing have all played her, either with towering hairdos adorned with ornate hairpins or, like Chen Jin, in simple round-collared robes and futou hats, exuding authority without effort. The Historical Appearance of Wu Zetian Wu Zetian was known for her beauty, but historical records describe her as having a square forehead and broad cheeks (fang e guang yi). According to the New Book of Tang, her daughter Princess Taiping shared these features, leading Wu Zetian to remark that her daughter resembled her. This look, sometimes exaggerated with sharp-angled sideburns, resembles what we now call a square-round face. Her image remains enigmatic. Most later depictions show her in cross-collared or round-collared robes, typical of the Tang Dynasty, paired with a fangxin quling neckpiece and a diguang crown. However, these portrayals often mix contemporary fashion elements, making them unreliable.…

Yang Zi's headband in the latest drama The Mo has sparked heated discussions among netizens. This seemingly modern accessory actually has ancient roots as a Pazi (帕子), a square cloth used by women to wrap their hair, keeping it neat and tidy. This practice of head wrapping was common across various dynasties, particularly among the common folk, as it could be made from leftover fabric. Before the Wei and Jin dynasties, both men and women used Pazi, with men using it more frequently. One style, known as Zizuo (缁撮), resembled the bun-like wrap often seen on scholars in historical dramas. During the Qin and Han periods, the military also adopted this practice, using deep red cloth to create headscarves called Jiang Patou (绛帕头). In the Han Dynasty, it was often paired with Ze (帻), a type of headgear, becoming a popular fashion trend. Evolution of Head Wrapping Styles By the Wei and Jin dynasties, head wrapping became more prevalent among women. During the Sui and Tang dynasties, it was fashionable to wrap the entire head, and by the Song Dynasty, it evolved into a widespread hairstyle known as Baoji (包髻). The Pazi was not only used for wrapping hair but…

In the popular drama The Glory of Youth, actor Li Xian's portrayal of Jiang Changyang wielding a round fan has captivated audiences. Contrary to popular belief, round fans, known as Tuanshan or Huanshan, were originally invented and used by men in ancient China. These fans, characterized by their circular or oval shape with a handle, were also referred to as Gongshan due to their prevalence in imperial courts. The Han Dynasty through the Northern Song Dynasty marked the golden age of round fans. The Multifunctional Use of Round Fans During the Wei, Jin, and Southern and Northern Dynasties, scholars often carried Zhuwei (deer-tail whisks) or feather fans while engaging in philosophical debates. Emperor Jianwen of Liang, Xiao Gang, even designed his own version, setting a trend. By the Sui and Tang Dynasties, round fans had largely replaced other fan types. Initially, these fans were not for cooling but for concealing one's face, a practice known as Bianmian. Historical records, such as The Riverside Scene at Qingming Festival, depict men using fans to avoid awkward encounters. The Hanshu also mentions bamboo fans used for grilling meat, showcasing their versatility. In the drama, Jiang Changyang primarily uses two fans: an ivory round…

When we think of veils, Western wedding traditions often come to mind. However, the Chinese have their own rich history of veil-wearing, dating back to ancient times. Known as Gaitou (盖头) during the Song Dynasty, this traditional head covering has deep cultural roots. According to historical records like Zhou Hui's Qingbo Magazine, Song Dynasty women wore Gaitou as a common head garment when going out in public. This practice actually originated from the Tang Dynasty's Weimao (帷帽), a hat with a hanging net curtain. Scholar Shen Congwen noted that while Weimao featured a hard hat with a net, Gaitou was simpler - just a square purple silk cloth draped over the head. Cultural Significance and Evolution The Gaitou served more than just practical purposes. In the context of Song-Ming Neo-Confucianism, it became an important garment that reflected social norms. As recorded in Sima Guang's Domestic Regulations, women were required to cover their faces when going out, showing how the veil became intertwined with Confucian etiquette. By the Ming Dynasty, similar head coverings called Fujin (幅巾) emerged, primarily worn by women dressing as men. While its connection to Gaitou remains unclear, this evolution demonstrates how head coverings adapted to changing fashion…

Yang Zi's upcoming drama, originally titled The Golden Hairpin, has once again found itself at the center of controversy. Following the earlier uproar over digital face replacements, viewers are now questioning the authenticity of the costumes, particularly the hats, which many argue bear a striking resemblance to traditional Japanese designs. While it's true that Japanese culture borrowed heavily from the Tang Dynasty, the current designs appear to be simplified versions of later Japanese styles rather than faithful recreations of Tang-era attire. The drama is based on a novel set during the reign of Emperor Yizong of Tang, yet the costumes seem to deviate significantly from historical accuracy. Historical Context of the Hats The Ying Guan (缨冠), a type of hat featured in the drama, is a blend of Han Dynasty's Tongtian Guan (通天冠) and Tang Dynasty's Futou (幞头). The most distinctive feature of the Ying Guan is its flat front and a hanging tassel at the back, which could be either curled (for military officials) or straight (for civil officials). Another hat, the Wu Maozi (乌帽子), is said to have originated during Japan's Heian period. The height of the Wu Maozi indicated the wearer's social status, with taller versions reserved…

The Evolution of Shuang Huan Wangxian Ji The hairstyle, known as Shuang Huan Wangxian Ji (双鬟望仙髻), has been hailed as the most iconic and popular fairy-like hairstyle, transcending age and time. Originating from the Shuang Huan Ji (双环髻), this hairstyle was initially designed for young girls. However, its ethereal beauty made it a frequent feature in divine paintings, such as the renowned Luoshen Fu Tu (洛神赋图) and the Eighty-Seven Immortals Scroll (八十七神仙卷). Over time, it evolved into a cultural phenomenon. During the Wei, Jin, and Southern and Northern Dynasties (魏晋南北朝), the high bun with double rings was prevalent. By the early Tang Dynasty (初唐), the Shuang Huan Wangxian Ji began to take shape, characterized by its round and full appearance. The hairstyle ranged from modest daily buns to exaggeratedly large ones, sometimes even matching the length of a face. By the mid-to-late Tang Dynasty (中晚唐), the contours of the hairstyle became wavy, adding a dynamic charm to its otherwise simple form. Popularity Across Dynasties In the Song Dynasty (宋代), this hairstyle became a fashion trend among commoners. Women adorned it with pearl accessories and simplified its originally exaggerated height, making it more wearable for daily life. However, by the Ming…

Yang Zi, the renowned Chinese actress, recently shared her Hanfu photos to celebrate the Lantern Festival, sparking widespread admiration online. Fans particularly praised the outfits for their everyday wearability. The Ming Dynasty-Inspired Hanfu Yang Zi showcased two distinct Aoqun (袄裙) styles, a common attire for women during the Ming Dynasty. The first was a pink cross-collar top paired with a gray pleated skirt, while the second featured a green front-closing top with subtle red accents for a contrasting effect. Both looks highlighted the elegance and versatility of Ming-era fashion. Historical Color Palettes The pink and gray combination reflects a timeless aesthetic, popular even during the Tang and Song dynasties. Notably, the Yangfei (杨妃色), a delicate pink hue derived from mineral pigments, adds a touch of historical charm. Similarly, soft greens and watery blues were favored for their understated sophistication. Modern Adaptations For a more formal occasion, Yang Zi’s standing-collar long coat with a Mamian skirt (马面裙) exemplifies Ming-era grandeur. However, the gray-toned ensemble proves that Hanfu can be adapted for daily wear with muted colors and thoughtful accessories. Styling Tips Traditional Hanfu often employs the 'clothing-over-skirt' technique, which, though less slimming than the reverse, offers a flattering fit for various…

Have you ever noticed that in both historical dramas and everyday fashion, fur coats or cloaks are usually worn with the fur side out? But does this really keep you warm? It turns out, most people might be wearing fur incorrectly. The truth is, the way fur is worn depends on its purpose and setting. Ancient paintings reveal that for warmth, people wore fur with the hair side against their skin, covered by an outer fabric layer. Only a bit of fur peeked out at the collar, serving both insulation and decoration to showcase the garment's quality. In contrast, ancient nobility often flaunted full or partial fur pieces indoors to display wealth and status, while hunters wore small fur patches to signify their profession. Today, however, fur is predominantly worn hair-out for aesthetics, regardless of practicality or social standing. Historically, fur worn externally has always been a luxury statement rather than for warmth. Note: We advocate for animal welfare and encourage using faux fur alternatives. Fur Garments in Ancient China In ancient China, fur garments were called Qiu Yi (裘衣), ranging from affordable to extravagant. They appear in poetry, like Li Bai's line about 'a dappled horse and a thousand…

In historical dramas like Kill My Sins, we often see actresses like Liu Shishi (刘诗诗) wearing striped dresses that resemble modern fashion. But did such striped dresses really exist in ancient times? Was the Tang Dynasty that ahead of its time? The answer is yes. These narrow-striped dresses were popular from the early Tang Dynasty to the Wu Zhou period, with origins tracing back to the Han and Jin dynasties. Interestingly, these stripes weren’t printed but were meticulously sewn together. This visual technique to elongate the figure wasn’t a modern invention—our ancestors had already mastered it for a sleek, fashionable look. Their aesthetic was truly scientifically slimming. The Art of Poqun (破裙) Poqun doesn’t mean torn dresses but refers to paneled skirts made by stitching separate fabric pieces. These skirts, dating back to the Han and Jin dynasties, were discovered in the Bijiatan Tomb. They could be pleated or layered, showcasing remarkable flexibility in design. Color Combinations Poqun featured both monochromatic and contrasting colors, the latter called Jianse Qun (间色裙). Early Tang murals often depict red - white, black - white, or blue - white stripes, along with red - blue combinations. Ultra - Narrow Stripes By the early Tang…

In the Japanese drama The Great Buddha Opens His Eyes, Satomi Ishihara's costume has sparked discussions online. Many pointed out that her hairstyle resembles the popular style of early Tang Dynasty in China, rather than the Tenpyo era in Japan. The answer is clear: this is the Shuang Ji Ji (双髻髻), a hairstyle popular from the Sui to early Tang Dynasty. It features two looped buns on the head, commonly worn by children and maids. Similar styles can be found among Chinese artifacts preserved in the Shosoin Repository. Not just the hairstyle, but even the eyebrows match the Tang Dynasty's aesthetic. Additionally, the Mei Ban Hua Dian (梅瓣花钿, plum - petal forehead decoration) and Mian Ye (面靥, dimple makeup) on the sides of the lips also draw inspiration from Tang fashion. In the Chinese historical drama Guo Se Fang Hua (国色芳华), actress Yang Zi wore this hairstyle, meticulously recreated based on murals and relics. The Shuang Chui Ji (双垂髻, double - drop bun) also appeared, a style beloved by Tang Dynasty noblewomen and often paired with men's round - collar robes. The drama references elements like the Mian Fu (冕服, emperor's ceremonial robe), Shi Er Zhang Wen (十二章纹, twelve imperial…

In the dramas The Palm and National Beauty and Fragrance, Zhang Yuxi's hairstyle stands out as distinctly different from others. Is this truly a Tang Dynasty style? The answer is yes. This hairstyle is called Fanwan Ji (反绾髻), a popular hairdo during the early Tang Dynasty. Its most notable feature is the strand of hair that curves around the forehead, formed by pulling hair from the back of the head to the front, hence the name Fanwan Ji. This hairstyle is also known as Leyou Fanwan Ji (乐游反绾髻). Leyou refers to Leyou Yuan (乐游原), a scenic spot in Chang'an, the capital of the Tang Dynasty. Located in the southern part of the city, it was a favorite destination for nobles and literati due to its breathtaking views and elevated terrain. The hairstyle's name reflects its free - spirited and elegant nature, making it a popular choice for women during outings. As described in Gu Kuang's poem Song of the Acrobat, "The girl from Wanling splits the air with her hands, the long pole stands horizontally as she moves up and down... her Fanwan Ji swirls like the wind." This highlights the hairstyle's beauty and practicality. Unlike other elaborate Tang Dynasty…

In the animated film Nezha: The Devil's Birth, both Nezha and Ao Bing sport distinctive forehead designs. Many of us might recall having a similar dot on our foreheads during childhood. But what's the story behind this shared symbol? The forehead decoration is known as Huadian (花钿), and it's not unique to this film. Historical depictions of Nezha often feature similar designs. In fact, many of us had these dots as children. Huadian has been popular throughout Chinese history, especially among women and children. These decorations came in various styles, colors, and materials, ranging from flat to three - dimensional. During the Song Dynasty, some were even made of pearls for added elegance. Why Do Children Wear Huadian? While it's understandable why women adorned themselves with Huadian for beauty, why did children wear them? One folk belief suggests that marking the center of the forehead symbolizes the opening of wisdom. A traditional rite of passage called Kaibi Li (开笔礼), or "Breaking the Seal," marks a child's entry into learning. Using cinnabar (a traditional protective substance) on the forehead combines the idea of warding off evil with the hope for intelligence. A more plausible explanation ties Huadian to the Dragon Boat…