In conclusion, black Hanfu holds a special place within the spectrum of traditional Chinese clothing. This informative article delves into the intriguing mystery and attractiveness of black lace dresses providing historical background and details about them, the types of dresses, and what special occasions they can be worn. Short dresses may appeal to moderns like the Blue Lady embellished with sequins and Swarovski crystals, and White Evil Eye embellished with sequins. Yigun yiqian: the gun is dark purple while the qian is white. The gender difference is that while wide-sleeved beizi were considered formal wear for women (narrow-sleeved beizi were casual wear for women), both wide and narrow-sleeved beizi were only used as casual wear for men. Last but not the least, Yukata is quite similar to a bathrobe or dressing gown in terms of style so it is worn with fewer accessories while Kimono is made with expensive silk and also decorated ornately so it is worn with an inner layer which is known as nagajuban. 2 and more traditional Han style clothing was restored. To learn more about the modern-day Hanfu movement, hanfu man you can check out the Hanfu Wikipedia page. Beach Ready: How to Choose the Perfect Cute Beach Dresses for the Sand and Sun You will get a lot of use out of your new cute beach dresses.

It also led to resentment amongst the Han Chinese and also out of loyalty for the Ming dynasty, some areas in China fought back against the Manchu which provoked the Qing dynasty to massacre entire populations. During the collapse of the Ming dynasty, the Manchu emperor of the Qing dynasty ordered all men to shave their forehead under the Tifayifu policy, the use of wangjin in China came to an end. Fashionable Banquet: Exude Mystery with Black Lace Dresses Fashion, in effect, is a language that seems to tell a lot, although it does not use actual spoken language. Looking at the immense amount of options, a black lace dress underlines the true essence of fashion, and the beauty that comes with it. It also highlights what accessories people can pair with an elegant black lace. The top and bottom pieces of a two piece formal dresses can vary in style and design, getting you adequately prepared for any formal engagement, including the office, business meetings and church. Charming in Pink: Embrace Casual Elegance with DHgate’s Stunning Collection of Pink Casual Dresses Dive into the enchanting world of pink casual dresses on DHgate, explore the diverse styles, and discover the dress that speaks to your heart.

Question: Are Hanfu dresses worn to any significant events? Floral and Nature-inspired Patterns: Drawing inspiration from nature, these designs feature intricate floral patterns and motifs that are reminiscent of traditional Chinese art. Occasionally women would wear Changshans with feminine designs on them. The delicate shades of pink, ranging from the soft blush of rose pink to the warm embrace of peach pink, weave a narrative that transcends aesthetics, delving into cultural symbolism and the celebration of feminine virtues. Whether you want a classic western shirt or something more unique, these are perfect for your wardrobe. Many say the wuxia style male hanfu is irresistible, like one who bought this for her boyfriend admits, “when he wore this hanfu outfit, I believe he must be my life’s hero.” Yes, a man wearing a hanfu will make himself look like a kung fu master or a warrior, maybe that’s the charm of classic hanfu clothing. On July 26th and 27th, Lan Su will be turned to be a catwalk of Hanfu fashion!

Do you want a fashion hanfu skirt? You want them to be comfortable and flattering, so choose styles that fit how you feel. But if it is cold and still you want a traditional Japanese dress then Kimono suits the need best. Shiny, glittery bags also work very well and might be all you need to take the hanfu to another level. And thus both are better choices as per your need. Cultural Renaissance: Alongside Hanfu, other traditional customs are also making a comeback, like tea ceremonies and poetry recitations. Kimonos were Japanese. The Chinese originally wore Hanfu, loose robes belted at the waist with long sleeves, but when the Manchu took over in the Qing dynasty, women wore Qipao (tight, button-up dresses, the kind you usually see in Chinatown) and men wore Changshans (like Qipao, but looser, still button-up). The clothes of the Qin and Han Dynasties mainly inherited the influence of the Zhou Dynasty, and still took the robe as the typical clothing style, which was mainly divided into straight trains and curved trains. During the Western Zhou Dynasty (1045-771 BC), clothing was used as a status symbol to underline the considerable differences between the aristocrats and the peasants.

What shoes are worn with Hanfu? Because it was made for warm weather, yukata are almost entirely made of cotton of an often lighter weight and brighter color than most kimono fabrics. Pink is hard to resist, is a positive color that makes you feel happy and excited. The crimson color of the ancient princess provides this luxury Hanfu dress set with a much more unique and energetic aspect. For a period of time, under the dynastic laws after 1636, all Han Chinese were forced under the penalty of death to adopt the Manchu male hairstyle, the queue, and dress in Manchu Changpao instead of traditional Han Chinese clothing. In the Qin and Han dynasties, the danqun were made out of four panel of fabrics which were sewn together. In Lao She’s novel Four Generations Under One Roof about the life of Beijing residents during the War of Resistance Against Japanese Aggression (1931-45), an old man bought two Rabbit God statues for his grandchildren from a street vendor for Mid-Autumn Festival. One such essential element is the footwear. Silk and satin, known for their luxurious texture, purple hanfu are common choices that contribute to the overall elegance of the footwear.

The materials used in crafting Hanfu shoes are carefully chosen to align with the principles of comfort, aesthetics, and cultural significance. Cloth Shoes (Bu xie): Made from silk or cotton, cloth shoes are lightweight and flexible. Children are welcome to attend but we only recommend the workshop for children over 10 years old as it require several hours of concentration and fine motor skills. The Hanfu style of clothing dates back over 3,000 years and has evolved over time with different dynasties and cultural influences. My target audience is curious because they have seen this clothing style on the internet, or because they are fashion enthusiasts, or because they are afraid of experimenting with their alter­native fashion. Then the undergarments are put on followed by a top and a wraparound skirt. I lost most of my notes in a move, and I haven’t had the opportunity since then (NZ museums being rather sparse on good Japanese & Chinese examples), but I do remember a stunning 19th century Han Chinese jacket & skirt that were the more recent versions of the Song dynasty pair you posted (it was blue & black and white, and the memory of it was partly the inspiration for my Eastern Influence item), and writing a paper discussing the intersections between Han & Manchu fashions, where the Han borrowed the occasional horse-shoe cuff, and Manchu women wore platform shoes with teeny platforms to imitate the Han bound foot.

Manchu clothing contrasted to the Hanfu, Han Chinese clothing, worn in the Ming dynasty; “in contrast to the ample, flowing robes and slippers with upturned toes of the sedentary Ming, the Manchu wore the boots, trousers, and functional riding coats of nomadic horsemen”. 61The Prince of Qi wore earrings, drawers, padded leggings, jerkins, boots, a padded outer jacket with medallion designs at the back and front jacket; soft shoes and socks, and a small hat while his wife wore a short apron, trousers, leggings, a padded silk skirt, a robe with gold motifs, silk shoes with soft soles and turned-up toes. Hanfu shoes, while often understated, play a vital role in completing the overall aesthetic of the traditional ensemble. Rice farming brought together villages and communities in activities such as developing suitable irrigation systems and while planting the crop. It was the traditional informal attire of the ancient nobility. Clothes were used as a status symbol to accentuate their privileges, which had a substantial impact on clothes and ornaments, owing to great differences between the nobility and the common people.

Vendetta posting is also incredibly common on /cgl/. By the Han dynasty, military caps called wubian were commonly worn by soldiery, with formal guan variants worn by high-ranking military officials and imperial bodyguards, which were decorated with long-tailed pheasant’s tail feathers as a symbol of martial prowess. The Ryukyuans appear to have started weaving around the time there was initial contact with China, most likely during the Han dynasty. Reminiscing about her journey into the world of Hanfu, Sister Xiaoyi recalled her initial encounter. In the intricate world of traditional Chinese outfits, the allure of Hanfu extends beyond the garments themselves to the meticulous details that complete the ensemble. As Hanfu continues to evolve and adapt to modern times, its journey underscores the resilience and enduring appeal of traditional culture in a rapidly changing world. I’m really fascinated by traditional Chinese clothing but as a white person feel really weird about appropriating things from a culture that’s not mine in any sense. This shade of light blue embodies a sense of calmness and peace, making it a popular choice for formal ceremonies and elegant occasions.

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Established in 2003, Poetic Oriental Beauty has built their brand on hanfu photography. The Shanghai-style Cheongsam, especially, conveyed progressive messages of female body emancipation from the 1930s to 1940s; it also came to symbolize the idea of modernity in “pursuing health, fashion, and natural beauty”. The Shanghai-style Cheongsam originated in Shanghai and is a popular and dominant style. Hu (Chinese: 笏; pinyin: hù) The hu was a flat sceptre-like item which originated in China and were originally used as narrow tablets for recording notes and orders and were used by officials. To hedge against the long waiting period, workshops mostly only accept group purchases and wait months until orders reach a certain threshold before launching production. The schools which use this standard include True Light Girls’ College, St. Paul’s Co-educational College, Heep Yunn School, St. Stephen’s Girls’ College, Ying Wa Girls’ School, etc. These cheongsams are usually straight, with no waist shaping, and the cheongsam hem must reach mid-thigh. There are four traditional piping techniques used in the making of the cheongsam: gun (滚; ‘roll’) which is a narrow strips of fabric roll around the raw edge of the garment and is the most commonly used nowadays, xiang (镶) which is broad edging typically found in Manchu clothing of the Qing dynasty and the early cheongsam and is now quite rare, qian (嵌) is a very narrow strip of fabric which is even narrower than the gun, and dang (宕) is a specific type of xiang technique which uses a narrow strip of fabric which is stitched on the dress.

In China, there were also regulations established by the Imperial court which regulated the colour of the jiasha based on ranks but which could vary depending on the different dynastic period. Korea, was a style of paofu, a Chinese robe, worn in ancient China, which was long enough to cover the entire body of its wearer. The cheongsam is most often seen as a longer, figure-fitting, one piece garment with a standing collar, an asymmetric, left-over-right (youren) opening and two side slits, and embellished with Chinese frog fasteners on the lapel and the collar. It is also common for these uniforms to only borrow certain elements, such as the standing collar and frog clasps, without adopting the whole design. It became everyday wear in the British colony of Hong Kong in the 1950s, and leather clutch, high heels, and white gloves were common pairing accessories. A white cotton undershirt is often worn underneath the cheongsam. A few primary schools and some secondary schools in Hong Kong, especially older schools established by Christian missionaries, use a plain-rimmed sky-blue cotton and/or dark blue velvet (for winter) cheongsam with the metal school badge right under the stand-up collar to be closed with a metal hook and eye as the official uniform for their female students.

The Ying Wa and True Light Schools have sent questionnaires to their students about uniform reforms but have not altered their policies. Some rebellious students express dissatisfaction with this tradition by wearing their uniform with the stand-up collar intentionally left unhooked or hemmed above their knees. Although the skirts have short slits, they are too narrow to allow students to walk in long strides. Lighter shades of pink, such as pastel pink or blush, are commonly seen in daily wear. Before World War II, it was customary for girl students who attended schools run by Western missionaries societies to wear cheongsam as their school uniforms; on the other hand, there were very few indigenous Chinese schools that were using the cheongsam as a school uniform. In the Gothic period necklaces were uncommon, though there are a few records of diamond, ruby, and pearl necklaces. The seams above the slits often split when walking and are repeatedly sewn.

129 The Chinese changshan differed from the Manchu men’s neitao as it only had two slits on the sides, lacking the central front and back slits, and lacked the presence of the matixiu cuffs; the sleeves were also longer than the ones found in the neitao. 129 The Qing dynasty Chinese changshan was modeled after the Manchu’s men’s robe. The word qipao (keipo), which literally means “Bannerman robe” and originally referred to a loose-fitting, trapezoidal-cut garment worn by both Manchu men and women, hanfu male became a more formal term for the female chèuhngsāam. It was at this time the word cheongsam became well known in English. Originally only the Manchu households were organized within this system, but over time naturalized Mongols and Han Chinese were incorporated. 129 Han Chinese started to wear the Qing dynasty Chinese changshan after the Manchu conquest; the Chinese changshan was a modified version of the changshan worn in the Ming dynasty (1368-1644 AD), the dynasty preceding the Qing dynasty. For women, heart window cheongsam Manchu and Han systems of clothing coexisted.

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As an extension from mandate number 1, this is to ensure Hanfu retailers are promoting Hanfu as exclusively the traditional dress of the Han Chinese. Note: Shapes are relatively more authentic and well-researched. Note: No physical location. As of 2011, the list as provided on Hanwang is different from the list from Baidu (although many reputed businesses can be found on both), with the main distinctions of the list being Hanwang as primarily a physical business location registry, while the Baidu list focuses on the location of storefronts, online or physical. Shipping: Once the package is in transit, you will receive an email notification of the shipping status and location, also you can directly Track Shipping online. Please pay more attention to your order address which MUST MATCH your shipping address. Chinese clothing word keipo (qipao) is cheongsam and qipao either Asian clothing and oriental clothing more formal term for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) the Chinese clothing female chèuhngsàam, or is cheongsam and qipao used for Chinese Shoes (Kung Fu Shoes or Clothes Shoes) the Chinese clothing two-piece cheongsam variant that should be Chinese traditional dress or Chinese ancient costume is cheongsam and qipao popular in China.

During the Sui dynasty, the dress code of the Han dynasty was revised and a clothing system with the characteristic of the Han Chinese was established. This mandate was added in response to the ubiquitous existance of “fantasy” costumes based on traditional dress or otherwise take ad hoc measures which detract from its authenticity. The mandate also calls for businesses to be honest and ethical in their practices. Quote: “The first mandate ensures our basis of thought and belief on Hanism, while this last mandate ensures our belief and culture… The round-collared robes exude a sense of grace, while the wuxia-inspired details add a touch of adventurous spirit. The early flying fish ornament were characterized by the presence of double wings while in the middle and late Ming dynasty, the flying fish could only be distinguished from the python pattern by the presence of its fish tail instead of a dragon tail. The city of Jiangyin held out against about 10,000 Qing troops for 83 days; when the city wall was finally breached on October 9, 1645, the Qing army, led by the Han Chinese Ming defector, General Liu Liangzuo (劉良佐), who had been ordered to “fill the city with corpses before you sheathe your swords,” massacred the entire population, killing between 74,000 and 100,000 people.

Let’s delve into the distinctive features that set Ming Dynasty Hanfu apart. Shanku, refers to a two-piece set hanfu. According to Xiaowei Lv, founder of Chonghui Hantang, one of the top-selling Hanfu brands on Taobao with more than 2.7 million followers and 28 physical stores across the country, Hanfu academically refers to clothing worn by people in the Han dynasty, or people who lived in Zhongyuan, the area on the lower reaches of the Yellow River that was the cradle of Chinese civilization. It is also common to see many phony stores and online retailers using the images of other retailers and sending out poorly made “pirated” simulacra. Prices tend to be higher due to using real silk. The female version looks like a knee-length pifeng as it features a centre-front opening and a collar band which ends at the mid-chest level; however, it differs from the pifeng due to the absence of sleeves. The Tang suit is a duijin (对襟, a kind of Chinese-style jacket with buttons down the front) with a Mandarin collar (a band collar) and “frog” buttons (knobs formed of intricately knotted cord). Notes: Well made dresses, especially the replica of the Tang Sancai doll clothing: The U-shaped collar Banbi Gaoyao Ruqun.

Also features in supplying high-toed shoes worn with long skirts, as well as guqins. It characterized by a cross collar, which closes at the right side in the front, qipao sewing pattern in a style called jiaoling youren. There are side panels (暗擺) at the slits to conceal the undergarments. It is best to ask the owner in person what fabrics are available. And for the best fit, look for a size that is at least one size larger than your normal size. As one searches on Baidu or Taobao with the word “hanfu”, it is easy to see that often results come mixed with poor-quality specimens, or even Qipao and Magua instead. Japan is one of the nations in the world that have preserved their traditions even to date (Jenkinson et al., 2003). The Japanese culture differs significantly from that of other countries especially the United States. With roots tracing back to the Han Dynasty (206 BCE – 220 CE), hanfu embodies the essence of traditional Chinese aesthetics, featuring intricate designs, vibrant colors, and a deep connection to ancient traditions.

We offer easy, convenient returns with at least one free return option: no shipping charges. All returns must comply with our returns policy. Drop off and leave! Sorry, there was a problem. We offer easy, convenient returns with at least one free return option: no shipping charges. Sorry, there was a problem. All returns must comply with our returns policy. Drop off and leave! We offer easy, convenient returns with at least one free return option: no shipping charges. Drop off and leave! All returns must comply with our returns policy. Heat Resistant Fiber,Soft Breathable Durable heat resistant synthetic fiber which can be styled by curling iron or hair straightener. Looking for specific info? Heat Resistant Fiber,Soft Breathable Durable heat resistant synthetic fiber which can be styled by curling iron or hair straightener. Customer Reviews, qipao sexy including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. There was a problem filtering reviews right now.

Cheongsam (UK: /tʃ(i)ɒŋˈsæm/, US: /tʃɔːŋˈsɑːm/) or zansae, also known as the qipao (/ˈtʃiːpaʊ/) and sometimes referred to as the mandarin gown, is a Chinese dress worn by women which takes inspiration from the qizhuang, the ethnic clothing of the Manchu people. The cheongsam is most often seen as a longer, figure-fitting, one piece garment with a standing collar, an asymmetric, left-over-right (youren) opening and two side slits, and embellished with Chinese frog fasteners on the lapel and the collar. It was popular in China from the 1920s to 1960s, overlapping with the Republican era, and was popularized by Chinese socialites and high society women in Shanghai. It was developed in the 1920s and evolved in shapes and design over years. Although the cheongsam is sometimes seen as traditional Chinese clothing, it continues to evolve with the times, responding to changes in contemporary modern life. As English loanwords, both “cheongsam” and “qipao” describe the same type of body-hugging dress worn by Chinese women, and the words could be used interchangeably. The term cheongsam is a romanization of Cantonese word chèuhngsāam (長衫; ‘long shirt/dress’), which comes from the Shanghainese term zansae. In Cantonese and Shanghainese, the term is used to describe a Chinese dress popularized in Shanghai. In Hong Kong, where many Shanghainese tailors fled after the communist revolution of 1949, the word chèuhngsāam became gender-neutral, referring to both male and female garments. However, in Mandarin Chinese and other varieties of Chinese, chángshān (長衫) refers to an exclusively male garment, and the female version is known as the qípáo. The word qipao (keipo), which literally means “Bannerman robe” and originally referred to a loose-fitting, trapezoidal-cut garment worn by both Manchu men and women, became a more formal term for the female chèuhngsāam. However, after decades of development, the design of cheongsam itself can be roughly categorized into the Beijing style, the Shanghai style, and the Hong Kong style. The cheongsam is typically a tight-fitting dress, with a pair of high side slits above the knee-level. The length of the cheongsam can vary; it can be either long or short. Usage of the term “cheongsam” in Western countries mostly followed the original Cantonese meaning and applies to the dress worn by women only. It is more often seen with short sleeves; however, it can also be sleeveless. It is typically found with the mandarin collar and has asymmetric closure which runs from the central collar across the top area of the chest to the armhole curing down to the right side. In Chinese clothing culture, the overlap on the right side is known as youren. The fasteners uses traditional Chinese knotting craftwork with the use of the pankou fastening and Chinese button knot. However, the cheongsam is not limited to the asymmetrical youren closure; there are various styles of cheongsam necklines, including a symmetrical opening in the chest area. Yigun yiqian: the gun is dark purple while the qian is white. The cheongsam is typically edged with piping, especially at the collar and the closure. There are four traditional piping techniques used in the making of the cheongsam: gun (滚; ‘roll’) which is a narrow strips of fabric roll around the raw edge of the garment and is the most commonly used nowadays, xiang (镶) which is broad edging typically found in Manchu clothing of the Qing dynasty and the early cheongsam and is now quite rare, qian (嵌) is a very narrow strip of fabric which is even narrower than the gun, horse-faced skirt and dang (宕) is a specific type of xiang technique which uses a narrow strip of fabric which is stitched on the dress. It is also typical for the qian and the gun to be used together on the same dress creating a double-edged look; this technique is known as yigun yiqian (一滚一嵌; ‘one gun one qian’). Other double-edged piping technique include “two-gun-one-qian” and the “two-gun-two-qian”. Different materials can be used in the making of the cheongsam, such as wool, silk (including silk floss, damask, brocade, satin), or silk-like materials. The dang can also be combined with the gun; in this combination, the dang and the gun would be made of the same width and colour of fabric but they would run parallel to each other about two to five centimeters away from each other. The fabric of the cheongsam can decorated with a diversity of decorative motifs, which can be embroidered on the dress. The cheongsam can also be unlined or interlined. It maintains the traditional straight and A-line silhouette, and often has embroidery and elaborate adornments. It is typically handmade. The Beijing-style cheongsam expresses Chinese culture in its style. It is also characterized by its wide piping. The pankou fasteners can sometimes take several days to create, typically requiring twenty-six procedures of silk processing to be turning into silk strips which would be appropriate in the making of the fasteners of various patterns by artisans. The production of a Beijing cheongsam is complex. The Shanghai-style Cheongsam originated in Shanghai and is a popular and dominant style. As a result, to deliberately create a more figure-hugging silhouette and to focus on showing off the natural curve of the female body, many elements of Western tailoring techniques can be found in the Shanghai-style cheongsam, including curved cutting, waist darts. The Shanghai-style Cheongsam, especially, conveyed progressive messages of female body emancipation from the 1930s to 1940s; it also came to symbolize the idea of modernity in “pursuing health, fashion, and natural beauty”. This act of showing the female body was a physical expression of the changes in the identities of Chinese women and their rebellion against the idealized womanhood as indicated in the Confucian ideology. It also features high side slits and high collar. The collars can be lapel collars, water drop collars, and lotus leaf collars; the shape of the sleeves are also diverse. The Jiangnan-style cheongsam, also known as Su-style cheongsam, originated in the Jiangnan Water town. It also uses lighter materials and has less elaborate embroidery or adornments; the piping is very narrow. This style of cheongsam expresses the cultural characteristics of the water town in Jiangnan and also creates a fusion between Chinese calligraphy and Chinese painting, incorporating the hand-painting art of the Wumen School of Painting. The dress is also embroidered with rich pattern motifs which tend to be floral, e.g. plum, orchid, bamboo, chrysanthemum, peonies, and roses. It is characterized by the neckline and embroidered patterns on the edges of the cuff. The Manchu are an ethnic minority that founded the last of China’s imperial dynasties, the Qing dynasty, which lasted from 1644 to 1911. When the dynasty was first established, dress regulations were implemented as a way of expressing their identity as a people and creating social order. They used an administrative division called the Eight Banner system. Originally only the Manchu households were organized within this system, but over time naturalized Mongols and Han Chinese were incorporated. The Manchu, and anyone living under the Eight Banners system, wore different clothing from ordinary civilians. The type of qizhuang that both men and women typically wore consisted of long robes, which can be referred to as the Manchu changpao and also categorized under the broad category of changpao (Chinese: 长袍; Chinese: 長袍; lit. Thus, they became known as the Banner People (Chinese: 旗人; pinyin: qírén; lit. Chinese: 长衫; traditional Chinese: 長衫; lit. Manchu men wore a changpao, which were designed for horseback riding, known as neitao, which was characterized by two pair of slits (one slit on each side, one slit on the back, and one slit on the front) which increased ease of movement when mounting and dismounting horses, a pianjin collar (a collar which curved like the alphabet《S》), and the sleeve cuffs known as matixiu (Chinese: 马蹄袖; pinyin: mǎtíxiù; lit. On the other hand, some imperial Manchu women wore a changfu (常服), informal dress, which looked similar to the men’s neitao known as the changfupao (常服袍). There were also two styles of changpao for the imperial consorts, known as chenyi and changyi, which became popular. Both the chenyi and changyi differed from the changfupao lacking the matixiu cuffs. The chenyi and the changyi differed in terms of structure: the changyi had two high side slits which allowed for greater ease of movements while the chenyi had no side slits. Both the chenyi and changyi were also the changfu of the Manchu women; they also both became popular during the reign of Emperor Qianlong. Throughout China’s multicultural history, clothing has been shaped through an intermingling of primarily Han clothing styles, the Han Chinese being the dominant ethnicity, and the styles of various ethnic groups. It is also theorized that the cheongsam was derived from the Manchu women’s chenyi although the chenyi shows the absence of slits. Manchu robes were initially collarless. The Manchu also adopted the right closure from the Han Chinese as they initially closed their robes on the left side. Chenyi, a one-piece Manchu women’s robe, Qing dynasty. Some examples include the standing collar of the cheongsam, which has been found in relics from the Ming dynasty, ruled by the Han Chinese, and was subsequently adopted in the Qing dynasty as Manchu clothing items. Below their upper garment, this qun, skirt, is a mamianqun, a style which was inherited from the Ming dynasty and continued to develop in the Qing dynasty. Left: A Qing-style aoqun, a form of Hanfu worn by Han women around the 19th to 20th centuries. Under the dynastic laws of transition from Ming to Qing, all Han Chinese were forced to adopt the Manchu male queue hairstyle and adopt Manchu clothing under the Tifayifu (剃发易服; 剃髮易服; tìfàyìfú) policy instead of being found wearing the traditional Hanfu, under the threat of death penalty. However, the order for ordinary non-Banner Han civilians to wear Manchu clothing was lifted, and only those Han who served as officials or scholars were required to wear them. Right: Lady Aisin-Gioro Hengxiang, the birth mother of Wanrong, wearing the traditional Manchu one-piece robe, a chenyi, that later inspired the cheongsam. By the late Qing, not only officials and scholars, but a great many Han commoners wore Manchu-style male attire. Over time though, some Han civilian men voluntarily adopted the changshan. However, until 1911, the Manchu changpao was required clothing for Chinese men of a certain class. 129 Han Chinese started to wear the Qing dynasty Chinese changshan after the Manchu conquest; the Chinese changshan was a modified version of the changshan worn in the Ming dynasty (1368-1644 AD), the dynasty preceding the Qing dynasty. 129 The Qing dynasty Chinese changshan was modeled after the Manchu’s men’s robe. It thus adopted certain Manchu elements, such as slimming their changshan, adopting the pianjin collar of the Manchu, and using buttons and loops at the neck and sides. What is now known as the Chinese changshan was developed by the Han Chinese during the Qing dynasty. 129 The Chinese changshan differed from the Manchu men’s neitao as it only had two slits on the sides, lacking the central front and back slits, and lacked the presence of the matixiu cuffs; the sleeves were also longer than the ones found in the neitao. For women, Manchu and Han systems of clothing coexisted. Throughout the Qing dynasty, Han civilian women could wear traditional Han clothing from the Ming dynasty. In the late 1910s, after the overthrow of the Qing dynasty and the founding of the Republic of China, women began to partake in the education system. They wore an early form of the cheongsam, which quickly became the regular outfit of urban women in metropolitan cities like Beijing and Shanghai. Cheongsam of the late 1910s and early 1920s had relatively loose cutting with long, wide sleeves. One of the earliest cheongsams was A-line with wide three-quarter sleeves and would fall just below the knee level. In 1929, the cheongsam was chosen by the Republic of China government to be one of the country’s national dresses. Under the Western influences of wearing shorter dresses in 1928, the length of the cheongsam became shorter. However, even before the Clothing Regulations of 1929, women had already stopped wearing ku trousers in favor of silk stockings. 48 With the designation of “national dress”, the Republic of China government also promulgated the new Clothing Regulations of 1929, which specified the cheongsam should be worn with trousers and be calf-length. Chinese women held no respect to the rule, as it was seen as an attempt by the Republican government to control individual rights and woman’s liberty. From the 1920s onwards, the cheongsam was quickly popularized by celebrities, socialites, and politicians in Shanghai. Voted several times by Vogue into its lists of the world’s best-dressed women, Madame Wellington Koo was much admired for her adaptations of the traditional Manchu fashion, which she wore with lace trousers and jade necklaces. Cheongsam dresses at the time had been decorously slit a few inches up the sides, but Madame Koo slashed hers to the knee, ‘with lace pantelettes just visible to the ankle’. Unlike other Asian socialites, Madame Koo also insisted on local Chinese silks, which she thought were of superior quality. Former First Lady of China Madame Wellington Koo (Oei Hui-lan) was a prominent figure among them. Moreover, numerous distinct cheongsams designs emerged, with experimental changes on fastenings, pipings, collars, fur-lined cuffs, various length of sleeves, or simply sleeveless. Starting from the early 1930s, there was a further transformation of the qipao as it became increasingly shorter, tighter, and body-hugging, with side slits that reached up to the thigh. People eagerly sought a more modernized dress style and transformed the old cheongsam to suit new tastes. Newer forms featured slender and tight-fitting pencil cuts and deep necks, which is different from the early cheongsam. Consumer culture rose as Western and Chinese merchants cooperated to move towards early capitalism. High-class courtesans and celebrities in the city welcomed the tight-fitting cheongsam. It was at this time the word cheongsam became well known in English. In Shanghainese, it was first known as zansae for ‘long dress’, rendered in Mandarin as chángshān and in Cantonese as chèuhngsāam. Then, the spoken Cantonese renditions of 長衫 was borrowed into English as “cheongsam”. Trousers had completely fallen out of use, replaced by different types of hosiery. High-heeled shoes were popularized in the Shanghai fashion scene in the 1930s. Stockings and High-heeled shoes became an essential part of the cheongsam fashion set, which spawned new side slits designs reaching the hip line, intended to display the hosiery and heels. As Western fashions evolved, so did the cheongsam design, introducing high-necked sleeveless dresses, bell-like sleeves, and the black lace frothing at the hem of a ball gown. By the 1940s, cheongsam came in a wide variety of fabrics with an equal variety of accessories. 247 As a result, the cheongsam-style uniform was regarded as an icon of the wealthy class and was perceived as Bourgeois by the Communist China. 247 From the 1950s to the 1970s, with the destroying Four Olds movements and the Chinese Cultural Revolution (1966-1976), China pushed for egalitarian ideology and wearing cheongsam could result in punishment. For example, in 1963, when Chinese President Liu Shaoqi visited four neighbouring countries in South Asia, the first lady Wang Guangmei wore a cheongsam. Cheongsams were worn by celebrities, societies, and students of prestigious missionary schools in the early 20th century. She was later declared guilty in the Cultural Revolution for wearing it, due to its historical ties and symbolism. In other Chinese communities, such as Taiwan, Malaysia, Indonesia, Singapore and Hong Kong, the cheongsam remained popular after the war. It became everyday wear in the British colony of Hong Kong in the 1950s, and leather clutch, high heels, and white gloves were common pairing accessories. Since the 1980s, with the trend of reevaluation of Chinese traditional culture, people in mainland China started to pay attention to the cheongsam again. However, the popularity ultimately declined in the 1970s, giving way for cheaper and mass-produced Western-style clothing. In 1984, the cheongsam was specified as the formal attire of female diplomatic agents by the People’s Republic of China. These uniform cheongsams are in a plain color, hemmed just above the knee, with a close-fitting wool suit jacket of the same color as the cheongsam. The cheongsam is gaining popularity in films, beauty pageants, and fashion shows in both China and other countries all over the world. In the 1950s, women in the workforce in Hong Kong started to wear more functional cheongsam made of wool, twill, and other materials. Most were tailor fitted and often came with a matching jacket. It is also common for these uniforms to only borrow certain elements, such as the standing collar and frog clasps, without adopting the whole design. Cheongsam was commonly replaced by more comfortable clothing such as sweaters, jeans, business suits, and skirts. The dresses were a fusion of Chinese tradition with modern styles. Due to its restrictive nature, it is now mainly worn as formal wear for important occasions. They are sometimes worn by politicians and film artists in Taiwan and Hong Kong. They are shown in some Chinese movies, such as in the 1960s film The World of Suzie Wong, where actress Nancy Kwan made the cheongsam briefly fashionable in Western culture. Today, cheongsam is only commonly worn day to day as a uniform by people like restaurant hostesses and serving staff at luxury hotels. Before World War II, it was customary for girl students who attended schools run by Western missionaries societies to wear cheongsam as their school uniforms; on the other hand, there were very few indigenous Chinese schools that were using the cheongsam as a school uniform. They are also commonly seen in beauty contests, along with swimsuits. The schools which use this standard include True Light Girls’ College, St. Paul’s Co-educational College, Heep Yunn School, St. Stephen’s Girls’ College, Ying Wa Girls’ School, etc. These cheongsams are usually straight, with no waist shaping, and the cheongsam hem must reach mid-thigh. A few primary schools and some secondary schools in Hong Kong, especially older schools established by Christian missionaries, use a plain-rimmed sky-blue cotton and/or dark blue velvet (for winter) cheongsam with the metal school badge right under the stand-up collar to be closed with a metal hook and eye as the official uniform for their female students. Although the skirts have short slits, they are too narrow to allow students to walk in long strides. The seams above the slits often split when walking and are repeatedly sewn. Many schools also require underskirts to be worn with the cheongsam. The cheongsam fit closely to the neck, and the stiff collar is hooked closed, despite the tropical humid and hot weather. A white cotton undershirt is often worn underneath the cheongsam. The underskirt is a white cotton full slip, hemmed slightly shorter than the cheongsam, and has slits at the sides like the cheongsam, although the slits are deeper. Many students feel it is an ordeal, yet it is a visible manifestation of the strict discipline that is the hallmark of prestigious secondary schools in Hong Kong, and many students and their parents like that. The cheongsam’s length, styling, color, and sleeve length vary between schools. Some rebellious students express dissatisfaction with this tradition by wearing their uniform with the stand-up collar intentionally left unhooked or hemmed above their knees. The Ying Wa and True Light Schools have sent questionnaires to their students about uniform reforms but have not altered their policies. However, Madam Lau Kam Lung Secondary School of Miu Fat Buddhist Monastery ended their cheongsam uniform in 1990 after receiving suggestions from its student union. Cheongsams are a popular outfit choice for festive seasons like Chinese New Year. In countries with significant Chinese populations, such as Malaysia, Singapore, Hong Kong, and Taiwan, it is common for women to have new cheongsams tailored in preparation for the New Year. Cheongsams are also popular outfits for older women on formal occasions or family reunions. Upmarket fashion labels such as Shanghai Tang specialize in modern versions of the cheongsam as occasion wear. In Western weddings, Chinese brides or brides marrying into a Chinese family will often wear cheongsam for a portion of the wedding day. It is common for many brides to have both a traditional white wedding dress and a cheongsam or a guaqun (another kind of wedding attire) to be worn during the tea ceremony. Dark blue Qi Lolita dress without mandarin collar. Light blue Qi Lolita dress with mandarin collar. Cheongsam styles have also evolved to be more modern, from mermaid silhouettes to semi-traditional styles that feature a cheongsam top with softer details like lace and a looser skirt. The dresses or jumper skirts are designed after traditional Chinese dresses. Some Lolita dresses are styled like cheongsam. This style of Lolita fashion is called Qi Lolita. In the 2008 Summer Olympics, the medal bearers wore cheongsam. For the 2012 Hong Kong Sevens tournament, sportswear brand Kukri Sports teamed up with Hong Kong lifestyle retail store G.O.D. Chinese jackets and cheongsam-inspired ladies’ polo shirts. Similar attire was worn by female members of the Swedish team and of the Spanish team in the opening ceremony, with the national colors. In contemporary China, the meaning of cheongsam has been revisited again. It now embodies an identity of being ethnic Chinese and thus is used for important diplomatic occasions. Since 2013, Peng Liyuan, the first lady of China, has worn cheongsam several times while on foreign visits with Chinese leader Xi Jinping. In November 2014, cheongsam was the official attire for the political leaders’ wives in the 22nd APEC meeting in Beijing. With the growth of the Chinese economy, cheongsam has experienced a renewed popularity. Many Western designers have integrated elements of cheongsam into their fashion collections. French designer Pierre Cardin once said that cheongsam was his inspiration for many of his evening dress designs. In many films and movies, cheongsam is used to make a fashion statement. The varied interpretations of this ethnic dress brings in debates of cultural appropriation and the designs being linked to Orientalism. In the 2011 movie One Day, Anne Hathaway wore a set of dark blue cheongsam as an evening dress. Many western stars such as Elizabeth Taylor, Grace Kelly, Nicole Kidman, Paris Hilton, Emma Watson, and Celine Dion have also made public appearances wearing cheongsam. This dress style has also been specifically seen on more than one celebrity or figure in the early 2000’s. This era is often described as a “global mash up”, incorporating styles, silhouettes, prints, and accessories from subcultures around the world. Lindsey Lohan’s 11 year old character has a prominent scene wearing a pink qipao, paired with a little matching fluffy pink trimmed purse, also an iconic Y2k accessory. The Cheongsam was also sold in stores as a Halloween costume for young girls and women to wear, pretending to be a person of Asian descent as their costume. This heightened attention of global fashions from Asia brought to Western pop culture’s wardrobe, whilst being shone in starlight with social media and tabloids fawning over these ‘new’ styles, also caused insensitive representation of the fashions, also known as Cultural appropriation. This created more conversation as more voices of minorities were heard, that this cultural dress is not appreciated when it is sold as a costume. 277 along with the aoqun, a traditional clothing attire of the Han Chinese women. It was eventually accepted by the People’s Republic of China as a form of hanfu, thus becoming transnational and representative of a generic Chinese national identity rather than an ethnic or ancestral identity. However, as conversations of cultural appropriation increase and social awareness is spread through media platforms and social media, these racially insensitive costumes have since been left more in the past. It is also used as a style Traditional Chinese wedding dress among many others. The cheongsam can be worn by people of all ages and at any season. For overseas Chinese, the cheongsam has often used as a form of emblematic culture. The Republican period is the golden age of the cheongsam. In the 1920s, the cheongsam was originally an embodiment of Chinese women’s rebellion and a heroic gesture and a marker of Chinese feminism and Chinese women’s emancipation. In exploring the reasons behind its prevalence in Republic of China, many scholars relate it to the women’s liberation movements. They led several movements against the Neo-Confucian gender segregation, including the termination of foot binding for women, cutting off long hair, which was conventionally symbolized as women’s “oriental” beauty, and encouraging women to wear men’s one-piece clothing, Changshan or “changpao”. Han dynasty (202 BC to 220) to Qing dynasty (1616-1911). During that time, Chinese Han female’s clothing gradually developed into two pieces. After the feudal Qing dynasty was overturned, Chinese feminists called for women’s liberation from traditional roles. After the Xinhai Revolution of 1911 (which overthrew the Qing dynasty), young Chinese people began to learn Western science and cultures in order to seek a way of saving the nation. Also, the opening of several ports and ceding territories of China to Western powers imported some Western ideas to mainland China. Women were forbidden to wear robes as men did and instead had to wear tops and bottoms known as “Liang jie yi”. Among all these Western thoughts, the idea of gender equality quickly gained its followers, among whom young female students became its prime advocates. It was the May Thirteenth Movement of 1925, where anti-Westernization demonstrations persisted throughout the country, that served as an important push for the qipao’s institutionalization. The Republicans declared the qipao a formal dress in the Clothing Regulations of 1929. The dress was meant to assert the importance of nationalism by rejecting Western forms of dress. That being said, there were still strict rules regulating how the dress needed to be worn, including specifications about length, material, accessories, collar, buttons, and sleeves, but curiously enough, none of these were followed. There were endless variations in style, with adaptations to length, material, hemlines, collars, fabrics, patterns, colors, and pairing accessories. It was worn by everyone from Shanghai socialites to students, housewives, and prostitutes. The style of the qipao was often in tune with fashion cycles and was influenced by Western trends seen through women styling it with matching scarves, fur coats, and leather heels. From the start, there was no unifying style for the dress like the Republicans intended; Chinese women had no respect for the Clothing Regulations of 1929, which tried to control individuality. Magazines such as LingLong also gave women access to dressmaking knowledge and normalized it for women to make their dresses in their style. The style of cheongsam also varied due to Western influence. It changed from a wide and loose style to a more form-fitting and revealing cut, which put more emphasis on women’s body lines. The base form of the qipao is rather simple to sew, which makes it easily accessible and economical. The length of the cheongsam was also reduced from the ankle reaching to above the knee. The design of the cheongsam got various inventions like ruffled collars, bell-like sleeves, and black lace frothing. Starting from that, the priority of cheongsam moved from a political expression to an aesthetic and ornamental emphasis. Due to its long history dating back to the Manchu clothing of the early Qing dynasty, the Beijing-style cheongsam-making technique is listed as a city-level intangible cultural heritage. In 2021, the Hong Kong cheongsam making technique was successfully listed on the fifth National List of Intangible Cultural Heritage. The Hongkong Cheongsam-making technique is unique due to its historical background, having incorporated both Eastern and Western clothing designs before giving the Hongkong-style cheongsam its distinctive looks. In Western countries, the cheongsam is widely perceived as being a quintessential Chinese garment. However, the cheongsam is a type of Chinese clothing which was developed in the 20th century under the influences of several cultures, including Western culture, Manchu culture, and the Han Chinese culture. The cheongsam also had a significant impact on international fashion centers in the 1950s and 1960s, such as Paris, Rome, and New York, due to its perceived exoticism and its slim line silhouette which was also fashionable in Europe at those times. In Suriname, the cheongsam is not only presented as being the quintessential Chinese dress but also as the authentic Chinese ethnic clothing; however, the Chinese ethnic clothing, which should have been used, is the shanku, consisting of a shan (jacket) and a pair of ku trousers, as it was the attire which was worn by the Hakka people who came in Suriname as indentured laborers and chain immigrants. 277 The use of cheongsam as a cultural marker of Chineseness can be thus perceived as ironic, and a cultural stereotype of Chineseness as the cheongsam is not associated with any specific ancestral clothing of Chinese immigrants. In Indonesia, the cheongsam has experienced acculturation from Chinese culture and Indonesian culture, one of which is the batik-patterned cheongsam which has become the main cultural identity in Indonesia. Descendants of Chinese immigrants or overseas Chinese in Western countries, such as Canada, may wear cheongsam on events such as weddings, graduation ceremonies, and other occasions; however, the cheongsam is not always perceived as being traditional Chinese clothing; for example, some Canadians of Han Chinese descent still remember the use of aoqun as their traditional Chinese dress. The euphoria of acculturating Chinese and Indonesian culture is driven by local Chinese citizens who want to show that they love their homeland. In recent years, the trend of Chinese clothing combined with local elements has started to become popular. Cheongsam clothing made from batik is very attractive fashion, there are clothing models that are suitable to wear during Chinese New Year celebrations. Clothing that is an acculturation of Indonesian and Chinese culture is very suitable to complement the celebration. The cheongsam was introduced in Canada after the early 1930s with the flow of Chinese immigrants. 83 However, the wearing the cheongsam is mixed amongst Canadians with Chinese heritage. 100 Some may be reluctant to wear it publicly due to their experiences of being part of a racialized group and/or due to self-loathing due to the experiences of racism and marginalization in various forms, such as physical attacks, ostracism, and bullying, the social pressure to integrate and/or the desire to assimilate in the dominant culture as a protective mechanism even at the expense of rejecting any aspects or association with Chinese culture, identity, and appearance in the dress. Some may find themselves uncomfortable or feel alienation when wearing cheongsam due to the lack of self-identification with Chinese culture and Chinese identity. However, there has been considerable debate on the origin of the cheongsam in academic circles. The first argument says that the cheongsam came directly from the clothing of the banner people when the Manchu ruled China during the Qing dynasty. This argument was prominently represented by Zhou Xibao (Chinese: 周锡保) in his work The History of Ancient Chinese Clothing and Ornaments. 84 Others may wear the cheongsam as an attempt to reconnect with their Chinese heritage and/or to show appreciation to the dress. The second opinion holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty, but the true origin of the cheongsam dates back to a period between the Western Zhou dynasty (1046-771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty. And Chinese Professor Bao Minxin (Chinese: 包铭新) also pointed out in his book A Real Record of Modern Chinese Costume that the cheongsam originated from the ancient robe in the Han dynasty (206 BC-220 AD). The robe is a one-piece upper and lower connected long dress which was quite popular among ladies in Han. Bian thinks that the cheongsam originates from neither the robe nor the chángpáo. It is an adaption of Western-style dress during the Republic of China era when people were open to the Western cultures. In his opinion, the cheongsam was a hybrid of traditional Chinese costumes and Western costumes such as the waistcoat and one-piece dress. Moreover, according to him, Chinese women traditionally wore ku trousers under their clothing and the use of silk stockings under the cheongsam or being bare legs is not a Chinese tradition but the result of Western influence. The Vietnamese áo dài looks similar to the cheongsam as they both consist of a long robe with side splits on both sides of the robe with one of the main difference typically being the height of the side split. The third argument was raised by Bian Xiangyang (Chinese: 卞向阳) in his book An Analysis on the Origin of Qipao. The áo dài was derived from áo ngũ thân (lit. The áo dài was developed from the clothing worn in Chinese court but it could only be worn by the royalty originally. The ethnic Kinh robe (i.e. the traditional áo giao lĩnh, a type of crossed-collar robe, which was identical to the ones worn by the Han Chinese). The skirt which was worn by the Vietnamese was also replaced by trousers under his rule. In the 18th century, in an attempt to separate his domain from Tonkin ruled by his rival Trịnh clan and build an independent state, Lord Nguyễn Phúc Khoát (reigned 1738-1765) forced his subjects to wear Ming dynasty style Chinese clothing. Under the rule of Emperor Minh Mạng, two new forms of áo dài were created from the áo ngũ thân regulated by Nguyễn Phúc Khoát: the áo tứ thân, and the Huế-style áo dài which was created with five flaps. Another new form of fashion included a type of four-panel robe which was described by Lê Quý Đôn as an áo dài which was loose fitting similarly to the áo giao lãnh. The Huế-style áo dài represented royal court culture of the Huế and later developed influenced the modern áo dài. A variant of qipao, taken at the Tokyo Game Show in Japan. Wei, Yulong (2017). “Research on the Evolution of Cheongsam Style in the Republican Period and Its Contemporary Application”. Proceedings of the 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press. Stephanie, Ho; Singapore, National Library Board. Natalie Proulx (8 May 2018). “Is a Chinese-Style Prom Dress Cultural Appropriation?”. McKean, Erin (2013). The hundred dresses : the most iconic styles of our time. Han, Qingxuan (2019). Qipao and Female Fashion in Republican China and Shanghai (1912-1937): the Discovery and Expression of Individuality (Senior project). 刘冬. “The Beauty of Beijing-Style Cheongsam”. Proceedings of the 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Vol. Huang, Yunlin; Liu, Yuqing; Yang, Fangxin (24 December 2021). “Exploring the Meaning of Shanghai Cheongsam from the Perspective of the Male Gaze”. Tong, Ningning; Yuan, Songmei (2015). “Study of the Strategies for the Digital Communication of the Manchu Costumes under the Theory of Media Extension”. Proceedings of the 2015 International Conference on Education, Management, Information and Medicine. 615. Atlantis Press. pp. Hong Kong Museum of History, Hong Kong. Garrett, Valery (2019). Chinese dress from the Qing Dynasty to the present day. Leisure and Cultural Services Department, Gu gong bo wu yuan, 故宮博物院. Xianggang: Kang le ji wen hua shi wu shu. Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928. University of Washington Press. Chinese Traditional Dress – Online exhibitions across Cornell University Library. Long River Press. p. Shaorong Yang (2004). Traditional Chinese Clothing Costumes, Adornments & Culture. For women’s clothing, Manchu and Han systems of clothing coexisted. 周, 锡保 (1 January 2002). 《中国古代服饰史》. 中国戏剧出版社. 千志, 魏 (1998). 《明清史概論》. 中國社會科學出版社. Gao, Sally (9 December 2016). “A Brief History Of The Cheongsam”. Lee, Linda T. (8 May 2012), “Han-Centric Dress: Fashion Subculture or a National Identity for China?”, Fashion: Exploring Critical Issues, BRILL, pp. Material women, 1750-1950 : consuming desires and collecting practices. Maureen Daly Goggin, Beth Fowkes Tobin. Gorea, Adriana (2020). The book of pockets : a practical guide for fashion designers. Ling, Wessie (8 May 2011), “Chinese Clothes for Chinese Women: Fashioning the qipao in 1930s China”, Fashion Forward, BRILL, pp. Katya Roelse, Martha Hall. Koo, Hui-lan Oei; Van Rensselaer Thayer, Mary (1943). Hui-lan Koo (Madame Wellington Koo): An Autobiography as Told to Mary Van Rensselaer Thayer. New York: Dial Press. Ling, Wessie (2009). “Harmony and Concealment: How Chinese women fashioned the Qipao in 1930s China.”. Chew, Matthew (March 2007). “Contemporary Re-emergence of the Qipao: Political Nationalism, Cultural Production and Popular Consumption of a Traditional Chinese Dress”. In Goggin, Maureen Daly; Tobin, Beth Fowkes (eds.). Dongfang Daily (2 July 2012). “海上名媛与海上旗袍的华丽转身”. Material Women, 1750-1950: Consuming Desires and Collecting Practices. Mizuoka, Fujio (2018). Contrived Laissez-Faireism : the politico-economic structure of British colonialism in Hong Kong. Feng (in Simplified Chinese). Clement Huang (25 June 2015). “China Airlines introduces new uniform designs”. 李气虹 (The qipao keeps the affections of Hong Kong girls schools of 100 years by Li Qihong) (16 May 2003). “旗袍维系香港女校百年情”. 旗袍维系香港女校百年情. Calhoun, Mimi. “Moments with Mimi: My culture is not your Halloween costume”. Tjon Sie Fat, Paul Brendan (2009). Chinese new migrants in Suriname : the inevitability of ethnic performing. Amsterdam: Amsterdam University Press. Styling Shanghai. Christopher Breward, Juliette MacDonald. 吴, 昊 (January 2008). 中国妇女服饰与身体革命. Hong Kong Intangible Cultural Heritage Database. 上海: 上海东方出版中心. Armida De la Garza, Ruth Doughty, Deborah Shaw (1st ed.). Transnational screens : expanding the borders of transnational cinema. 2 February 2019). “Cheongsam Rasa Batik, Cantiknya Koleksi Imlek Peranakan Anne Avantie”. 22 January 2023). “Desain Batik Keren Akulturasi Indonesia-Tionghoa, Hadirkan Nuansa Imlek”. Sim, Cheryl (2019). Wearing the cheongsam : dress and culture in a Chinese diaspora. Desire change : contemporary feminist art in Canada. Heather M. Davis, Mentoring Artists for Women’s Art. 5 February 2024). “Inspirasi Batik Cheongsam untuk Rayakan Imlek”. 北京: 中国戏剧出版社. Archived 27 December 2019 at the Wayback Machine. 袁, 杰英 (January 2002). 中国旗袍. 北京: 中国纺织出版社. 周, 锡保 (September 1984). 中国古代服饰史. 上海: 东华大学出版社. 卞, 向阳 (November 2003). “论旗袍的流行起源”. 包, 铭新 (December 2004). 近代中国女装实录. 装饰 (11). J523. Lieu, Nhi T. (2011). The American dream in Vietnamese. Minneapolis: University of Minnesota Press. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Jefferson, North Carolina. p. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Jefferson, North Carolina. p. Áo dài” | Tập San Việt Học”. Fiona. “A Brief History of Traditional Vietnamese Ao Dai”. Travel information for Vietnam from local experts. Bao Mingxin; Ma Li, eds. Shanghai: Shanghai wenhua chubanshe. Chang, Eileen (Zhang Ailing) (Fall 2003). “A Chronicle of Changing Clothes”. Positions: East Asia Cultures Critique. Clark, Hazel (2000). The Cheongsam. Images of Asia. Hong Kong: Oxford University Press (China). Finnane, Antonia (2007). “Chapter 6: Qipao China”. Beijing: Guangming ribao chubanshe. Changing Clothes in China: Fashion, History, Nation. Roberts, Claire, ed. (1997). Evolution and Revolution: Chinese Dress 1700s-1900s. Sydney: Powerhouse Pub., Museum of Applied Arts and Sciences. New York: Columbia University Press. Lee, Chor Lin; Chung May Khuen (2012). In the Mood for Cheongsam: A Social History, 1920s-Present. Singapore: Editions Didier Millet and National Museum of Singapore. Schmitz, Rob (2 June 2012). “The Street of Eternal Happiness: The Tailor”. Marketplace. Archived from the original on 23 June 2012. Retrieved 22 June 2012. About a tailor of cheongsam who has been in the business for nearly 80 years. Wikimedia Commons has media related to Qipao. This page was last edited on 5 December 2024, at 00:00 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. CD-ROM). Pepin Fashion, Textiles & Patterns, no. 1. Amsterdam: Pepin Press. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Girls wear Hanfu to worship the Yellow Emperor. Shangsi Festival, or Double Third Festival, is an ancient Chinese festival celebrated on the third day of the third lunar month, to remember the birthday of Huangdi, also known as the legendary Yellow Emperor. A special part of Shangsi Festival is the Hanfu Show in Xi’an. Hanfu clothing appeared in China over 3,000 years ago and was said to be worn by the Yellow Emperor, who was a great sage king of ancient times. The basic style of Hanfu was developed in the time of the Shang Dynasty (1600 B.C.-1046 B.C.), and has since left a deep influence on Chinese culture. Hanfu is characterized by crossed collars, tied to the right, and long skirts or trousers in varying lengths. The shenyi, literally deep robe, was invented in the Eastern Zhou Dynasty (770 B.C.-256 B.C.). The look also consists of a yi, a narrow-cuffed, knee-length tunic tied with a sash, and a narrow, ankle-length skirt, called a chang, worn with a bixi, a length of fabric that reaches the knees. A combination of a tunic and a skirt, it was cut separately but sewn together as a piece of clothing with the left side of the costume shaped into a corner, which was used for closing the shenyi by fastening it on the chest. A ruqun is an item of traditional Hanfu costume primarily worn by ancient Chinese people. It consists of a short blouse and a wrap-around skirt, no longer than the knees. The shenyi could be worn by anybody regardless of gender, profession or social class. From the Warring States period (453 B.C.-221 B.C.) to the Ming Dynasty (1368-1644), although the length and breadth of the ruqun varied, the basic form still maintained its original design. It is said to be the basic clothing for women. Banbi, also known as Banxiu, summer hanfu was a popular item for women worn in pre-Tang Dynasty (618-907) time. It is a form of waistcoat or outerwear worn over a ruqun, with half-length sleeves. The coat is only tied with the strap in front of the chest. The sleeve covers the shoulder area and there is no opening in the front or back. In order to wear it, one would have to tuck their head out from the neck of the clothing, like a short windbreaker of today. The Quju is actually a kind of deep robe. The garment forms a triangle, which is then circumvented to the front and restrained at the waist with a large band to cover the ends. It may be referred to in ancient books as “continued gusset and crocheting”. It is a diagonal body wrapping, hanfu women with curved lapels. Tanling, or flat collar shirt, is a large, half-sleeved shirt made of leno and worn by women in the Tang Dynasty (618-906). The lower body is equipped with a long skirt that fully reflects the graceful posture and natural beauty of women. The clothes of Tang women basically included a shirt or jacket for the upper body and lower outer garment tunic, with the silk shawl on the shoulder, so as to follow the format of a flat collar. It is a large, loose coat. Beizi is a traditional Chinese attire common to both men and women. It was popular during the Sui and Tang dynasties (581-907). Beizi is a mixture of Hanfu and northern China’s ethnic costume. It has no sleeves, similar to today’s vest. It enjoyed much popularity in the Song, Yuan and Ming dynasties. Hanfu is Han ethnic people’s clothing, rather than people of the Han Dynasty (202 B.C.-220 A.D.). It can keep in heat without the need for increasing the thickness of sleeves, facilitating better movement. Modern clothes can also be classified into the Hanfu category if they absorb its clothing elements.

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Enter your username and password to login. Chinese Dance Dress in red Hanfu style. 100% Polyester ensures comfort during dance performances. XS to 3XL sizes cater to dancers of all shapes. There are no reviews yet. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. If you’re from Russia, Please leave your full name. Items will be shipped within 5 business days after order confirmation. Please pay more attention to your order address which MUST MATCH your shipping address. For free shipping, please check items when delivered, if damaged, please kindly refuse to sign for the package and contact us. We will make a confirmation and resend you a new one. For Express shipping, please sign for the package when delivered even though the package was damaged. So please sign for the package, and questions, please feel free to contact us at any time. Or the package may be destroyed by customs and Incurred a fine. For more details, you can check our shipping policy, long sleeve cheongsam or contact us. CONTACT INFO & PAYMENT Looking for a good deal on hanfu? Shop high-quality Hanfu at an affordable price with free international shipping in Hanfu Modern. Subscrbie Our Newsletter. Subscribe and get up to 10% off discount.

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Hanfu, the full name of which is “traditional costume of Han nationality”, has a unique style and character of Han nationality. Hanfu influenced the whole Han culture circle through Confucianism and the Chinese legal system. The kimono is the national costume of Japan. Some Asian nations, such as Japan, North Korea, and so on, all used the characteristics of Hanfu for reference. It is the appellation of Wu Fu by Westerners. Because Japanese kimono and Chinese Han clothing have the same origin. The kimono is developed from the Hanfu, so it is called “Wu Fu” and “Tang Yi” in Japan. Hanfu is often mistaken for kimono. In fact, there are obvious differences between the two. 1. The overall style is different: The Han suit is elegant and free, and the beauty is smart. Front piece: the front left piece of Hanfu is a whole piece of cloth, and the right piece is mostly half cloth. The kimono is restrained and quiet, and the beauty lies in modesty. The front left and right pieces of the kimono are half cloth. Kimono Cross collar is cut according to the label, nuwa hanfu and it is cross collar when wearing. Neckline: Hanfu collar is cut out. Sleeve: wide sleeve Hanfu, soft lines, cuffs are open. Waistband: Hanfu is tied with a broad belt. The kimono is wrapped in cloth. Kimono sleeves are straight and right-angled, stitched at the bottom and open at the back. Edge: Hanfu collar, cuff, train have an edge; kimono only collar edge.

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