Mystic Flour Cookie (Korean: 미스틱플라워 쿠키, misutig-pullawo kuki) is one of the five Beast Cookies of Cookie Run: Kingdom. She first appeared briefly in a Secrets of the Silver Kingdom update (v5.0) cinematic and was released alongside Cloud Haetae Cookie in the Awakening of White Apathy update (v.5.5). She is of the Healing type and her position is prioritized to the Rear. Mystic Flour Cookie wields the power of Apathy, a corrupted side of the Virtue of Volition she once held. She was the original owner of Dark Cacao Cookie’s Soul Jam, being stripped of it upon her descent into villainy. An absence of color. When magic first blessed these lands, hanfu shirt Mystic Flour Cookie was revered as a saint-capable of granting wishes both big and small. She is the master of the ancient Ivory Pagoda, where she answered the wishes of countless Cookies in ages past. Her once radiant light tarnished, leading her to join forces with the fallen Beast Cookies. Despite everything, Mystic Flour Cookie neither feels anger nor sadness, as wishes are nothing but mere illusions, and all worldly desires are destined to disappear one day. Yet, as the crowds faded away, she was left with only apathy. A world where every Cookie is liberated from burden. That is the perfect world she envisions. Once reaching that enlightenment, one shall open their eyes to the blinding truth: Apathy. A world of nothingness. Regular healing heals the three lowest HP allies by 44.6% of ATK. Mystic Flour Cookie’s immunity to incapacitating debuffs includes debuffs that bypass Immunity or resistance to interrupting effects, such as Petrification or Light Cage. However, it does not prevent Silence, Knockback effects, or Flying effects. It also grants immunity to Pull effects. Mystic Flour Cookie still receives debuffs inflicted onto targets immune to certain incapacitating debuffs, such as Drowsy or Chill. Realm of Apathy – Mystic Flour Cookie becomes immune to ATK SPD changes and resists interrupting effects while using the skill, even if there is a Safeguarded Cookie on the team. Mystic Flour Cookie remains in place while using her skill unless used out of combat, and becomes immune to most displacement effects while Realm of Apathy is active. DMG Resist granted to self from this skill is undispellable. Cocoon of Futility – Cocoon of Futility is indicated by a white border overlaying the HP bars of affected allies. Any additional effects visible on the HP bar such as Shining Glitter Cookie’s Glittering Rock Spirit or Injury are hidden until the effect expires. Cocoon of Futility purifies any Apathy debuff on the Cookie and prevents its application, but cannot recover any HP reduced by Apathy. Pale Plague – The Pale Plague debuff applies a floury-dust overlay on targets that it affects. The initial effect that increases Cooldown is separate from the Pale Plague debuff, and can be applied to targets with Immunity or Invulnerable. If the Pale Plague debuff is blocked by Immunity or Invulnerable, the Cooldown-increase effect triggered by purifying Pale Plague from the target will still be activated. A separate ATK SPD Down debuff is applied on targets without Cooldowns, including Cookie enemies. Cooldowns cannot be increased beyond their post-Cooldown Reduction-calculated value. Lantern of Apathy – At the beginning of the battle, Mystic Flour Cookie summons the Lantern of Apathy to accompany the team. It is uninteractable with any other units or effects. DMG Resist gained from Cooldown and Max HP Up are undispellable. If Mystic Flour Cookie is defeated then revived at a later time, the extra effects for Lantern of Apathy are reverted. 38% Cooldown is needed to reach the maximum DMG Resist. External cooldown reduction from sources such as Treasures or game mode effects will not increase the DMG Resist gained from this effect. Her eyes contain thin, vertical white pupils with gray sclerae that occasionally become pure black at her will. Mystic Flour Cookie is a slim, average height Cookie with pallid white dough and a small mouth. Each eye is each fringed with prominent, powder-white eyelashes, with the upper lashes fading to a slightly more tan shade on the outer edges. Mystic Flour Cookie has long white hair with soft, curved bangs angled inwardly and parted in the center by the wheat-shaped ornament containing her Soul Jam. The back sections of her hair are divided into two long tassels with a light brown cap covering the ends, resembling dripping dough and perhaps hearkening back to the elongated earlobes of the historical Buddha and of Bodhisattvas, which usually reflect spiritual authority. She is often seen with her eyes either closed or only partially opened. The upper section of her hair is tied into a bun on the top of her head, giving her veil its height and a place to rest. Mystic Flour Cookie wears a hanfu (simplified Chinese: 汉服; traditional Chinese: 漢服) beizi suit (Chinese: 褙子套装) of pure white aside from her tan waist skirt, with her pibo levitating in the air around her and above her arms. The veil, secured by her hair, does not come into contact with her sides or arms and is long enough to rest against the floor. She also wears a plain, off-white veil with one beige tassel on either side, resembling wheat kernels. Mystic Flour Cookie’s only other accessory is a golden necklace with three diamond shapes at the front. She does not appear to wear shoes. Aside from discrepancies created by movement, Mystic Flour Cookie’s attire and facial features are almost perfectly symmetrical. She is hardly even seen smiling or frowning, always wearing a neutral expression. She almost always maintains the abhayamudra hand gesture. Mystic Flour Cookie was initially a kind, benevolent Cookie who diligently followed her beliefs and granted the wishes of all those who sought for her. However, as time went on, she grew increasingly overwhelmed with the sheer number of requests she received and disheartened by the Cookies’ abandonment and disregard of her, instead becoming the jaded and apathetic being she is today. While this has brought great harm unto others, Mystic Flour Cookie does not necessarily have malicious intent when doing so, instead truly believing that her actions are for the betterment of Cookiekind by freeing them from earthly desires and removing any sort of variability in their lives – good and bad. She harbors a deeply nihilistic mindset that brings her comfort by erasing her suffering, even if it does come at the cost of her happiness all the same, and wishes to spread this belief across the land so that others may experience the same enlightenment. Following her beliefs, Mystic Flour Cookie embraces the concept of apathy to her very core. These small glimpses into her true thoughts exemplifies her incredible levels of self control and restraint, as her emotions are still very much present but remain actively suppressed at all times. Most notably, Mystic Flour Cookie appears to harbor a great deal of spite and some twisted remnant of her original benevolence, as her main goals are to spread her message of apathy across the world and reclaim her original Soul Jam in the process. She maintains a calm and aloof demeanor at all times, rarely expressing anything beyond neutrality, though this front has been shown to crack at times. One of her loading quotes in particular, “Once again, I face the selfish greed of another,” implies that she has a clear memory of such unsavory individuals in her past. In some respects, Mystic Flour Cookie relies on apathy as her shield against unenlightened, individualistic Cookies that would dare to question or disrespect her philosophy, using it as a justification to dismiss all threats and arguments made against her. While this spite has mostly been directed towards Dark Cacao Cookie thus far, it is likely that she also feels a lingering bitterness towards Cookies for driving her into her cocoon, as many of her quotes mention distaste towards the greedy. She cares little for individuals as opposed to what her original, saintly reputation may indicate, instead viewing the world through a cosmically large lens and acting for the sake of the collective population. Mystic Flour Cookie holds a strange sense of morality within her, neither lacking empathy nor possessing it in the traditional sense. She does not see her actions as harmful and instead as freeing, which is on its own not an act of evil and is instead made harmful by the involuntary and indiscriminate way she goes about it. Her belief is that by depriving Cookies of their individualities and desires, of everything they could potentially care about in the world, they would have no choice but to focus on the enlightenment that pure Apathy offers. Attuned to the heavens and untouchable by any blade, she espouses the spiritual and divine at the cost of the physical and mundane, now believing that all Cookies must forfeit the latter to attain the former. Ultimately, Mystic Flour Cookie contrasts Dark Cacao Cookie like how a white cloud would contrast a black stone. Instead of standing as a bulwark against conflict, she envelops others in a fog of visions to obscure their path forward and render them helpless, until they have no choice but to acknowledge their own futile actions. But though a cloud can never be harmed by a stone, a stone can never be moved by a cloud in return; similarly, Mystic Flour Cookie’s apathy can never directly force an obstacle from its path, not without the firm, worldly strength of Resolution that she now lacks. Unmoored from both real life and the suffering of Cookies, her philosophy now moves without purpose and substance, capable only of enveloping those who would fall into its clutches with endless notions of their own meaninglessness. Guanyin, to which she will be referred for brevity’s sake, is a pure-white Bodhisattva-and, eventually, a Buddha-who is closely related to compassion and mercy. She is often called upon during times of strife, pain, and suffering. Mystic Flour Cookie is most likely based on Guanyin (traditional Chinese: 觀音; simplified Chinese: 观音), the Han Buddhism version of Avalokiteśvara (Sanskrit: अवलोकितेश्वर)-especially in her White-robed form. Mystic Flour Cookie through the Black and White Dragon of the Dark Cacao region along with the dragon seen in her gacha background. Additionally, Mystic Flour Cookie’s Light of Apathy more accurately translates from Korean (허무의 빛, heomu-ui bich) as the Light of Nothingness, Futility, or Emptiness, which directly correlates anattā/anātman-“the self” and the “essence” of living beings have no meaning nor existence, thus being “empty.” Where Mystic Flour Cookie’s ideology differs from Buddhism, however, is that she seeks to prematurely cut off the lives of every being regardless of their deeds; true Bodhisattvas of Buddhism seek to guide beings into attaining their own righteousness with the time they are given in life. Mystic Flour Cookie’s convictions of continuous suffering, impermanence, and emptiness coincide closely with the teachings of Buddhism, in which the three marks of existence are duḥkha/dukkha (Sanskrit: दुःख; Pali: dukkha; Chinese: 苦, kǔ) (unease, suffering), anitya/anicca (Sanskrit: अनित्य; Pali: अनिच्च; Chinese: 無常, wúcháng) (impermanence), and anātman/anattā (Sanskrit: अनात्मन्; Pali: 𑀅𑀦𑀢𑁆𑀢𑀸; Chinese: 無我, wúwǒ) (a state in which living things have no true soul, essence, or “self”); her wish for all beings to be freed from “the fear and pain of the perpetual cycle of being baked and crumbled” aligns with Buddhists’ seeking of an escape from the cycle of saṃsāra (Devanagari: संसार) through an attainment of nirvāṇa (Sanskrit: निर्वाण; Pali: nibbāna; Chinese: 涅槃, nièpán), or enlightenment. Mystic Flour Cookie’s Light of Apathy’s original Korean name (허무의 빛, heomu-ui bich) more directly translates into English as Light of Nothingness/Futility. Regardless of her methods, Mystic Flour Cookie’s actions still remain akin to the responsibilities of the Bodhisattvas-both seek to free sentient life from the mortal coil and influence them towards what they consider to be enlightenment. 9, accidentally included far more information on Beast-Yeast and the Faerie Kingdom than was intended. Here, Mystic Flour Cookie, alongside Silverbell Cookie, Mercurial Knight Cookie, Elder Faerie Cookie, and the other Beast Cookies, was revealed. Mystic Flour Cookie is occasionally referred to in the game’s files as “mystic flower”. This content was swiftly removed and reinstated on the site’s main page about 4 days later with slight changes. Furthermore, in the title of the Awakening of White Apathy update trailer, Mystic Flour Cookie was mistakenly named “Mystic Flower Cookie” on its initial upload. Another time where this happened is on October 30 Update Notice, where she was again mistakenly named “Mystic Flower Cookie” when announcing the Tainted Beastcuits name change from her Beast Raid rewards.

This Chinese tradition goes all the way back to the Northern and Southern dynasties (420-589 AD). In the Song Dynasty (960-1279 AD), everyone would show off their new clothing as they visited friends on New Year’s Day. In the Republican period (1912-1949), beautiful new clothes were needed as the youths paid their respects to the elders. New clothes are a part of Spring Festival celebrations, just like the New Year’s Eve reunion dinner. You might be able to guess why. The Spring Festival is a time of change and new beginnings. Practically every activity during the Spring Festival has the purpose of removing the old and welcoming the new. Forget about the misfortunes and be ready for good luck. In addition, new clothes are auspicious and can protect you from evil spirits. Like the New Year couplets and other decorations, new clothes also add to the festivity. There was only one harvest per year in the north and two to three in the south. In the past, China was an agrarian society. But during Chinese New Year, people could finally splurge and treat themselves. Throughout the entire year, people scrimped and saved. This side of new clothes is a little lost on the younger generations. But that’s a sign that the current standard of living is higher than before. Still, it’s important to be aware of the historical significance of new clothes during this time. You can buy yourself new clothes. Because it’s a sign of a fresh start, it’s best to wear your new attire on New Year’s Day. But often they will be given as gifts from the family. What should you wear? There actually aren’t any special requirements as to what kind of new clothing you should wear. In ancient China, people would follow the fashion trends of that time. There’s nothing wrong with you doing the same as well. But if you want to have more of a traditional flare, there are some styles you can choose from. Most traditional-wear still popular today are from the Qing dynasty. A Tang suit (唐装 / táng zhuāng) used to refer to dress from the Tang dynasty. If you’re a fan of Chinese martial arts, you might have seen this type of clothing in movies. Jackie Chan especially seems to like wearing them. The Tang suit was also the dress code for the 2001 APEC meeting. But the “new” Tang suit is a jacket that combines the man riding jacket (Qing dynasty) and the western suit. The suit features traditional Chinese knots (frog buttons). It has an upturned collar and straight lapels. The material is usually brocade, a luxury fabric in ancient times. This allowed for comfortable movement, but the looseness doesn’t quite fit modern aesthetics. Most Tang suits nowadays are modified and tailored. Originally, it was seamless between the body and sleeves. Many have auspicious symbols and words embroidered into the shirt. But the modern styles we know today are very different from the original. The qipao (旗袍 / qí páo) entered mainstream Chinese culture during the Qing dynasty. It began as a conservative dress with straight and loose cuts. Intricate designs were embroidered into the fabric. The qipao has changed consistently starting in the mid-1800s. Through colonization, the qipao became westernized. Nowadays, the qipao is usually very tight-fitting (it’s recommended to get the dress custom-made). Styles vary between long and short, tight and loose. Openings can start as high up as the thigh. However, modern styles still preserve the stiff straight collar and frog buttons. The term “cheongsam” (长衫 / cháng shān) is usually used by westerners to refer to women’s qipao. Popular embroidered designs include flowers, birds and phoenixes. However, it literally means “long shirt/dress.” It is loose-fitting and usually worn by men now. The length of the cheongsam also represents status, since longer clothing is unsuitable for physical labor. It is a modified version of Qing dynasty clothing and was formal wear during the 1900s. The cut for the sideways lapel symbolizes wealth and prosperity. “Hanfu” (汉服 / hàn fú) translates to “clothing of the Han ethnicity.” It encompasses traditional clothing up until the Qing dynasty. In the Republican era, it was the clothing of educated scholars. This means there are too many types and variations to count. Generally, a hanfu outfit includes a shirt and a skirt. The shirt has crossed lapels and the sleeves are long and wide. The skirt is long and sometimes starts above the bosom. Tang dynasty hanfu influenced the Japanese kimono, while the Ming dynasty influenced the Korean hanbok. There are also modern versions, including shorter skirts and more western elements. The elegant cuts and fresh colors will bring something unique to your wardrobe. If you’re looking for some stylish kicks, you’re in luck, as many major brands have started releasing Chinese New Year themed shoes leading up to the holiday. If you’re looking for something dressier and eye-catching, hanfu is the answer. So make sure you grab a pair before the festivities start. However, be careful with your timing, as some Chinese, especially Cantonese, are superstitious about buying shoes during the Chinese New Year holiday. Also, you should never give shoes as a gift, since in Chinese the word for shoes 鞋 (xié) sounds like the word for “evil” or “bad luck” 邪 (xié). In ancient times, men were not allowed to go without a headdress. But that’s not necessarily the case anymore. You can choose whatever handsome hairstyle you like. There are fancier choices for women. Instead, ornate wands are used. They are usually inlaid with jewels and taper off to an intricate design with trinkets hanging off the end. If you wear a hanfu, you can also add a pendant to the waistband. Using chopsticks as hair accessories is a misconception. When buying clothes for Chinese New Year, go for red. This is the best color for the occasion. Stay away from black and white, as they are unlucky and negative (for more unlucky things to avoid, check out our list of the top 10 taboos. Also remember that new clothes are a set part of Spring Festival celebrations, but it’s not necessary to wear full traditional gear to a dinner party. The Tang suit is the most popular choice. Qipaos are also accepted, although the nature of the dress isn’t the best for the winter season. The hanfu (and cheongsam) is regaining popularity, but is still not as widely accepted. Be careful of cultural appropriation when wearing traditional clothing of another culture. Many native Chinese people are okay with it. In fact, they’ll be delighted if they see foreigners in traditional clothing. However, many Chinese expats in other countries find it uncomfortable. If a Chinese friend is the host or guest of the party, it never hurts to ask them how they feel about it. Other than that, welcome the coming year with a fresh new look and a smile! What’s Lunar New Year? Who is the monster Nian? Why is it the Year of the Snake?

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In the bustling heart of Xiamen, a city known for its blend of modernity and tradition, an extraordinary event has unfolded that captures the imagination of both young and old. The “Celebrate Poetry and Wine Festival • Clothing of China Xiamen Station” event, held at the prestigious Wanyue City, wasn’t just another stop on the fashion circuit. The Xiamen International Fashion Week, traditionally a showcase of contemporary designs, took an unexpected turn this year with the inclusion of a Hanfu modeling competition that has set the fashion world abuzz. As models glided down the runway in meticulously crafted Hanfu – the traditional attire of the Han Chinese – onlookers were transported through centuries of Chinese history, witnessing the evolution of style from the dignified simplicity of the Han dynasty to the opulent grandeur of the Tang. It represented a bold statement about the resurgence of traditional Chinese culture in the modern world. What makes this event truly remarkable is not just the beautiful clothing on display, but the way it has captured the zeitgeist of a new generation of Chinese youth. In recent years, there has been a growing movement among young Chinese to reconnect with their cultural roots, and the Hanfu revival is at the forefront of this cultural renaissance. It’s not merely about wearing traditional clothes; it’s about embodying the ethos and aesthetics of ancient Chinese civilization in a modern context. Contestants, ranging from seasoned models to enthusiastic amateurs, showcased not just the beauty of Hanfu but also the grace and poise that comes with wearing such historical attire. Each movement, from the sweep of a sleeve to the turn of a head, was choreographed to perfection, demonstrating that wearing Hanfu is as much about the mindset as it is about the clothing itself. The competition itself was a spectacle to behold. Judges, including renowned CCTV dance choreographer Li Buyange and Xiaolu Shui brand founder Lu Shui, evaluated contestants on multiple criteria. But this event was more than just a competition. Beyond mere physical appearance, they looked for an understanding of traditional etiquette, the ability to convey the spirit of different historical periods, and the creativity to make Hanfu relevant to contemporary life. It was a celebration of Chinese culture in all its forms. The festival incorporated elements of poetry, calligraphy, and traditional music, creating a multi-sensory experience that immersed attendees in the richness of Chinese heritage. The inclusion of a “Qixi” or Chinese Valentine’s Day theme added another layer of cultural significance to the event. One particularly enchanting feature was the “flower girl” who, dressed in Song dynasty attire, presented contestants and attendees with lotus flowers accompanied by classical poetry, symbolizing the elegance and refinement of traditional Chinese courtship. This blend of romance and tradition resonated deeply with the young couples in attendance, many of whom were drawn to the event as a unique way to celebrate their relationships. Attendees participated in traditional matchmaking games, tying red strings as symbols of destined connections, a practice that dates back to ancient Chinese folklore. What sets this Hanfu revival apart from mere cosplay or historical reenactment is its genuine integration into modern life. Designers are not content with simply recreating historical garments; they are reinterpreting them for the 21st century. Modern fabrics and manufacturing techniques are employed to make Hanfu more comfortable and practical for everyday wear, while still maintaining its essential aesthetic qualities. Some critics argue that the popularization of Hanfu risks oversimplifying or misrepresenting historical accuracy for the sake of marketability. Others see it as a form of soft nationalism, a way of asserting Chinese cultural identity in an increasingly globalized world. This movement is not without its controversies. The economic impact of this cultural resurgence cannot be ignored. The Hanfu industry has exploded in recent years, with market analysts predicting continued growth. This has led to a boom in related industries, from traditional crafts to cultural tourism. Cities like Xiamen are positioning themselves at the forefront of this trend, leveraging their historical and cultural resources to attract both domestic and international visitors. However, proponents of the Hanfu movement argue that it’s a way of preserving and celebrating cultural heritage, no different from the wearing of kimonos in Japan or sarees in India. As the sun set on the Xiamen International Fashion Week, it was clear that something profound had occurred. The success of the Hanfu competition demonstrates that there is a hunger among the Chinese people, especially the youth, for a connection to their roots. It’s clear that the Hanfu movement is more than a passing fad. It represents a reimagining of what it means to be Chinese in the modern world – a identity that honors the past while embracing the future. This wasn’t just a fashion show; it was a statement about the enduring power of cultural identity in the face of rapid modernization. Events like the one in Xiamen serve as a reminder that cultural soft power can be just as influential as economic might. The resurgence of Hanfu and traditional Chinese culture is not about turning back the clock. It’s about creating a bridge between past and present, allowing people to carry the wisdom and beauty of their ancestors into a future of their own making. As the ancient Chinese proverb goes, “Consider the past, and you shall know the future.” In Xiamen, for one glorious day, the past and future danced together in perfect harmony.

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What do you know about other countries? People around the world know some traditional clothing really well; the kimono, for example, or the colorful sari we’ve seen countless times in Bollywood films. Is it a dress? However, when it comes to identifying tudung, vyshyvanka, or sarafan, a lot of people have no idea what they are looking at. Who knows! It might impossible to know it all, but we bet you’ve seen most of these costumes before! Is it a shirt? Traditional dress represents the history and prestige of the country. For centuries, traditional attire has been an essential part of people’s lives and culture. Do you know what Muslim women wear? What about the traditional attire of Russian men? Where is this traditional clothing from? Take this quiz to find out! In Indonesia, a country made of thousands of volcanic islands, religion plays a crucial role in everyday’s life. Indonesia (Balinese temple dress). People go to the temple regularly and wear at least two basic elements of Balinese traditional dress: a sash and a sarong-style skirt known as a kain. Tracht (or lederhosen for men and dirndls for women) is a national clothing popular both in Austria and Germany. Where is this traditional clothing from? Where is this traditional clothing from? Depending on a region, there are lots of variations on the basic styles. Basically, a kilt is a piece of tartan, a fabric made up of horizontal and vertical stripes, worn around the waist. Traditionally, men don’t wear anything under the kilt. The kilt originated in the Scottish Highlands. The sari is probably the simplest item of clothing possible: a single length of fabric that can be up to nine meters long. At the same time, it’s also one of the world’s most versatile and stylish garments, which can be worn in dozens of different ways. However, there is no special significance or even a particularly good reason behind it. Where is this traditional clothing from? The most beautiful versions of this traditional clothing can be seen during India Fashion Week. One of the smaller ethnic groups in Kenya, the Massai has one of the most recognizable traditional attire that includes brilliant red cloth and extraordinarily complex beadwork. Where is this traditional clothing from? The beadwork plays the most important role and contains a lot of meaning for Massai people. Lapland, which is Finland’s northern region, is a very cold place. The extremely low temperatures inspired the local attire: the kolt (or gákti), which is a warm tunic or dress, along with belts, boots, and gloves made of reindeer fur and skin. Gho, the traditional dress in Bhutan, was introduced in the 17th century. Bhutan, a small Buddhist kingdom located between China and India, is one of a few modern areas where wearing the national dress is obligatory for everyone. Where is this traditional clothing from? In a nutshell, gho is simple knee-length robe for men tied by a cloth belt (known as kera). Italy (Sardinian traditional dress). Each village in Sardinia, a big Italian island in the Mediterranean Sea, has its own unique traditional costume. From the cut and bright colors of the skirt to the complex embroidered designs on the waistcoat, the unique traditional costumes of Sardinia will blow your mind. South Korea (Changing of the Guard). Where is this traditional clothing from? Puerto Rico (Panama hat). In historic places and beautiful royal palaces such as Gyeongbokgung, old traditions play a crucial role. There, the locals have revived the costumes and traditions of the Joseon dynasty’s Changing of the Guard ceremony, a bright and colorful event worth seeing at least once. Vietnamese Conical Hat (Non la) is a traditional symbol of Vietnamese people worn by men and women of any age and from different backgrounds. Today, Seoul is a frenetic, modern city with its pop culture taking over the world, but at the same time, they also care about their traditions. Just like other national clothes, the palm-leaf hat has its origins rooted in the history of rice growing in this country. Where is this traditional clothing from? Men’s national headdress called a ghutrah, is worn in Saudi Arabia to keep away the heat from the scorching desert sun. It also has an interesting history behind it: not everyone knows it, but red and white-checkered ghutrah had its roots in far-away London. Where is this traditional clothing from? It arrived in Saudi Arabia only a few decades ago! The word itself is also associated with Austrian and Bavarian costumes. For many of us, bowler hats sound like something from the United Kingdom but, in fact, it’s in the markets of La Paz in Bolivia where you’ll see those hats the most. Aymara women, also known as cholas, wear hats that bear a striking resemblance to the classic bowler as part of their traditional outfits since the beginning of the 20th century. Tracht used to be a national costume of the working peasantry in German-speaking countries of the 18th Century. New Zealand (Māori Flax Skirts). Where is this traditional clothing from? A coiffe, a traditional lace headdress, was a part of the folk costumes of Brittany during the 19th and 20th centuries. Where is this traditional clothing from? It still can be seen during some local festivals. America (The ten-gallon Stetson). Despite its name, 10-gallon cowboy hats only hold 3-quarts of water. Why is it called a 10-gallon hat then? Well, the most popular theory is that Mexicans used to call cowboy’s hats “tan galá

Traditional Chinese dress, like the hanfu, has loose designs compared to Western clothing styles. The oversized design reflects character freedom, plus size cheongsam dress especially when worn as a costume. However, the oversized design may not be practical for normal activities and settings like the office; hence, working hanfu options are available. So why most hanfu are plus sizes? In ancient Chinese culture connection between man and heaven was very important; it was expected that a man’s mind should be broad like the ocean and sky. The influence of this manifested itself in the looser patterns of the costumes, and not just for the robes, but the sleeves widened as well. Plus size is dignified and elegant, especially when exercising Li, which translates to etiquette. It was, therefore, proper to wear the plus size to important cultural occasions and even family rituals. This was not only for the Chinese but also in Western history for king gowns and dresses for the queen. The large sizes made it possible to achieve appropriate designs for the different ranks in the Chinese official system. The large-size designs were also designed to accommodate large pockets for the then bigger sized daily items like folding fans, keys, and notebooks, among others. The pockets would be sewn into the design, sometimes even on the chest area. When it comes to power and status, traditionally, the longer and larger the garment, the higher the status of the wearer. Today, the ancient plus-size hanfu design is still there. The big sleeves remain, although the fabrics are lighter than traditional ones and are not as cumbersome as they used to be. But the designs are becoming more fitting, some even tight fitting with pants and belts to achieve the desired looks. Body size comes to mind when discussing plus size in the modern world. But, of course, not everyone is as skinny as the models showing off stunning dresses. So, to ensure every type of body is included, plus-size hanfu designs have become popular. And who says chubby, curvy women can’t adorn traditional clothing? So, whether you are looking for a cultural plus size hanfu or one to fit your plus-sized body, you will find a beautiful dress that appeals. Never shy away from a dress simply because you don’t feel like you could pull off the look. Almost all the hanfu designs available today come in different sizes, some even in 6xl. So, be proud and confident in the person you are; rock that hanfu! The floral patterns on the overcoat are remarkable, and the shiny blue edges have a way of making them settle. The white borders of this dress match the delicate white skirt creating a beautiful piece suitable for all different settings. The Chinese Folk Dance costume brings all the attention to your torso, so it will work amazingly well if this is where you would like most attention to be. The popular crane embroidery is spectacular on the cross collar, inner shirt, and coat. It is definitely worth its price. The shirt is red, whereas the skirt and coat are black. You can wear matching outfits with your significant other, considering it is a unisex set, without your body size is an issue. These two colors always work when used together, and the white embroidery makes them stand out even more. You get a somber mood looking at this hanfu. The hanfu is very traditional; you will love it if that’s your path. It is like looking at a ray of hope shimmering on a dark night. There is something sweet but dark about the black and red gradient. The blooming flowers send a message of new beginnings. This hanfu is the perfect definition of modern traditional. It might be a very good choice for those trying to pull out situations that are not as pleasant. The dragon and pagoda patterns take the outfit back to Chinese culture beautifully. The overall look opens your eyes to a better tomorrow; it is indeed the light you might need. The skirt is designed to wrap around your body, giving you that appropriate fit. It has a striking navy dress, a white inner blouse, and a daxiushan jacket in the same color. It is unisex in very reasonable sizes, so size should not be your excuse if you like it. It makes the perfect choice for all kinds of occasions, including weddings, outings, and other casual or religious events. The peach blossoms on the light blue color hanfu dress will make you feel like you are blooming. The purple flows over the white pleasantly and spreads joy all around you. It gives a cheerful, happy vibe; it is the perfect dress for those days you feel excited and jubilant even for no reason. It is, without a doubt, a dress that will make you and those around you joyous. The drawstring shirt offers convenience and comfort. This unique color makes it a must-have, especially for summer. The different hanfu sizes now allow you to wear your favorite hanfu without limitations. When buying, however, even if it mentions the size, always take the extra step of finding out exactly what sizes it comes in. But, if not, making inquiries about the same is important. You should not let a great hanfu pass you simply because you are not sure it will fit you. The sellers are ever so willing to help with sizing. Usually, the sellers will include that information in the details. At times all you need to do is share your measurements, and they will tell you what hanfu size is appropriate for you. So love yourself, be confident, and the rest will fall into place.

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Choco to repost her work but the opinions on Hanfu and its background history of this article are reserved for the author and do not represent this photographer and her team. West, Kimono has already become a symbol of the Oriental culture. Sometimes, the use of kimono usually attracts a heated debate of its inappropriate cultural appropriation. Its beautiful form and pattern attracted many fashion houses and magazines to use elements of the Japanese national dress. In comparison, the Chinese national costume is always known to the world as the Qipao or Cheongsam, which also are quite popular fashion elements in Western high-end runway shows and on silver screens. Hanbok, the beautiful Korean traditional costume is also becoming increasingly known around the world with South Korean’s strong cultural export via its K-drama and K-pop. Indeed, the famous Qiapo is actually developed from the Manchurian dress that associated with the memory of being conquered by Manchurians. With the imperial expansion of the West, the iconic image of men wearing long pigtails and ladies wearing Qipao become cultural symbols of China in the world. More interestingly, when the rest of the world, or to be more exact, when the Western world started to interact with Chinese community on an unprecedented level during the 19th century, vintage cheongsam what the West saw was a Manchurianised Chinese society with Manchurian lifestyle and costume – such as the iconic male pigtails and ladies’ Qipao. The process of Manchurianisation of China is actually tainted with blood of hundread of thousands of Han Chinese people who would rather die than to change into Manchu costumes back in the early days of the Manchu conquest of China (please refer “留发不留头shave your head or die”, “剃发易服 tifa yifu” “扬州十日Ten Days Massacre in Yangzhou”, “嘉定三屠 Three Massacres in Jia Ding”) However hard they tried, the image of Chinese national dress has remained the Manchurian style ever since. Authentic Han costume has been absent from the public eyes in China for a few centuries, not to mention known by the rest of the world. It is a great shame that China has 55 minor ethnicities and each has their own costumes whereas the major Han ethnicity has been using Manchu styled Qiapao as its national dress. Back in the 2000s, many Han Chinese young people felt it is their responsibility to bring Hanfu back against the background of government’s encouragement of reviving the Confucius traditional culture. Ironically, even in the early days of the Hanfu movement, when these young people wore Hanfu on the street, the general public thought they were wearing Kimono or Hanbok and thought they were not Chinese at all. Fun fact: Kimono and Hanbok were actually inspired by Hanfu, and thus they share many similarities. With the development of modern social media, more and more like-minded young people gathered together and started the Hanfu Revival Movement and are still trying their best to bring back the Han Chinese beautiful national dress into modern daily life. The irony of this phenomenon is that the Manchurianisation of China has eliminated the Han Chinese public’s memory of their own costume. To give a simple and maybe a little bit overly simplistic explanation here, Kimonos were developed from China’s Tang dynasty costume while modern Hanboks included many elements of Ming Dynasty’s costume. The history and the complexity of the Hanfu are confined to academic studies in costume history, whilst the Hanfu revival movement will probably go on for a long time to achieve its goals. By far due to the high cost of Hanfu and the debate between divided opinions on a what is the “standard” Hanfu, Hanfu is still limited to middle class young people and reserved for ceremonial occasions or artistic photography shooting. Choco from Shenzhen. She and her team created a photography series named Nine Fairy Tales in Hanfu, which is widely circulated on China’s biggest social media platform Weibo. Their motivation is to create this series to use their own Oriental visual style to reinterpret their childhood memory of beautiful fairy tales they watched from Disney but not limited to Disney production. “This would be a nice way to explore the beauty of East meets West,” says the talented photographer.

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Hanfu which covers a small area of the upper part of the head instead of the entire head. There were sumptuary laws which regulated the wearing of guan; however, these laws were not fixed; and thus, they would differ from dynasty to dynasty. 16 The guan was typically a formal form of headwear which was worn together with its corresponding court dress attire. There were various forms and types of guan. Chinese: 帽; lit. In ancient China, there were various forms of headwear, which included guan (Chinese: 冠; pinyin: guān; lit. Chinese: 帻; lit. Chinese: 冕; lit. Chinese: 巾; lit. The code of wearing guan forms a crucial aspect of the Hanfu system. “衣服，货也。 如以加之于形为尊重，在身之物，莫大于冠” (“Clothes fall under commodities. 43” 冠義 quote: “凡人之所以為人者，禮義也。 禮義之始，在於正容體、齊顏色、順辭令。 容體正，顏色齊，辭令順，而後禮義備。 以正君臣、親父子、和長幼。 君臣正，父子親，長幼和，而後禮義立。 故冠而後服備，服備而後容體正、顏色齊、辭令順。 故曰：冠者，禮之始也。 是故古者聖王重冠。 Does a feather in your hat barbarian make?

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Jewish religious clothing is apparel worn by Jews in connection with the practice of the Jewish religion. Jewish religious clothing has changed over time while maintaining the influences of biblical commandments and Jewish religious law regarding clothing and modesty (tzniut). The Torah set forth rules for dress that, following later rabbinical tradition, were interpreted as setting Jews apart from the communities in which they lived. Contemporary styles in the wider culture also have a bearing on Jewish religious clothing, although this extent is limited. Classical Greek and Roman sources, that often ridicule many aspects of Jewish life, do not remark on their clothing and subject it to caricature, as they do when touching on Celtic, Germanic, and Persian peoples, and mock their different modes of dress. Cultural anthropologist Eric Silverman argues that Jews in the late antiquity period used clothes and hair-styles like the people around them. At 2 Maccabees 4:12, it is said that the Maccabees slaughtered Jewish youths guilty of Hellenizing in wearing caps typical of Greek youths. In the same countries, many different local regulations emerged to make Christian and Jewish dhimmis look distinctive in their public appearance. In the Mishnaic period, as well as in many Islamic countries until the mid-20th century, Jewish men typically wore a tunic (Hebrew: חלוק, romanized: ḥaluq), instead of trousers. German ethnographer Erich Brauer (1895-1942) noted that in Yemen of his time, Jews were not allowed to wear clothing of any color besides blue. Catholic ordinances some time later. Earlier, in Jacob Saphir’s time (1859), they would wear outer garments that were “utterly black”. Oriental Jewish men in late-Ottoman and British Mandate Palestine would wear the tarbush on their heads. In France, during the Middle Ages, Jewish men typically wore trousers and chemise, thought by Rashi to have been equivalent to the tunic worn by Jewish men of the east. The tallit is a Jewish prayer shawl worn while reciting morning prayers as well as in the synagogue on Shabbat and holidays. In many Ashkenazi communities, a tallit is worn only after marriage. In Yemen, the wearing of such garments was not unique to prayer time alone but was worn the entire day. The tallit has special twined and knotted fringes known as tzitzit attached to its four corners. According to the Biblical commandments, tzitzit must be attached to any four-cornered garment, and a thread with a blue dye known as tekhelet was originally included in the tzitzit. However, the missing blue thread does not impair the validness of the white. Jewish tradition varies with respect to burial with or without a tallit. It is sometimes referred to as Arba kanefot (lit. Jews. Among others, the matter is dependent upon custom. Since tzitzit are considered to be a time-bound commandment, only men are required to wear them. While all the deceased are buried in tachrichim (burial shrouds), some communities (Yemenite Jews) do not bury their dead in their tallit. Medieval authorities tended toward leniency, with more prohibitive rulings gaining in precedence since the 16th century. Authorities have differed as to whether women are prohibited, permitted or encouraged to wear them. Its use is associated with demonstrating respect and reverence for God. Jews in Arab lands did not traditionally wear yarmulkes, but rather larger, rounded, brimless hats, such as the kufi or tarboush. A kittel (Yiddish: קיטל, romanized: kitl) is a white, knee-length, cotton robe worn by Jewish prayer leaders and some Orthodox Jews on the High Holy Days. A kippah or yarmulke (also called a kappel) is a thin, slightly-rounded skullcap traditionally worn at all times by Orthodox Jewish men, and sometimes by both men and women in Conservative and Reform communities. In many Ashkenazi Orthodox circles, it is customary for the groom to wear a kittel under the chuppah (wedding canopy). This section needs expansion. Married observant Jewish women wear a scarf (tichel or mitpahat), snood, hat, beret, or sometimes a wig (sheitel) in order to conform with the requirement of Jewish religious law that married women cover their hair. Jewish women were distinguished from others in the western regions of the Roman Empire by their custom of veiling in public. You can help by adding to it. The custom petered out among Roman women, but was retained by Jewish women as a sign of their identification as Jews. The custom of veiling was shared by Jews with others in the eastern regions. Evidence drawn from the Talmud shows that pious Jewish women would wear shawls over their heads when they would leave their homes, but there was no practice of fully covering the face. In the medieval era, Jewish women started veiling their faces under the influence of the Islamic societies they lived in. The custom has been retained among Orthodox women. In some Muslim regions such as in Baghdad, Jewish women veiled their faces until the 1930s. In the more lax Kurdish regions, Jewish women did not cover their faces. A question was posed to 15th-century Rabbi Joseph Colon (Maharik) regarding “gentile clothing” and whether or not a Jew who wears such clothing transgresses a biblical prohibition that states, “You shall not walk in their precepts” (Leviticus 18:3). In a protracted responsum, Rabbi Colon wrote that any Jew who might be a practising physician is permitted to wear a physician’s cape (traditionally worn by gentile physicians on account of their expertise in that particular field of science and their wanting to be recognized as such), and that the Jewish physician who wore it has not infringed upon any law in the Torah, even though Jews were not wont to wear such garments in former times. He noted that there is nothing attributed to “superstitious” practice by their wearing such a garment, while, at the same time, there isn’t anything promiscuous or immodest about wearing such a cape, neither is it worn out of haughtiness. Based on the rabbinic traditions of the Talmud, the 12th century philosopher Maimonides forbade emulating gentile dress and apparel when those same items of clothing have immodest designs, or that they are connected somehow to an idolatrous practice, or are worn because of some superstitious practice (i. Moreover, he has understood from Maimonides (Hilkhot Avodat Kokhavim 11:1) that there is no commandment requiring a fellow Jew to seek out and look for clothing which would make them stand out as “different” from what is worn by gentiles, but rather, only to make sure that what a Jew might wear is not an “exclusive” gentile item of clothing. Rabbi Joseph Karo (1488-1575), following in the footsteps of Colon, ruled in accordance with Colon’s teaching in his seminal work Beit Yosef on the Tur (Yoreh De’ah §178), and in his commentary Kessef Mishneh (on Maimonides’ Mishne Torah, Hilkhot Avodat Kokhavim 11:1), making the wearing of gentile clothing contingent upon three factors: 1) that they not be promiscuous clothing; 2) not be clothing linked to an idolatrous practice; 3) not be clothing that was worn because of some superstitious practice (or “the way of the Amorites”). He noted that wearing a physician’s cape is not an exclusive gentile custom, noting, moreover, that since the custom to wear the cape varies from place to place, and that, in France, physicians do not have it as a custom to wear such capes, it cannot therefore be an exclusive gentile custom. Rabbi and posek Moshe Feinstein (1895-1986) subscribed to the same strictures. Silverman, Eric (2013). A Cultural History of Jewish Dress. London and New York: Bloomsbury Academic. But Jews also dressed differently in premodern Europe because their rabbis understood any emulation of non-Jews as a violation of the divine Law as revealed by God to Moses atop Mount Sinai. Rabbi Moses Isserles (1530-1572) opines that to these strictures can be added one additional prohibition of wearing clothes that are a “custom” for them (the gentiles) to wear, that is to say, an exclusive gentile custom where the clothing is immodest. The Five Books of Moses, after all, together called the Torah, clearly specify that Jews must adhere to a particular dress code-modesty, for example, and fringes. The very structure of the cosmos demanded nothing less. Clothing, too, served as a “fence” that protected Jews from the profanities and pollutions of the non-Jewish societies in which they dwelled. From this angle, Jews dressed distinctively as God’s elect. London and New York: Bloomsbury Academic. Silverman, Eric (2013). A Cultural History of Jewish Dress. Silverman, Eric (2013). A Cultural History of Jewish Dress. London and New York: Bloomsbury Academic. London and New York: Bloomsbury Academic. Brauer, Erich (1934). Ethnologie der Jemenitischen Juden. Silverman, Eric (2013). A Cultural History of Jewish Dress. Babylonian Talmud (Shabbat 120a, s.v. Vol. 7. Heidelberg: Carl Winters Kulturgeschichte Bibliothek, I. Reihe: Ethnologische bibliothek., p. The Geonic Commentary on Seder Taharot – Attributed to Rabbi Hai Gaon (in Hebrew), vol. Hai Gaon (1921), “Hai Gaon’s Commentary on Seder Taharot”, in Epstein, J.N. 1, Berlin: Itzkowski, p. 74, OCLC 13977130, ha-sūdarīn: meaning, that which is like a small turban.. Chananel ben Chushiel (1995). Metzger, David (ed.). Commentary of Rabbeinu Chananel on Tractate Shabbat (in Hebrew). Cf. Babylonian Talmud, Kiddushin 29b; Yosef Qafih, Halikhot Teman, Ben-Zvi Institute: Jerusalem 1982, p. Jerusalem: Lev Sameach Institute. Kahlenberg, Caroline R. (Feb 2018). “The Tarbush Transformation: Oriental Jewish Men and the Significance of Headgear in Ottoman and British Mandate Palestine”. Oxford Dictionary of National Biography (online ed.). Cf. Erich Brauer, Ethnologie der jemenitischen Juden, Heidelberg 1934, traditional chinese clothes p. Yehuda Ratzaby, Ancient Customs of the Yemenite Jewish Community (ed. The Mishnah (12th ed.). Oxford: Oxford University Press. Mishnah (1977). Herbert Danby (ed.). Babylonian Talmud (Kiddushin 29a): “Every affirmative biblical command that is contingent upon time (e. g., residing in a Sukkah on the 15th day of the lunar month Tishri, or donning Tefillin during the day but not at night), men are obligated to perform them, but women are exempt from doing them.” This teaching has been the common practice among Jews in all places for ages, and is forever perpetuated in the legal codes known to the Jewish nation, such as in Maimonides’ Code of Jewish Law, the Mishne Torah (Hil. Brody, Shlomo (October 15, 2010). “Why Do Orthodox Women Not Wear Tefillin or Tallit?”. Avodah Zarah 12:3). The same Posek (decisor) has, however, cited its leniency, where women are permitted to wear them if they wish to do so. Women in Judaism: Contemporary Writings. Rebecca Shulman Herz (2003). “The Transformation of Tallitot: How Jewish Prayer Shawls Have Changed Since Women Began Wearing Them”. 3 (2). University of Toronto. Gordan, Rachel (2013). Leonard Jay Greenspoon (ed.). Purdue University Press. pp. Fashioning Jews: Clothing, Culture, and Commerce. Halpern, Avigayil (22 January 2014). “Women, Tefillin, and Double Standards”. Carin Davis (25 May 2010). Life, Love, Lox: Real-World Advice for the Modern Jewish Girl. Debra Nussbaum Cohen (2001). Celebrating Your New Jewish Daughter: Creating Jewish Ways to Welcome Baby Girls Into the Covenant : New and Traditional Ceremonies. Jewish Lights Publishing. p. Eider, Shimon (1998). Halachos of Pesach. Shulman, Rabbi Shlomo. “The Meaning of Jewish Wedding Traditions”. BEGELFER, BRIANA (April 30, 2015). “A guide to Orthodox Jewish weddings”. Sherman, Julia (November 17, 2010). “She goes covered”. Schiller, Mayer (1995). “The Obligation of Married Women to Cover Their Hair” (PDF). The Journal of Halacha (30 ed.). Shaye J. D. Cohen (17 January 2001). The Beginnings of Jewishness: Boundaries, Varieties, Uncertainties. Judith Lynn Sebesta; Larissa Bonfante (2001). The World of Roman Costume. Univ of Wisconsin Press. James B. Hurley (3 July 2002). Man and Woman in Biblical Perspective. University of California Press. Wipf and Stock Publishers. Mary Ellen Snodgrass (17 March 2015). World Clothing and Fashion: An Encyclopedia of History, Culture, and Social Influence. Reeva Spector Simon; Michael Laskier; Sara Reguer (8 March 2003). The Jews of the Middle East and North Africa in Modern Times. Columbia University Press. pp. Rubens, Alfred, (1973) A History of Jewish Costume. Silverman, Eric. (2013) A Cultural History of Jewish Dress. 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. This page was last edited on 25 October 2024, at 14:19 (UTC). Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

The kimono, a traditional Japanese garment, is much more than just a piece of clothing. From its origins to its evolution into modern fashion, the kimono has remained a symbol of Japanese heritage. It embodies centuries of culture, history, and artistry. The kimono, which means “thing to wear” in Japanese, has roots dating back over a thousand years to the Heian period (794-1185). Initially, kimonos were influenced by the Chinese Hanfu, but over time, they evolved into a distinct Japanese style. In this article, we will explore the rich history and cultural significance of kimonos, delving into their traditional meanings, various types, and their place in contemporary society. During the Heian period, kimonos were primarily worn by the aristocracy and were known for their elaborate designs and vibrant colors. 1. Heian Period (794-1185): Kimonos were layered and elaborate, often worn with a long trailing train. 2. Kamakura and Muromachi Periods (1185-1573): The garment became more practical and less layered, reflecting the warrior culture. 3. Edo Period (1603-1868): The Edo period saw the kimono become a staple of everyday wear for all classes. 4. Meiji Period (1868-1912): Western influences began to permeate Japanese fashion, and the kimono started to coexist with Western-style clothing. This era also introduced more standardized styles and patterns, which were often used to signify the wearer’s social status and personal identity. They have also found a place in contemporary fashion, blending traditional elements with modern designs. 5. Modern Era: Today, kimonos are mostly worn during special occasions such as weddings, tea ceremonies, and festivals. The kimono is not just clothing; it is a canvas for art and a symbol of Japan’s rich cultural heritage. Colors: Certain colors are associated with seasons, occasions, and emotions. For example, bright colors are worn during celebrations, while subdued colors are for somber occasions. Formalities: The formality of a kimono is dictated by its design. Patterns: Common motifs include cherry blossoms (symbolizing the transient nature of life), cranes (longevity and good fortune), and waves (resilience and strength). Furisode, with long flowing sleeves, are worn by young unmarried women, while tomesode, with shorter sleeves and simpler designs, are worn by married women. In recent years, kimonos have seen a resurgence in popularity, not just in Japan but globally. This fusion of old and new has allowed the kimono to remain relevant, showcasing its timeless beauty. Designers have reimagined kimonos, incorporating them into modern fashion trends. 1. Ledamon Women’s 100% Silk Kimono Long Robe – Classic Colors and Prints: This kimono robe features traditional Japanese patterns and is made from high-quality silk, perfect for both men and women. 2. Haseil Men’s Satin Robe Dragon Luxurious Silk Spa Long Sleeve House Kimono Bathrobe: A luxurious silk kimono bathrobe for men, featuring a stylish dragon design. 3. Kimono Costume Adult Japanese Geisha Yukata Floral Pattern Gown Blossom Bathrobe Sleepwear With Obi Belt: Ideal for summer festivals and casual wear, this yukata is lightweight and beautifully designed. 4. Women’s Japanese Kimono Robe Obi Belt Waistband: A beautiful kimono robe complete with an obi belt, perfect for various occasions. 5. WHIPPY Women Obi Belt Fashion Wrap Around Wide Waistband Knotted Belt for Dress: Complete your kimono outfit with this fashionable and versatile obi belt. The kimono is a testament to Japan’s rich cultural heritage and artistic tradition. From its historical origins to its modern-day adaptations, short cheongsam the kimono continues to captivate people worldwide. Whether worn for a special occasion or incorporated into everyday fashion, the kimono remains a symbol of elegance and cultural pride. Embrace the beauty of kimonos and experience a piece of Japanese history through these timeless garments.