Editor’s Note: This feature is part of a wider CNN Style series on how culture in China is evolving in the Xi Jinping era. The costumes were colorful and regal, long gowns embroidered with lotus flowers and dragons, topped with intricate headpieces. When Zhang Lingshan was a child, she would watch the Chinese period drama “Palace” on television, entranced by the characters’ ancient clothing. She didn’t know what these beautiful clothes were called – only that they were from some distant past. “When I saw it, I really liked it,” she said. “They looked fairy-like, dreamy. Now aged 19 and living in Beijing, Zhang is a member of China’s growing “Hanfu” movement – a renaissance of the ancient clothing traditionally worn by ethnic-majority Han Chinese before the Qing dynasty. The movement, which started in the early 2000s as a fringe subculture on online forums and websites, has now stepped out onto the streets. There are Hanfu shops, designers and researchers, and even photography studios that rent out accessories and outfits. Hanfu outfits cost anywhere from $30 to a few thousand dollars, depending on the quality. Tight-knit Hanfu communities and university clubs often meet up for themed activities like folk games or costume showings. Sales have soared in recent years – the Hanfu industry’s total market value is estimated to be worth 1.09 billion yuan (about $154 million), according to state-run media China Daily. Zhang and her friends sometimes visit places with ancient architecture, like Beijing’s Forbidden City, where emperors once resided, to take photos in costume and post them on social media. He recalled holding a 2005 Hanfu event that only attracted about 50 attendees – five years later, a similar event drew up to 500 people, he said. Nowadays, Hanfu events around the country can draw upwards of a thousand attendees. He and many others see Hanfu as a way to celebrate Chinese culture and improve national self-esteem. For years, Chinese professionals looked to the West for their wardrobes, wearing dress shirts and suits as the country’s economy raced to catch up. Chen Zhenbing, chairman of the China Hanfu Association, fell in love with the clothing when he was 16 and handmade his first Hanfu suit back when it was still a niche interest. And yet, there are others who take a more critical view of Hanfu’s popularity, seeing it as a reflection of a monoethnic nationalist surge under President Xi Jinping, who has repeatedly promoted “traditional virtues” and patriotism. China officially recognizes 56 ethnic groups, of which 55 are minorities. Han, the majority group, makes up about 92% of the country’s population. Critics of the movement like Kevin Carrico, a senior research fellow in Chinese Studies at Melbourne’s Monash University, argue that the popularization of Hanfu only reinforces Han cultural dominance, to the detriment of the millions of people making up China’s ethnic minorities. Now, “we don’t think China is underdeveloped,” said Christine Tsui, a fashion columnist and researcher based in Shanghai. In this context, he and other academics say Hanfu is no longer just an innocent fashion trend – but something to be weaponized in promoting a nationalistic political agenda. Some enthusiasts have developed guidelines to define “authentic” Hanfu. For instance, while many may consider the tight-fitting, high-necked “qipao” as an example of typical Chinese period clothing, in the Hanfu community, it’s not considered Han clothing because it originated from the ethnic Manchu people. “They forced the Han people to drop their costumes, and so this piece of China’s cultural identity almost died out in the 20th century,” reads one article in state-run media. So for some Hanfu fans, wearing Han clothing becomes an act of cultural and historical reclamation. It can be a touchy topic – some Hanfu sites claim that Manchu leaders forcibly erased Hanfu during the Qing dynasty. “There wasn’t any singular style of clothing prior to the Qing (dynasty) that was designated specifically for people of Han ethnicity,” he said in a phone interview. Carrico argued that Han Chinese wore all types of clothing styles through the dynasties – so there isn’t one Hanfu style but dozens depending on the time period, geographic region and socioeconomic class. For instance, Chen said round-collar robes were preferred in the Tang dynasty, chinese hanfu wedding dress while layered wrap dresses were more popular in the Ming dynasty. Some Hanfu enthusiasts acknowledge this historical diversity. Still, he said there are a few common design features that characterize Hanfu – a cross collar, no buttons and typically three layers of inner garments and an overcoat. This fluidity between the different styles is why 23-year-old Lu Yao, who lives in Beijing, prefers to use the term “Huafu,” which refers to Chinese clothing more generally without the ethnic connotations. Motifs that are frequently used include embroidered cranes, dragons, swirling clouds and delicate flowers. After this week’s social media debate, will China? I learned to love my freckles. Hanfu was too narrow a term, she said, pointing out that Chinese culture was full of “fusion and integration” between diverse ethnic groups. “To some extent, the revival of Hanfu is the revival of Han culture, and the revival of Han culture is also the revival of Chinese culture,” said Chen, who now owns a Hanfu store and helps organize events. Chen echoes the kind of nationalist surge that has swept through China in recent years. Much of this rhetoric harks back to a supposed golden era in China’s history, centuries ago. “I think the Han nationality is the most powerful and unified nationality in the world, with the most sacred and noble culture. Schools are seeing an increased emphasis on Chinese culture, literature and history, which “teaches the youth to see things through the China lens,” said Wessie Ling, an associate professor in fashion studies at the UK’s Northumbria University. But academics like Carrico and Ling fear an emphasis on Hanfu and Han culture could further edge out minority groups and flatten China’s ethnic diversity. When Xi Jinping took power in 2012, he promised “a great revival of the Chinese nation,” and regularly quotes the ancient philosopher-teacher Confucius. For the last two-and-a-half-years, China has been detaining hundreds of thousands of Uyghurs and other predominantly Muslim ethnic minorities in the far western region of Xinjiang. Beijing describes the measures as “voluntary de-radicalization camps” and “vocational training centers.” Critics call them “re-education camps.” Critics and former detainees say they are actually forced political “re-education camps” and compare them to internment camps. Some Uyghurs claim the camps are part of a wider and systemic program of “cultural genocide” by Beijing, intended to eliminate their religion and culture and bring them closer to China’s majority Han population. Ethnic marginalization and suppression is a particularly prominent concern in today’s China. In recent years, Chinese media has showcased numerous examples of Uyghur schoolchildren and adults dressed in Hanfu during celebrations and public performances. “While Uyghur clothing is being discouraged in schools, or only allowed under strict parameters set by the authorities, Chinese clothing is being increasingly pushed on Uyghurs students,” said non-profit organization Uyghur Human Rights Project in a 2018 report. The Xinjiang government has not responded to CNN’s request for comment. Matthew Chew, a Hong Kong Baptist University professor who studied the sociology of Chinese national dress takes a different view – Hanfu still isn’t mainstream enough to be worn by most Han people in daily life, let alone prevalent enough to be forced onto ethnic minorities, he said. “It’s still a minority subculture,” Chew said in a phone interview. Besides, he added, “there are nationalists who are not ethnonationalists. Other Hanfu fans like the Beijing teenager Zhang take issue with the politicization of Hanfu. “I simply like this clothing, it’s beautiful,” she said, adding that it was “nonsense” to link Hanfu with nationalism. Some who don’t base their love of the country on ethnic criteria.” There are more harmless forms of nationalism, he argued. “We should have a more relaxed attitude towards Hanfu,” she said. Besides, she added, Han people make up more than 90% of the Chinese population, so “it’s not weird” that Hanfu is so popular. Tsui, the fashion columnist, echoed this sentiment – people just wear Hanfu “for their own dreams,” she said. “It’s part of globalization,” she said. Whether or not Hanfu is inherently political and racialized, the ongoing debate reflects the complexity of fashion and trends. “We all wear T-shirts, but can you say we are all Americanized? Fashion doesn’t exist in a vacuum – it shapes and is shaped by social, economic, and political events. And the crucial question here, experts argue, is whether Han dominance in the popular imagination of what being “Chinese” means, comes at the expense of other ethnic narratives.

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Hanfu clothing was formed through the natural evolution, and based on unique Han style and personality. The traditional Chinese clothing and accessories system, Hanfu, obviously different from that of other ethnic groups in China, is the embodiment of traditional Chinese etiquette culture, and Han Chinese culture — the dominant idea for most dynasties in Chinese history. It carries the outstanding handicrafts and aesthetics of the Han nationality, such as dyeing, weaving and embroidery, and inherits more than 30 Chinese intangible cultural heritages as well as the protected Chinese arts and crafts. It was formed in the Zhou Dynasty, and developed through the Han Dynasty, when a complete system of crown and clothing was created and recorded in the Four Books and Five Classics. Hanfu costumes then also became a part of the sacrifice rituals. Thereafter the emperors of the successive Han dynasties all considered inheriting the clothing of the Han Dynasty as a national event when ascending the throng. Han Chinese Clothing, Hanfu originated from the Yellow Emperor’s crown dress, which was prepared by Yao and Shun (the following emperors after Yellow Emperor). Hanfu has also influenced the entire Han cultural circle through the Chinese legal system. What is China’s Traditional Clothing – Hanfu? Traditional costumes of some Asian countries, such as Japan, Korea, Vietnam, Mongolia, and Bhutan, all borrowed the characteristics of Hanfu clothing. But when talking in the narrower sense, it refers to the dress and etiquette system of the Han Dynasty, thus also named Chinese Han dynasty clothing. The denotative meaning of Hanfu is the costume of the whole Han nation. Han clothing is made of a piece of cloth with a width of 2 chi 2 cun (about 50cm), and it can be divided into ten parts: collar, lapel, gusset, label, skirt (the full front of a Chinese gown), sleeve, cufflinks, belt, cross straps, and ba (a ceremonial dress in ancient China). Among them, the shape of the coat and the skirt was thought to follow the will of heaven, therefore was sacred and the most ceremonious and formal dress for the kings and the royals. The shapes and systems of Hanfu mainly include “Shen Yi (深衣)” system (the coat and dress are sew up), “Xia Chang (下裳)” system (separating the coat and lower skirt), and “skirt (襦裙)” system (short coat). The robe (shen yi) was worn by officials and scholar-officials, while the skirt was worn by women. For a piece of Hanfu, the left front of the garment crosses the right front of the garment across the chest, it naturally forms the cross of the neckline, so it is called “crossed collar”. The ordinary working people usually wore short clothes and trousers. The two straight lines intersecting in the middle of the garment represent the symmetry of traditional Chinese culture, showing a unique charm of fair and justice. Compared with the western clothing of the same period, Hanfu has indisputable excellence in human nature. There are two kinds of hidden buckles: with and without buckles. In general, there is no button for hanfu. Even if buttons are used, the buttons are hidden. The outfit is usually tied with a knot using straps. There are usually wide belts and long belts around the waist, made of the same cloth that was used to make the costume. The belts can be used to make knots, fastening the clothing, or are simply decorations symbolizing power. Hanfu consists of clothes, hair dress, hairstyle, face decoration, shoes, accessories and other accessories to make it an integrated clothing system. While westerners restrict the development of female body with breastplate and skirt, the wide hanfu costumes allowed the body to stretch freely. Each cloth is used in different ways. For instances, grass cloth was usually used to make clothes for mourning and sacrifice. The cloth of Hanfu is mainly brocade, silk, cloth, cotton, linen, hemp, yarn, and printing and dyeing cloth. The ancient Han men and women tied their hair into a bun, put it on your head after reaching adulthood. Men often wore crowns, scarves or hats to fix hair. Noble dress was made of embroidery cloth, brocade and silk. They also wore curtain hat and cover on head. Women’s buns can be combed into a variety of styles, and wear jewels, step shake, hairpins and other ornaments on the bun. An important feature of the decoration of the Hanfu clothing is that people like to wear jade pendant. There are also other accessories for Hanfu such as knee covering, silk wraps, silk scarf socks, sachets, swords, ivory plate, leather belt, jade belt, etc. The furniture for storing Hanfu was a garment suitcase called yī qiè (衣箧), and the hanger on which Hangfu was hung was called a yī héng (衣桁). Women’s Hanfu clothing of Jin Dynasty style was in accordance with the way of the Qin and Han dynasties, the overall clothing was relatively loose. The upper part of this kind of hanfu looked simple, while the lower part was the long pleated skirt, and looked complicated. There are mainly two types of Hanfu in Tang Dynasty. The first type was the short skirts in the early Tang Dynasty. The main feature of short skirts is that the sleeves of the upper section are small and narrow, and the lower body is matched with a tight skirt, usually with silk ribbon to fasten the skirt. Women at that time did not have any special headwear, but would cover the head with a scarf or jade silk. In the middle and late Tang Dynasty, the clothing strengthened the traditional aesthetic concept of Chinese culture, so loose clothes with big sleeves of Qin and Han Dynasties were popular again, but more elegant and sexier. The Hanfu in Song Dynasty was mainly based on the old style of the Sui and Tang dynasties. Compared with Tang Hanfu clothing, the skirt of Song Hanfu is narrower and has more pleats. The upper jacket was usually worn at the front of the skirt. At that time, woman’s hair ornaments were also relatively simple. Although they followed the noble hair style of the late Tang Dynasty, but they usually had their hair decorated with only hairpins or flowers, without many expensive ornaments. Simply put, Hanfu in the Song Dynasty was simple and elegant. Mamianqun or Mamian Qun (马面裙, literally horse face skirt) was the most typical style of female Hanfu clothing during the Ming and Qing dynasties. There are four panels of fabric in total called “qunmen” (skirt doors). The Chinese horse face skirt is made of two large pieces of fabric sewn together by a single waistband, creating an overlapping look. The outer skirt door is decorated, while the inner skirt door is not. The horse-faced skirt is pleated on the sides, while flat on the front and back. The Mamianqun originated in the Song Dynasty, became popular in the Ming Dynasty, stayed popular during the Qing Dynasty, and was still worn by people in the Republic of China (1912 to 1949). Wearing the traditional Chinese Mamian skirt has become a fashion craze again in recent years, especially among young people. Moreover, the unsewn doors give women enough mobility to ride horses without revealing any underwear. The texture, decoration, and color of Mamianqun skirts vary significantly among different social classes. During the Chenghua period (1465-1487) of the Ming Dynasty, women in the capital were all fond of the Mamian skirt. The Mamianqun gradually developed into the daily attire for women in the Qing Dynasty, and became the iconic skirt style for women of the Qing Dynasty. The style of Mamianqun was comparatively simple and elegant during the Ming Dynasty. There are several theories about how the horse-face skirt got its name. During this period, the Mamianqun style was more luxurious. One theory is that the shape of the Mamianqun looks like the mamian fortress of an ancient city wall in China. Another saying is that the front of the Mamianqun is similar to a long horse face. In the streets, parks, scenic spots, bookstores, and museums, such as the Palace Museum of Forbidden City, you can always see fans of Hanfu wearing this kind of Han Chinese traditional clothing, with their hair tied in a bun. Wearing hanfu has become a trend in recent years. Previously Hanfu was mainly used for traditional festivals and special occasions. These days, with the popularity of Hanfu and the deepening understanding of Hanfu among the public, especially the youngest, more and more people hope to wear Hanfu in their daily life. Hanfu is one of the many clothes of choice today, just like suits, cheongsam, and tunic suits.

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See Hanfu Brands and Websites List for a comprehensive list of hanfu brands and their websites. See my Taobao tag for all posts related to buying hanfu on Taobao. Do you know the process of buying stuff on TaoBao, I don’t really understand can you explain it, please? Do you know what the name of the long, wide-sleeved outer robes are called? They look to be very light/sheer. Would you also happen to know where to get them online in the US? Does taobao ship internationally? I am chinese living abroad, is it appropriate if i wear hanfu for my wedding? I LOVE this fashion, pink short cheongsam but do you know of any ways this style can be incorporated into a more modern way… I’ve been looking like crazy for a colorful hanfu that’s lose and flowly with big sleeves that ties at the waist but I can’t find a decent one anywhere. Do you know any websites that sells modern hanfu inspired outfits? Do you have any recommendations? Please I want to feel like a floaty goddess! Can you still wear Hanfu and Hanfu inspired clothing even if you’re plus sized? I was wondering if you know of any brick and mortar hanfu shops in Shanghai? I’m planning a trip to Hong Kong at the end of April. Do you know any places to get plus sized Hanfu pieces? Like can I go to the shopping centres or markets? Where can I get hanfu? I really want to wear traditional Chinese hair accessories but my hair is super fine. Which types would you recommend for thin hair? I want to find hanfu for my bjds on taobao, do you have any idea what search terms to use? I don’t speak chinese unfortunately so I have no idea what to look for!

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Items & Feature As a celebration of cultural heritage and modern practicality, this Song Dynasty winter Hanfu coat is a must-have for those looking to infuse their attire with the spirit of the past while navigating the present. 2.54 cm; Please make sure the product’s measurements will fit your daily wear size, or view the complete Size Guide Chart to get more help. Recommend Hand-wash with your favorite mild detergent; Cold or warm water, maximum temperature 40°C. When washed, chinese wedding hanfu shake off any excess water and let them air dry. Shipping: Once the package is in transit, you will receive an email notification of the shipping status and location, cheongsam also you can directly Track Shipping online. Guarantee: If the item has any small and big quality issues, we will offer free return or refund for you. Learn more about the Return & Refund Policy. This piece is a modern reimagining of the traditional long Beizi, designed to add an element of timeless elegance to your winter wardrobe. Discover the seamless blend of heritage and contemporary style with this Song Dynasty winter Hanfu coat, available in both bold red and classic black color options. The coat has been thoughtfully redesigned from its historical counterpart, the Song Dynasty long Beizi, to include modern conveniences such as pockets on both sides, making it as functional as it is stylish. The pure color design of the coat is accented with a delicate swallow pattern, adding a touch of intricacy to its otherwise minimalist aesthetic. This subtle detailing allows for easy pairing with other Hanfu items, enabling a range of style options from the traditional to the avant-garde. This new style of Chinese Hanfu retains key elements of traditional design, such as the silhouette and wrap style, while incorporating the comfort and style of modern clothing. SO flattering! I thought this hanfu was adorable in the picture, but it looks even better in person!

Hair. Accessories on eBay | Fantastic Prices On Hair. Cosmética coreana de alta calidad para una piel radiante y saludable. Free Shipping Available. Buy on eBay. Hair Accessories Set: Fae. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. 38.00 Quick buy. Back Hair Pin: Turquoise. 55.00 Quick buy. Back Hair Pin: Lotus. At Hanfu Story, we cherish our cultural roots and share its ethereal beauty globally. 38.00 Quick buy. Back Hair Pin: Seneca. Hanfu products for you. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. 59.67 Blue Snow Lotus series for an elegant, ancient Hanfu look. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. Men and women handmade Hanfu hair accessories, hair sticks, hairpins, traditional Chinese fashion jewelry and bridal accessories that are perfect to style with your Hanfu, Cheongsam, and Qipao. Alloy, resin, glass, and staggered stone materials, premium craftsmanship. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. Explore our collection of hanfu accessories at Fashion Hanfu. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. Each accessory is thoughtfully designed to complement your traditional hanfu attire and showcase the rich cultural heritage of China. From intricate hair accessories to elegant bags and fragrant sachets, chinese cheongsam dresses our hanfu accessories add a touch of charm and authenticity to your ensemble. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. Lotus Fazan Hairpin Daily Qipao Hanfu Hair Accessories. Lotus Flower Hairpin Chinese Cheongsam Hair Pin. 22.00. Add to cart. Lotus Hairpin Flower U-shaped Hairpin Daily. 16.00. Add to cart. Previsualiza sitios web directamente desde nuestra página de resultados de búsqueda mientras mantienes tu visita completamente anónima. The hair comb in this set measures approximately 8.3 centimeters in length and 8.2 centimeters in width, featuring intricate cherry blossom designs intertwined with green leaves. The hair clip, measuring about 9 centimeters in length and 6 centimeters in width, showcases similar floral motifs, offering a versatile option for different hairstyles.

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Deliveroo brings favourites like Chinese to your doorstep. Let Deliveroo satisfy your cravings by delivering Chinese straight to you. Grab your favorite pair of men’s hanfu pants and shirts and start shopping. Men’s Hanfu Trend. The male hanfu is undergoing a renaissance, modern hanfu dress it’s not a piece of clothing is in or out. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Retro men’s hanfu clothing has been in style for several years and the best part is that you don’t have to be an expert fashion designer to wear male hanfu. The male Hanfu, a traditional Chinese garment, is a living symbol of China’s rich cultural heritage. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Its history spans thousands of years, evolving with each dynasty to reflect changes in society, politics, and aesthetics. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Today, male Hanfu is experiencing a resurgence, blending tradition with modernity. The daopao directly translates to a Taoist robe, but don’t be fooled-it’s one of the most popular styles of hanfu for both scholars and commoners and isn’t just for Taoists (that would be a similar but different kind of clothing called daofu), though Taoism is a very prevalent philosophy in chinese culture. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. As you’ve explored the captivating evolution of Chinese traditional male attire, from the Hanfu’s flowing elegance to the Tangzhuang’s refined sophistication, you’ve glimpsed a rich tapestry of cultural expression. Learn about the history, types, and significance of traditional Chinese clothing for men, from the ancient Hanfu to the modern Zhongshan suit. Discover the pros and cons of each style and how to wear them for different occasions. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Discover how men’s Hanfu is making a comeback in the modern world and how to style it with contemporary accessories. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Chinese Male Traditional Hanfu Filter by. Learn about the history, design, and cultural significance of men’s Hanfu, the national costume of the Han Chinese people. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Your one-stop gender-free store for culturally rich and inclusive fashion. Discover our male & unisex traditional Hanfu, modern Chinese clothing, and fantasy costumes perfect for your cosplay events. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Just as its name implies, shenyi wraps the body deep within it. Men’s hanfu have different styles: Shenyi, means “deep garment” literally, is a belted floor-length robe with wide sleeves. Shanku, refers to a two-piece set hanfu. Prévisualisez les sites directement depuis notre page de résultats de recherche tout en gardant votre visite complètement anonyme. Apr 28, 2023 – Men’s Chinese traditional hanfu clothing. See more ideas about hanfu, male hanfu, traditional hanfu.

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The Kimono received significant influence from the Chinese Hanfu. In the past, the Japanese and many other Asian Kingdoms adopted the Chinese court dress code, a testament to the power and cultural appeal that Imperial China have at the time. This is especially evident when you take a look at Earlier Dynastic Hanfu. However, you must understand that the Chinese Hanfu undergo changes as different dynasties come and go (Much like modern-day fashion). During the Qing Dynasty, the Hanfu was banned from use and the Qipao is forced upon the Chinese (As well as the ridiculous Pigtail). As a result, modern-day Hanfus may or may not have the same Historical accuracy. The Hanfu disappeared as memories of it begin to fade with the Cultural Revolution. Some may even have used measurements from the Japanese Kimono or Korean Hanbok as most of the Chinese have forgotten their Hanfu. Appearance-wise: The Japanese Kimono and the Hanfu share wide sleeves and a right lapel, as well as an overlapped collar. They are both T-shaped when placed on a flat surface and are traditionally made from silk (Royals or Privileged), satin weaves or cotton (Peasant). However, the Chinese Hanfu is traditionally and usually wore with a “Crown” or a Headpiece. For the women, there is often a one-piece undergarment worn with the hanfu, whereas the Japanese traditionally wore an inner Kimono (Hiyoku). The Chinese also have different Hanfu styles in the past to indicate one’s profession, be it peasant, scholar, soldier, merchant, artisan or of Royal lineage. The sash that the Japanese women wear in their kimono is higher than that of their Hanfu counterparts. They also have different versions for different occasions; Weddings, funerals, Religious Ceremonies and Celebration. Care and Maintenence: The Japanese used to practise Arai Hari, the taking apart and resewing of the Kimeno(Silk) for washing purposes. The Hanfu also include accessories, from pouches to decorative items. The Chinese do not practise this custom due to their higher abundance of silk.

China produced and exported silk during ancient times, mostly trading through the historic Silk Road. Even before being connected with the rest of the world through the famous Silk Road and exporting silk, China had developed its own traditional clothing that was easy to make and comfortable to wear. The Hanfu dress has evolved over time, incorporating cultural features of many eras, but the ancient traditional Hanfu usually consisted of a long flowing robe (Yi), with long sleeves (Shung) and an apron (bixi) at the waist. Hanfu (Han clothes) is the most popular dress of that era, invented by Xi Ling-shi, also known as Leizu, the wife of the Yellow Emperor (2697-2597 BCE). The Hanfu dress has still maintained its unique identity in mainland China and other countries, like Korea and Japan. During Sui, Tang, and Song Dynasties (581-1279), dresses for women became more relaxed and revealing, because of the influence of Confucianism by this time. Over time, more decorations and embroidery were added to women’s dresses. Hanfu dress has changed considerably, incorporating the dresses of the successive dynasties and rulers, while also maintaining its unique identity. During the Yuan Dynasty (1279-1368), the first foreign rulers of China, features of Mongolian dress were incorporated in the Hanfu outfit. In particular the Mongolian Zhisunfu, the Mongolian ‘robes of honor’, was added to the dress code of men. The Ming Dynasty (1368-1644), the last Han-led dynasty, wanted to restore Han culture, traditions, clothing, food and hence, women’s clothes were more prone to be conservative and old-styled. The traditional Hanfu dress consisted of inner and outer garments, upper and lower garments, and full-body cloth. Headwear was a symbol of status, as it was different for kings and royal families as compared to the common people. Other components of the dress included collars, sleeves, buttons, and fittings (such as belts). It also included headwear (such as caps for men and hairpieces for women) and footwear, as it was considered taboo to remain barefoot. Hanfu dress has made a resurgence in recent times amongst youth, and in order to cater to the rising demand, entrepreneurs and industrialists are adding new characteristics to the traditional attire. There have been reservations about the contemporary modified dresses being a true representation of Hanfu, such as the one-piece chest high dress, or the two-piece dress. Hanfu has recently developed a huge market locally in China, and its demand is only increasing with time. According to Guangzhou-based iiMedia Research, one Hanfu dress can cost from 200 to 10,000 Yuan (30-1500 dollars) and Hanfu sales amounted to 10.16 billion Yuan in online stores annually in 2021, with six million people regularly wearing Hanfu. The increasing popularity of Hanfu dress represents the growing awareness amongst the Chinese people of their unique identity and cultural heritage. While the sale of Hanfu dresses increase exponentially during festivals and important regional events. At the core of this movement lies the aim to popularize Hanfu and integrate traditional Chinese clothing into contemporary dresses in China. Hanfu represents China’s culture and history, and it has inspired and influenced many traditional attires around the world. There has been a new movement since the start of this century to promote and restore old customs, namely the Hanfu movement. Hanbok, Korean traditional dress, Kimono, Japanese traditional dress, Trang phục Việt, Vietnamese clothing, are a few traditional dresses shaped by Hanfu influence. With China’s meteoric rise globally in the 21st century, China’s culture and heritage are also making rounds in China and around the world, and Hanfu is a case in point.

Representation matters, but the piece of the puzzle that’s missing is the freedom to represent no one but yourself. As a southeast Asian immigrant living in New Zealand, I’m used to being a cultural ambassador. To be an individual and all that comes with it, writes Preyanka Gothanayagi. I’ve had a lifetime of fielding many, many curious questions (“What’s the significance of Diwali?” “Do your parents own a dairy?”) – so much so that I’ve learned the answers by rote. It was part and parcel of growing up in Aotearoa in the early 2000s, and I’ve always accepted it as the unspoken price of admittance. It’s only as an adult that I, and others, have begun to talk about what this experience was actually like. I first discovered artist Abhi Chinniah on LinkedIn (yes, really), and immediately became obsessed with her work. But nothing speaks louder than the art we create. In direct contrast to the broad cultural representation I’ve always felt shoehorned into, her art is all about the individual. Individual backgrounds, individual experiences and individual identity. A collection of her pieces, titled A Migrant’s Path, is currently on display at the New Zealand National Portrait Gallery, Te Pūkenga Whakaata, and it’s a direct response to the ways in which we silence ourselves. Colourism isn’t something we talk about much in Aotearoa. We’ve at least opened the conversation on racism, but colourism remains pervasive in part because it exists in quieter spaces, while we as a country hash out other issues. Much of the overt colourism we face comes from within our own diaspora communities, whether as a holdover from a colonial past, or something much older. It’s a hard concept to explain to friends who have never even heard about Fair and Lovely cream. And we don’t talk about it, or the scars it’s inflicted. The exhibition opens with six larger-than-life portraits of six individuals, each wearing the cultural attire of their heritage, each photographed outdoors. The first part of Chinniah’s collection, from a body of work called Melanin Rising, challenges our collective – and my personal – silence. It’s also powerful that these individuals take front and centre both literally and metaphorically – there’s no sense of the person behind the camera. It’s a powerful statement, centring people who have been “othered” squarely within distinctive landscapes of New Zealand, allowing them to express all the elements of their identity. Chinniah later told me that each photograph was the result of a deep and trusting relationship. It was the inverse of so many, many examples of photography where the subject becomes an object, and the work belongs to the photographer alone. Each person chose what they wore, and the accompanying essay, detailing their experiences with colourism, was entirely their own. A pounamu necklace sitting alongside a gold pendant. Instead, here was community and belonging, captured in small details. The dying sun painting black hair gold. A twisted native tree framing a deep blue headdress. Toi toi dancing behind the hanfu of a fifth-generation New Zealander, who is still asked “No, where are you from really? ” Each portrait contains multitudes to soak in. The phrase “representation matters” has been used so many times that it’s begun to lose its original meaning. The pallu of a sari draped across the long grass. Now that we have heroes and heroines who look like us on big screens and small (see: Simone Ashley), there’s a sense that we’ve made it; we’re there now. To be an individual, and all that comes with it. But the piece of the puzzle that’s missing is the freedom to represent no one but yourself. That’s what Chinniah’s work speaks to, whether we like it or not. “You know, you’re doing it for all of us,” I overheard an uncle say to Chinniah. The second part of the exhibition was a series of short stories and accompanying images about the way certain cultures treat mental health. Spoiler alert: we don’t do it well. “I don’t want to do it for everyone,” Chinniah replied, clearly startled. Abhi’s series No. 13 explores the ways people lose themselves, when they fall through the cracks of community. I didn’t realise before visiting the gallery that Chinniah’s background is so similar to my own – we’re both from Sri Lankan Tamil Malaysian families, and I immediately recognised the world she was writing in. It’s darker and more surreal – but somehow also more hopeful. One that fluidly switches between different traditions and four languages, where keeping up appearances is a survival instinct. A fabric hoop, made from pieces of cloth with sentimental meaning, is a portal between the past and the present. Bharatanatyam, a classical South Indian dance form, is performed to Erik Satie’s haunting ‘Gnossienne No.1’ – representing the grief and madness of a woman cut loose from the safety of family. And in my favourite image of them all, a cacophony of marigolds eats a woman’s head. It’s less straightforward than Melanin Rising, but also more personal to the artist – you can feel that these pieces are part of her working through her own past, for a brighter future. No. 13 is all about what we do and don’t say, pink short cheongsam with heart to ourselves and one another. It’s what a lot of third-culture kids do – now we’ve reached a level of safety in Aotearoa, we unravel the intergenerational trauma that our parents refuse to acknowledge. Her work is evidence of a new norm in Aotearoa – one that blends belonging and identity, creating a new path forward. And it’s clear that Abhi Chinniah, in her art, can no longer stay silent about any of it. It’s a narrative that challenges the fact that even in the most recent census, there was a “New Zealand European” ethnic category, but not a “New Zealand Chinese”. A defence of the individual. An address of the monoliths and stereotypes we’re reduced to – that maybe, we’ve internalised. Because we are here. We just are. This collection speaks to that, and Chinniah fought to make it happen. I can’t tell you how many times I’ve visited her exhibition, bringing friends and family to experience the same thing I have. Over the past few weeks, we’ve had new conversations and opened old wounds – we’ve been moved by art that feels almost just for us. In a world where I don’t see myself often, Te Pūkenga Whakaata turned its walls into mirrors.

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This article is false. Kimonos originated in Japan. Kimonos originated in Japan. Kimonos originated in pink hanfu Japan. Kimonos originated in Japan. Kimonos originated in Japan.