Over the past decade the Hanfu movement has grown in China and among the global Chinese diaspora. They invited passersby to recite ancient Chinese poems, and those who succeeded in the challenge received a lotus flower. Drawn by the gorgeous attire, some passersby took on the challenge this weekend. Fu Jiamei, one of the activity’s organizers, adding that they took their cues from similar events held recently in cities including Hangzhou, Changsha and Kunming, the latest sign of a growing craze for hanfu among young Chinese people. This meant Western-style clothing, or clothing from China’s Imperial era were ditched in favour of a national dress that was utilitarian, which took its cues from the ‘Mao Suit’ – a dark military-style suit. By the end of the Qing Dynasty, Western-style clothing and ideas also began to enter China through foreign concessions and trade. Some consider that the Hanfu Movement is not intended to completely imitate the ancient clothing as it would be difficult to replicate clothing that are identical to historical artefacts and 100% historically accurate. The other reason Yan enjoys wearing hanfu is because the outfits are usually loose and comfortable, allowing her freedom from certain constraints and burdens. Empress Xiaojiesu of the Ming dynasty wearing a phoenix crown and traditional Ming costume.
Yuanyou Guan (远游冠) Travel Crown. Gao said that social media platforms have also served as a driving force to transform the niche hobby into a vast market that reaches the masses. During the last few years, young Chinese have elevated Hanfu – traditional Han Chinese costumes – from a niche hobby to a generation’s tool of cultural expression while transforming it into a consumer market of 400 million people. Unlike modern times, traditional Chinese men’s clothing is similar to Chinese women’s clothing in some aspects. Since gaining popularity in 2018, Hanfu – a blanket term for traditional or tradition-inspired clothing – has become a major market trend of 400 million, predominantly young consumers. Driven by a mix of rising nationalism, savvy local branding, and KOL-propelled hype, the rise of Hanfu is a telling example of what young Chinese consumers want from brands today – an acknowledgment of their cultural heritage and a post-hegemonic attitude to style making. Gao believes that many young people come to love hanfu as a result of heightened cultural awareness, while the love for hanfu, in turn, spurs them to learn more about Chinese culture and history.
In turn, Key Opinion Leaders (KOLs) and Hanfu-specific hashtag pages on social media reflect and propel the trend. On the microblogging platform Weibo, the hashtag “Hanfu” had over 7.88 billion views as of Sunday, while on the video-sharing app Douyin, the Chinese version of TikTok, videos relating to hanfu had been viewed more than 93.4 billion times. The rise of Hanfu is part of a broader phenomenon in which young Chinese are increasingly engaged with China’s history and traditions, something the country’s cultural institutions are benefitting from not only in increased onsite attendance, but through creating products that balance traditional aesthetics and modern tastes, including items of Hanfu clothing themselves. Gen-Z China’s passion for Hanfu has also turned this trend from just an internet phenomenon into one of the hottest cultural themes in the country. As irrelevant or difficult as the Hanfu trend may appear to luxury and fashion brands, it still offers precious insights into the industry’s most coveted consumer segment: young, affluent Chinese Gen Zers that take pride in their cultural heritage.
Yet despite Hanfu’s mega-success in young China, few international brands in luxury and fashion have started participating in this trend. As such, Hanfu’s aesthetic dissonance and sartorial difference from Western fashions are difficult for brands to incorporate into designs meant for a global audience. Coming from a Western groom and bride fixed in a suit and a white wedding gown to an Eastern couple donning cheongsams and Hanfu, all couples want to be united in marriage while in the most perfect place at the most superb time in their lives. 206 The tuanshan was also used as part of the traditional Chinese wedding and was part of the ceremonial wedding rite. Chinese clothing Shanghainese name was the Chinese traditional costume and Chinese ancient dress somewhat Chinese dress, Asian dress and oriental dress odds with Chinese traditional clothes and Chinese ancient clothes usage in Mandarin and other Chinese dialects, where chángshān (the Mandarin pronunciation Chinese clothes, Asian clothes and oriental clothes) refers Chinese costume, Asian costume and oriental costume an exclusively male dress (see changshan) and the Chinese clothing female version is cheongsam and qipao known as Asian clothing and oriental clothing qipao.
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