Traditional Chinese Clothing Female

The Qing Dynasty ushered in a significant transformation in Hanfu styles, cheongsam dress qipao primarily due to the adaptation to Manchu-Qing dress codes. The pifeng was a prominent clothing for women in the late ming dynasty as a daily dress in the 16th and 17th century. During the Qing Dynasty (1644-1911), clothes became elegant and glorious. They are Chinese ancient clothing and Chinese traditional clothing often made Chinese clothes, Asian clothes and oriental clothes brightly-colored silk or satin with Chinese traditional clothes and Chinese ancient clothes rich Chinese embroidery. Also, ensure that curves, especially for the collar or sleeves, are smooth. Gold or silver piping on the collar began to be popularized on the collar. Goldwork: Incorporating threads made from real gold or silver, this technique is reserved for the most luxurious Hanfu dresses. Incorporating gold embroidery or beadwork can further elevate the look. Given the material, the cost can be high, adding an extra $30-$100 to the embroidery expenses. Depending on the quality, beads can add an additional $10 to $50 to the overall cost. Depending on their complexity and size, each button can range from $1 to $10. Waist: Measure around the smallest part of your natural waist, typically an inch or so above the belly button.

For a snug fit, you might add an inch of ease, but for a looser fit, consider adding 2-3 inches. Marking Seam Allowances: Add seam allowances to all pattern pieces. Pins and Needles: Essential for holding fabric pieces together and hand stitching details. Pin Before Sewing: Secure the fabric pieces together using straight pins before sewing. Place pins perpendicular to the edge of the pattern, ensuring they don’t distort the fabric or pattern. The xiuhuaxie are characterized by its use of elaborate and colourful Chinese embroideries to create pattern on the shoes.The traditional handicraft of making xiuhuaxie is fully indigenous to China. Chinese Knot Buttons: Handmade Chinese knot buttons are traditional closures for Hanfu dresses. The knot was black except when there was a funeral, in which case the knot was white. There are also other interesting things of Chinese culture are waiting for more people to discover, such as the ancient Chinese poetry, Chinese dance and so on.

There is embroidered borders at the sleeves of the banbi. The main difference between a pifeng and a beixin is the presence or absence of sleeves. Sleeve Variations: The dramatic “water sleeves” for theatrical events or simpler, narrower sleeves for daily wear. Sleeve Attachment: Match the center of the sleeve to the shoulder seam, pinning outward from this point. Shoulder Width: Measure from the tip of one shoulder to the tip of the other, ensuring the tape is straight and lies flat across the back. Measuring Tape: Essential for taking accurate body measurements, a measuring tape should be at least 60 inches long to cover all body dimensions. It’s essential to wear a well-fitting bra during this measurement. Mark Notches and Darts: Use tailor’s chalk or a fabric pen to mark essential points from the pattern onto your fabric, like darts or notches. Always align the grainline mark on your pattern with the grainline of the fabric. Grading the Pattern: For different sizes or if you’re planning to create more than one Hanfu, grade your pattern by adjusting it based on standard size differences.

Therefore, the clothing style in this period was more simple and implicit. Chinese clothing experienced a rapid development during the Wei, Jin, and Southern and Northern dynasties (220-589) because of the frequent wars which lead to the cultures and esthetic views of the north of south Chinese merged at that time. The Qin and Han dynasties (221 B.C.-A.D. Sui dynasty, Tang dynasty and Five Dynasties and Ten Kingdoms period. At the beginning of the Tang dynasty, the skirts were narrow but became looser in the High Tang period. In the Tang dynasty, new styles of Tanling banbi appeared and became extremely popular. Silk is suitable for most Hanfu styles but is especially preferred for ceremonial or formal dresses. Seasonal Considerations: For summer, lightweight cotton or linen Hanfu styles can keep you cool. Although these days I have also expanded into feeling the most beautiful when I wear xinzhongshi and have a cool combination of traditional and modern make-up on, my high heels on so that I can be as tall as I want. “They want China to adopt it as traditional formal wear like the Japanese kimono and Korean hanbok. It’s paired with a skirt (qun), making it a versatile choice for both formal and informal occasions.

Hanfu today isn’t just for the occasional costume play; it has seeped into weddings, festivals, and, surprisingly to some, everyday attire. As such, traditional garments are now mainly worn for ceremonies and special events, with the most common time for someone to wear traditional clothes being to summer festivals, when the yukata is most appropriate; outside of this, the main groups of people most likely to wear traditional clothes are geisha, maiko and sumo wrestlers, all of whom are required to wear traditional clothing in their profession. As an illustration, a couple should indicate the type of affair they are going to have, the time and date of the event, how many people they would you are able to invite, whatever food they might want served, the songs they’d you are able to enjoy, and the type. It could be better, however, if there is a place where they might be accommodated regardless the specifics and details of their wedding they will have. Any couple who wants wedding of their dreams can turn to some of the many Long Island wedding venues and make a choice that might best accommodate their special event. 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.

For the couple hunting for the proper venue to host their wedding, they need a location where they can celebrate their love and commitment to the other with all the people most essential in their lives. What Did People Once Wear in China? It also led to resentment amongst the Han Chinese and also out of loyalty for the Ming dynasty, some areas in China fought back against the Manchu which provoked the Qing dynasty to massacre entire populations. “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 show is set in an alternate reality of England’s Regency period, accounting for the styles of the clothes, and is known for costumes of bold colours such as the distinctive green. This dress is made from various fabrics and also is available in various colours. The fact that Han traditional dress has a universally pleasing and classically elegant aesthetic and is therefore apt to produce socially acceptable, flattering images that can be readily shared on social media has driven its popularity. However, to make it simpler if we think about traditional clothes, we can split it into two categories, men’s and women’s fashion.

For the most part, traditional clothes are now reserved for special occasions, like weddings, meetings, events, etc. Yet some fashion artists have integrated Chinese traditional clothing style into modern clothes creating a beautiful mix. The APEC jackets were intended to reflect “both traditional Chinese flavor and modern ideals”. Hanfu has become a symbol of Chinese culture. It could be a symbol of China. So Hanfu can be understood as a symbol of Han. The traditional handmade dresses can be categorized into – dresses for men and those for women. The traditional handmade dresses are particularly most attractive and renowned. Of course, there are many special clothes from other minorities. Unfortunately, we don’t have time to mention them all, but below is a picture of traditional Uyghur clothes. Every indigenous tribe wears their tribal clothes during culture events or important occasions. These venues are frequently very spacious and may accommodate small events of 30 visitors to grand celebrations that will include over 300 guests.

These venues have basically all that partners could need and want for the wedding inside their dreams, namely, a maitre’ D, a well-trained staff, a versatile and comprehensive (not to mention delicious) food list, a deluxe ambience usual for a fine-dining restaurant, valet parking, coat and room attendants, optional photography and video services, audio and visual equipment, entertainment, and even finely crafted place cards over the tables on your guests. These venues have virtually precisely what partners may require and desire for the ceremony in their dreams, namely, a Maitre d’, a well-trained staff, an accommodating and comprehensive (including delicious) menu, a lavish ambience typical of a fine-dining restaurant, valet parking, coat and room attendants, optional photography and video services, audio and visual equipment, entertainment, and in many cases finely crafted place cards around the tables on your guests. It would have been worn by a military official from the first to third ranks.

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I hope this guide helps you navigate the beautiful world of Hanfu. If you’re short, you will want to wear a mini hanfu skirt with a lower height. It’s not easy to choose a perfect hanfu, but once you do, you will have a stylish and comfortable wardrobe. For example, if you’re tall, you will want to wear hanfu pants with a higher rise. If you want to keep your look elegant, then this hanfu cloak is the best for you! If you’re looking for the best hanfu to improve your wardrobe, look good, and feel comfortable. I love wearing my Ruqun for casual outings; it’s comfortable and makes my hourglass figure look fantastic! I remember the first time I wore a Shenyi; it was for a cultural event, and I was amazed at how it made my rectangle body type look so elegant and balanced. The manner these men wore their Sogdian robes were not exactly the same as the way they dress themselves in their motherland, Sogdia. It was also fashionable for noble women to wear Huihuzhuang (回鶻装; Uyghur dress, which is sometimes referred as Huihu-style), a turned-down lapel voluminous robes with tight sleeves which were slim-fitting, after the An Lushan Rebellion (755-763 AD).

These retro hanfu shirts are perfect to wear when going out or working in the office. The legend says that Leizu would be the first to make the Chinese Hanfu out of silk, back between 2700 BC and 2550 BCE. Remember, fashion is a form of self-expression, so don’t be afraid to experiment and make the outfit your own. Left: A Qing-style aoqun, a form of Hanfu worn by Han women around the 19th to 20th centuries. 183-186 when clothing with yuanling collar started to be worn as an outer-garment and could be used as a form of formal clothing. Wear a hanfu blouse casually or with a more formal hanfu jacket. The one-piece clothing and the religious court dress would make an appearance, chinese traditional clothing formally becoming part of the transition to a more hierarchical society. On Gen Zers’ favorite social platforms, Bilibili and Douyin, KOL content like “everyday Hanfu guides” and “genderless, streetwear Hanfu” have gained traction, as more and more youngsters match Hanfu pieces with Balenciaga sneakers and Supreme hoodies. Photos of lavish weddings where the couple is wearing Tang or Ming dynasty costumes instead of the popular white wedding gowns that mimic Western tradition are shared on social media from time to time.

Portrait of women wearing long jiaoling youren jacket (chang’ao) decorated with buzi, Ming dynasty. Standup Collar for Dummies: Extended reading for after mastering the Aoqun design above, by variating collar design into a unique design invented in the late Ming dynasty, royal chinese traditional dress hanfu in the last of days for Hanfu innovations prior to its forced end. Ming musketeers wearing chanzongmao. Nobody wants to end up wearing a shirt that is too hot or too tight. Liang Ming, a social worker and founder of New York Hanfu Corporation, said wearing Hanfu offers overseas Chinese a tangible connection to their heritage. Its ready adoption by young and trendy fashion-conscious women has been accelerated by social media, which has helped to propagate the trend. China hanfu is known for its simplicity, elegance, and timelessness; these days, fashion hanfu types are very popular with the young generation. “Even many young Chinese people are into Korean pop or Japanese pop, but they are not fans of Chinese pop. Likewise, Japanese Kimono-style with wrap closure, also influenced American summer fashion in the early 1900s; these became known as Misses’ or girls’ Japanese wrapper or lounging-robe. Hanfu Ru shan (shan means a top shirt) is a very popular fashion item for both men and women.

The separate top and skirt create a natural waistline, making it ideal for pear and hourglass body types. A jia ao (夹袄), for example, was a lined jacket which was used by Han Chinese women as winter clothing; the jia ao was typically worn on top of a long-length qun underneath. This revival of Hanfu extends beyond being merely a garment; it encompasses the original lifestyle and temperament intrinsic to Han culture. The full Tifayifu edict was only implemented after two Han officials from Shandong, Sun Zhixie and Li Ruolin, voluntarily shaved their foreheads and demanded that Dorgon impose the queue hairstyle on the entire population. Cambridge, Mass.: Harvard University Press. Cambridge, United Kingdom: Cambridge University Press. Ruqun is a two-piece outfit consisting of a blouse and a skirt. Aoqun is similar to Ruqun but with an added jacket. The jacket adds an extra layer, making it a great choice for apple and rectangle body types. It’s perfect for rectangle and apple body types as it falls straight down, creating a balanced silhouette. Embrace your unique body type and express it through your Hanfu. 4. Embrace your body: Every body is beautiful.

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Jin (巾)/ Tou jin (头巾)/ Zhajin (扎巾) Headscarf worn by commoners, tied around the head or sometimes the topknot to protect the hair. According to some scholars, China used to be called “the Kingdom of Headwear” by people due to its variety of colourful and artistic style of hair ornament. A small cap to gather hair inside, fixed with long hairpin. Chinese hairpin worn by empresses and emperor’s concubines. Shui Shu’s band Bliss-Illusion is part of the country’s small but buoyant heavy metal scene, where bands mix genre standards with Chinese elements. Chinese skirts used in Hanfu, especially those worn as part of ruqun, and in Xifu. Musicians wearing qixiong ruqun, Sui dynasty figurines. It was worn by the sovereigns of Liu-Song and Southern Qi, it was later inherited by the Sui dynasty. 25 The Sui dynasty women already liked wearing banbi over their long-sleeved clothing. 39-40 For the Han Chinese, however, Manchu-style clothing conflicted with their Confucian prescriptions which govern their attire.

Accessory vendors, however, are few and far between, with the vast majority comprising small family workshops. Finding the right fit is not that complicated, and the online sellers are also very helpful as far as this goes; if you are not sure, ask. 22 the yi worn by slaveholders had tight sleeves and were also closed on the right side following the youren-style. It characterized by a cross collar, which closes at the right side in the front, in a style called jiaoling youren. In the ancient times, vintage cheongsam the qun was referred as chang and existed even prior to the creation of the trousers called ku. By the Han dynasty, military caps called wubian were commonly worn by soldiery, with formal guan variants worn by high-ranking military officials and imperial bodyguards, which were decorated with long-tailed pheasant’s tail feathers as a symbol of martial prowess. Developed from the Wubian(“武弁”)-hat, alternatively also known as Wuguan “武冠”, worn by military officials. Worn by Confucian scholars and civil government officials. Formal wear, popular with Neo-Confucian scholars. Tang jin (唐巾) Based on the futou, worn by commoners, particularly scholars.

Guan jin (綸巾)/Zhuge jin (諸葛巾) Originally a style of fujin, later resembling a liangguan. There were various categories for headwear including guan (Chinese: 冠; pinyin: guān; lit. At first, it was used as a Buddhist ornament, but later it was widely adopted as a necklace and headwear in Chinese women’s clothing. 72-74 Pak Chega based his description of Chinese women’s clothing by using the Records of Daily Study (Rizhilu) by Gu Yanwu (1613-1682), a scholar from the late Ming and early Qing dynasties. Worn by emperors and princes of the Ming dynasty, as well as kings of many China’s tributaries. Later worn by Han dynasty’s emperors and high officials during ceremonies. Initially all Mian Guan were worn by emperors, later emperors only wore this type. Named after Zhuge Liang, who wore a guanjin. Named after the flowing ribbons behind it. 39-40 Manchu coats were close fitting and had slashed openings on the four sides which allowed greater ease of movements when horse-riding; the sleeves were long and tight ending in horse-hoof shape which were designed to protects the hands from the wind; trousers were worn by both Manchu men and women, and their boots had rigid soles which facilitated mounted archery.

The sleeves could be tight or loose, traditional qipao chinese dress with tight sleeves designed to facilitate ease of movements. The character pao《袍》is the same character which is used as an abbreviated synonym of paofu. It is pendant-like accessory which falls on the overlapping front of a paofu. Wuguan was derived from the Zhaohuiwenguan (趙惠文冠), designed by King Wuling of Zhao, which was ornamented with a dang (璫; a gold ornament in the form of animals, such as dragons, cicada, and people) on the front and with sable’s tail. Mian Guan (冕冠) Shier liu mian (十二旒冕) Twelve-tasselled Crown. Wuliu mian (五旒冕): Five-tasselled Crown. Jiuliu mian (九旒冕) Nine-tasselled Crown. Yuanyou Guan (远游冠) Travel Crown. Zhongjing Guan (忠靖冠) Loyal and stable crown. Shufa Guan (束发冠) Hair-gathering Crown. Cheng zi guan (程子冠) / Fangshan jin (方山巾) Worn by Cheng Yi and Cheng Hao.

Tanling ruqun (Chinese: 坦领襦裙; pinyin: Tǎnlǐng rúqún; lit. 93-94 low-cut U-shaped collar upper inner garment with long sleeves, a U-shaped collar banbi upper outer garment with short sleeves, a long high-waisted skirt. It can also be adorned with a shawl, called pipo (Chinese: 披帛). In the 21st century, the Tanling ruqun re-appeared as a result of the Hanfu movement. It was a popular form of clothing attire in the Sui and Tang dynasty. The term tanling ruqun is composed of the terms tanling and ruqun. Tanling (Chinese: 坦领; pinyin: Tǎnlǐng) refers to the U-shaped (Chinese: 坦; pinyin: Tǎn; lit. The 21st century Tanling ruqun was developed by reproducing the original patterns of the historical tanling ruqun while being aligned with modern aesthetics. Chinese: 领; pinyin: Lǐng; lit. U-shaped banbi which is worn as an outer upper garment. The term ruqun refers to the traditional two piece attire of the ancient Han Chinese consisting of a skirt and an upper garment called ru. 291The skirts could be embellished with stripe patterns of two colours or be found in monochrome colours. The tanling ruqun is mainly composed three parts: a long wrap skirt, a U-shaped collar inner shirt with long sleeves, and a tanling banbi (a U-shaped short sleeves outer jacket). 291 The banbi could also be tucked under or worn over the long skirt. 85-86 they could also wear it together with variety of hats. Detailed of a Tang dynasty woman wearing a tanling banbi under a skirt. There is embroidered borders at the sleeves of the banbi. 291In the Tang dynasty, hats of foreign origins or influence, such as the mili, weimao and humao, were worn when horseback riding. Woman rider wearing a tanling ruqun and a humao, Horse and female rider, Tang dynasty. Tang dynasty woman wearing a tanling ruqun and pibo (shawl), she is holding a mili. The late sixth century, for example in the Sui dynasty, was marked the arrival of new style of women’s Hanfu. A maid wearing tanling ruqun with pipo over the shoulders, mural from the tomb of Yanfei (燕妃), Tang dynasty. 25 The Sui dynasty women already liked wearing banbi over their long-sleeved clothing. Tanling garments, including the tanling banbi, was already popular in the court of the early Sui dynasty, the predecessor of the Tang dynasty. 25 The new style of clothing had high waisted skirt almost similar to the Empire silhouette and the upper garments had low décolletage. The Tang dynasty continued the clothing style of its predecessor, and women continued to wear high-waisted skirt, low-cut upper garments and long skirts. According to the New Book of Tang, “banbi, skirt, and ru are common clothes for maids served at the Eastern Palace”. In the Tang dynasty, new styles of Tanling banbi appeared and became extremely popular. In the 7th century, palace women could wear banbi over a plain shirt and a high-waisted, A-line skirts which could be monochrome or striped. In the first decade of the 8th century, skirts in monochrome colours became more popular than stripped skirts. Some shapes of banbi (such as the tanling banbi) worn in the early Tang appears to have been mainly influenced by the banbi worn in Qiuci. 85 By the mid-Tang dynasty around the mid-8th century, upper garments with low décolletage lost popularity and women started to cover themselves with shawls; there were also new ideals of beauty favouring extremely plump and voluptuous women over the youthful slenderness of the Sui and the early Tang dynasties. Maid from the tomb of Wei guifei (韋貴妃), Tang dynasty. Qungua (裙褂): a type of ruqun worn as a Traditional Chinese Wedding dress in Qing and in modern era. Xiuhefu (秀禾服): a type of aoqun worn as a Traditional Chinese Wedding dress in Qing and in modern era. Three female musicians wearing Tanling ruqun, qipao dress red Tang dynasty. Xuanduan (玄端): a very formal dark ruqun with accessories; equivalent to the Western white tie. Chen, Bu Yun (2013). Dressing for the Times: Fashion in Tang Dynasty China (618-907) (Thesis). Chen, BuYun (2017-01-02). “Material Girls: Silk and Self-Fashioning in Tang China (618-907)”. Fashion Theory. Chen, Buyun (2019). Empire of style : silk and fashion in Tang China. 王金妍. “Hanfu: China’s traditional Han-style clothing”. James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. China : dawn of a golden age, 200-750 AD. New York: Metropolitan Museum of Art. China : dawn of a golden age, 200-750 AD.

James C. Y. Watt, Prudence Oliver Harper, Metropolitan Museum of Art. New York: Metropolitan Museum of Art. Steele, Valerie (1999). China chic : East meets West. 李竹润., 王德华., 顾映晨. Beijing: Wu zhou chuan bo chu ban she. John S. Major. New Haven: Yale University Press. Guobin Xu, Yanhui Chen, Lianhua Xu, Kaiju Chen, Xiyuan Xiong, Wenquan Wu. Zhao, Qiwang; Lyu, Qianyun (2020). “Western Cultural Factors in Robes of Wei, Jin, Southern and Northern Dynasties as Well as Sui and Tang Dynasties” (PDF). Introduction to Chinese culture : cultural history, arts, festivals and rituals. This page was last edited on 2 November 2024, at 15:30 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

There are typically two types of clothing worn in Japan: traditional clothing known as Japanese clothing (和服, wafuku), including the national dress of Japan, the kimono, and Western clothing (洋服, yōfuku), which encompasses all else not recognised as either national dress or the dress of another country. Traditional Japanese fashion represents a long-standing history of traditional culture, encompassing colour palettes developed in the Heian period, silhouettes adopted from Tang dynasty clothing and cultural traditions, motifs taken from Japanese culture, nature and traditional literature, the use of types of silk for some clothing, and styles of wearing a primarily fully-developed by the end of the Edo period. Modern Japanese fashion mostly encompasses yōfuku (Western clothes), though many well-known Japanese fashion designers – such as Issey Miyake, Yohji Yamamoto and Rei Kawakubo – have taken inspiration from and at times designed clothes taking influence from traditional fashion. Japanese fashion industry itself, with many designers either drawing from or contributing to Japanese street fashion. The most well-known form of traditional Japanese fashion is the kimono, with the term kimono translating literally as “something to wear” or “thing worn on the shoulders”. It is now increasingly rare for someone to wear traditional clothing as everyday clothes, and over time, traditional clothes within Japan have garnered an association with being difficult to wear and expensive. Despite previous generations wearing traditional clothing near-entirely, following the end of World War II, Western clothing and fashion became increasingly popular due to their increasingly-available nature and, over time, their cheaper price. As such, traditional garments are now mainly worn for ceremonies and special events, with the most common time for someone to wear traditional clothes being to summer festivals, when the yukata is most appropriate; outside of this, the main groups of people most likely to wear traditional clothes are geisha, maiko and sumo wrestlers, all of whom are required to wear traditional clothing in their profession. Fascination for the clothing of Japanese people continued into WW2, where some stereotypes of Japanese culture such as “geisha girls” became widespread. Traditional Japanese clothing has garnered fascination in the Western world as a representation of a different culture; first gaining popularity in the 1860s, Japonisme saw traditional clothing – some produced exclusively for export and differing in construction from the clothes worn by Japanese people everyday – exported to the West, where it soon became a popular item of clothing for artists and fashion designers. Over time, depictions and interest in traditional and modern Japanese clothing has generated discussions surrounding cultural appropriation and the ways in which clothing can be used to stereotype a culture; in 2016, the “Kimono Wednesday” event held at the Boston Museum of Arts became a key example of this. Little is known of the clothing, of the Yayoi period. Until the 5th century CE, there is little artistic evidence of the clothing worn in Japan. Japan. It describes broad cloth (possibly double-width), made into unshaped garments by being tied about the waist and shoulders. Kofun period clothing is known from clay sculptures used atop haniwa offering cylinders. These figures likely do not represent everyday dress; they may represent riding dress. In the Kofun period, the right side was wrapped over the left (unlike in China), and the overlapped edge was secured with ties on the right side. Female figures often wear a skirt, with male figures wearing trousers tied with garters just above the calf, so that they balloon over the knee, allowing freedom of movement. Sleeves and trousers were tubular. Traditional Chinese clothing had been introduced to Japan via Chinese envoys in the Kofun period, with immigration between the two countries and envoys to the Tang dynasty court leading to Chinese styles of dress, appearance and culture becoming extremely popular in Japanese court society. Mo, wrapped skirts, were worn by men and women, sometimes over hakama (trousers). As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar that of Han dynasty China. Women’s dress under tang dynasty influence, with overlapping collar and mo skirt. The Imperial Japanese court quickly adopted Chinese styles of dress and clothing. Takamatsuzuka Tomb, c. 686 CE. Contemporary men’s dress, with green hō, white hakama, and kanmuri cap. This reconstruction is probably outdated; the hō should be shorter, with a short pleated frill beneath, as in the women’s costume. The Asuka period began with the introduction of Buddhism, and the writing system of Chinese characters to Japan; during this time, Chinese influence over Japan was fairly strong. Judging by the depictions in the Tenjukoku Shūchō Mandala, during the reign of Empress Suiko (593-628), male and female court dress were very similar. Both wore round-necked front-fastening hō with non-overlapping lapels, the front, collar, and cuffs edged with contrasting fabric, possibly an underlayer; the ran skirt, above knee-length, had a matching edge. Below the ran and extending below it to about knee length, a more heavily pleated contrasting skirt called a hirami was worn. The Takamatsuzuka Tomb (c. Below the hirami, men wore narrow hakama with a contrasting lower edge, and women wore a pleated mo long enough to trail. Nara-period upper-class clothing was much simpler than some later styles, taking no more than a few minutes to don, with the clothing itself allowing for freedom of movement. Women also sometimes wore a lap-fronted overvest, and a narrow rectangular stole. Nara-period women’s clothing was heavily influenced by Tang-dynasty China. Clothing was belted with narrow sashes. Women adopted tarikubi (垂領, “drape-necked”) collars, which overlapped like modern kimono collars, though men continued wearing round agekubi (上領, “high-necked”) mandarin collars, which were associated with scholasticism, only later adopting tarikubi. Lower-body garments (mo and hakama) had been worn under the outermost upper-body garments, but now, following the newer Chinese fashion, they transitioned to being worn on top (again, by women, but not yet by men). 133-136 China considered right-over-left wraps barbaric. In 718 CE, the Yoro clothing code was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions. This convention of wear is still followed today, with a right-to-left closure worn only by the deceased. The ceremonial clothing of attendees (probably not all made in Japan) was preserved in the Shōsō-in. Most of them close left-over-right, but some abut or overlap right-over-left. In 752 CE, a massive bronze Buddha statue at Tōdai-ji, Nara, was consecrated with great ceremony. There is craftsmen’s clothing in asa (domestic bast fiber), with long, round-collared outer robes. Richer garments in silk are ornamented with figural and geometric patterns, woven and dyed; some have flaring sleeves. Collar shapes include narrow, round or v-shaped. Aprons, hakama, leggings, socks and shoes have also been preserved. People of higher social status wore clothing that covered the majority of their body, or as Svitlana Rybalko states, “the higher the status, the less was open to other people’s eyes”. Social segregation of clothing was primarily noticeable in the Nara period (710-794), through the division of upper and lower class. For example, the full-length robes would cover most from the collarbone to the feet, the sleeves were to be long enough to hide their fingertips, and women carried fans to protect them from speculative looks. During the Heian period (794-1185 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods-including clothing-from entering the Imperial Palace and disseminating to the upper classes, who were the main arbiters of traditional Japanese culture at the time and the only people allowed to wear such clothing. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as “national culture” or “kokufū culture” (国風文化, kokufū-bunka), the term used to refer to Heian-period Japanese culture, particularly that of the upper classes. The ensuing cultural vacuum facilitated the development of a Japanese culture independent from Chinese fashions. Clothing became increasingly stylised, with some elements-such as the round-necked and tube-sleeved chun ju jacket, worn by both genders in the early 7th century-being abandoned by both male and female courtiers. Others, such as the wrapped-front robes, also worn by men and women, were kept. The concept of the hidden body remained, with ideologies suggesting that the clothes served as “protection from the evil spirits and outward manifestation of a social rank”. This proposed the widely held belief that those of lower ranking, who were perceived to be of less clothing due to their casual performance of manual labor, were not protected in the way that the upper class were in that time period. Men’s formal dress included agekubi collars and very wide sleeves. During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the kosode (lit., “small sleeve”) garment-previously considered underwear-becoming outerwear by the time of the Muromachi period (1336-1573 CE). This was also the period in which Japanese traditional clothing became introduced to the Western world. Tarikubi collars on husband and wife, in their home. Note red hakama of standing woman. Fugen and the Ten Rasetsunyo, detail. The courtiers in the foreground are wearing their hitoe off-the-shoulder, showing the kosode beneath. Empress Shoshi and son, 13th century illustration. Note red and purple naga-bakama with trailing waist ties. Carpenters in common dress, 1309; kosode and hakama do not match. The kosode worn as outerwear. Note wider cut, and unisex narrow obi and shorter sleeves. The kosode resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. Originally worn with hakama, the kosode began to be held closed with a small belt known as an obi instead. During the Sengoku period (1467-1615)/Azuchi-Momoyama period (1568-1600), decoration of the kosode developed further, with bolder designs and flashy primary colours becoming popular. During the Edo period (1603-1867 CE), both Japan’s culture and economy developed significantly. A particular factor in the development of the Edo period was the early Genroku period (1688-1704 CE), wherein “Genroku culture” – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Rinzu, a damask fabric, also became the preferred material for kimono at this time, replacing the previously popular nerinuki plain-weave silk, which had been used to create tsujigahana. Genroku culture was spearheaded by the growing and increasingly-powerful merchant classes (chōnin); the clothing of chōnin classes, representative of their increasing economic power, rivalled that of the aristocracy and samurai classes, brightly coloured and utilising expensive production techniques, such as handpainted dyework. In response to the increasing material wealth of the merchant classes, the Tokugawa shogunate issued a number of sumptuary laws `for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed shibori patterns. As a result, a school of aesthetic thought known as iki, which valued and prioritised the display of wealth through almost mundane appearances, developed, a concept of kimono design and wear that continues to this day as a major influence. The sleeves of the kosode began to grow in length, especially amongst unmarried women, and the obi became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material to support them. From this point onwards, the basic shape of both men’s and women’s kimono remained largely unchanged. Assorted types of kimono, Western dress, a court lady in keiko, and a schoolgirl in a high-collared shirt, kimono and hakama. In the Edo period, the kimono market was divided into craftspeople, who made the tanmono and accessories, tonya, or wholesalers, and retailers. All wear both purple and red. Family of Horiai Setsuko, May 1912, some in European dress, some in kimono, some wearing hakama. Women’s hakama spread from the court as part of Japanese reform dress. 147 particularly with the advent of synthetic dyestuffs such as mauvine. In 1869, the social class system was abolished, and with them, class-specific sumptuary laws. Following the opening of Japan’s borders in the early Meiji period to Western trade, a number of materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimono being relatively common in pre-1960s Japan; the use of safflower dye (beni) for silk linings fabrics (known as momi; literally, “red silk”) was also common in pre-1960s Japan, making kimono from this era easily identifiable. During the Meiji period, the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of “modernity”. Western clothing within their job roles, with the adoption of Western clothing by men in Japan happening at a much greater pace than by women. Initiatives such as the Tokyo Women’s & Children’s Wear Manufacturers’ Association (東京婦人子供服組合) promoted Western dress as everyday clothing. With the opening of Japan’s ports for international trade in the 1860s, clothing from a number of different cultures arrived as exports; despite Japan’s historic contact with the Dutch before this time through its southerly ports, Western clothing had not caught on, despite the study of and fascination with Dutch technologies and writings. In Japan, modern Japanese fashion history might be conceived as a gradual westernization of Japanese clothes; both the woolen and worsted industries in Japan originated as a product of Japan’s re-established contact with the West in the early Meiji period (1850s-1860s). Before the 1860s, Japanese clothing consisted entirely of kimono of a number of varieties. The first Japanese to adopt Western clothing were officers and men of some units of the shōgun’s army and navy; sometime in the 1850s, these men adopted woolen uniforms worn by the English marines stationed at Yokohama. Wool was difficult to produce domestically, with the cloth having to be imported. Outside of the military, other early adoptions of Western dress were mostly within the public sector, and typically entirely male, with women continuing to wear kimono both inside and outside of the home, and men changing into the kimono usually within the home for comfort. The Ministry of Education ordered that Western-style student uniforms be worn in public colleges and universities. From this point on, Western clothing styles spread outwards of the military and upper public sectors, with courtiers and bureaucrats urged to adopt Western clothing, promoted as both modern and more practical. Businessmen, teachers, doctors, bankers, and other leaders of the new society wore suits to work and at large social functions. Despite Western clothing becoming popular within the workplace, in schools and on the streets, it was not worn by everybody, and was actively considered uncomfortable and undesirable by some; one account tells of a father promising to buy his daughters new kimono as a reward for wearing Western clothing and eating meat. By the 1890s, appetite for Western dress as a fashion statement had cooled considerably, and the kimono remained an item of fashion. By the beginning of the 20th century, Western dress had become a symbol of social dignity and progressiveness; however, the kimono was still considered to be fashion, with the two styles of dress essentially growing in parallel with one another over time. A number of different fashions from the West arrived and were also incorporated into the way that people wore kimono; numerous woodblock prints from the later Meiji period show men wearing bowler hats and carrying Western-style umbrellas whilst wearing kimono, and Gibson girl hairstyles – typically a large bun on top of a relatively wide hairstyle, similar to the Japanese nihongami – became popular amongst Japanese women as a more low-effort hairstyle for everyday life. 1920 and 1930, the fuku sailor outfit replaced the kimono and undivided hakama as school uniform for girls. With Western dress being considered street wear and a more formal display of fashionable clothing, most Japanese people wore the comfortable kimono at home and when out of the public eye. 140 However, kimono still remained popular as an item of everyday fashion; following the Great Kantō Earthquake of 1923, cheap, informal and ready-to-wear meisen kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people’s possessions. By 1930, ready-to-wear meisen kimono had become highly popular for their bright, seasonally changing designs, many of which took inspiration from the Art Deco movement. It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. 85 were dyed using a stencil pattern before weaving. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of the hōmongi, divisions of tomesode (short-sleeved) kimono for women, and montsuki hakama. 82, 93, 146 Standards of kitsuke at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniform ohashori and a smooth, uncreased obi, silk cheongsam which also resembled the “proper” kitsuke of upper-class women. 67, 76 traditions of kimono bridalwear for marriage ceremonies were also codified in this time, which resembled the bridalwear of samurai-class women. 17 Though the Taishō period had seen a number of invented traditions, standards of kitsuke (wearing kimono) were still not as formalised in this time, with creases, uneven ohashori and crooked obi still deemed acceptable. However, kitsuke standards were still relatively informal, and would not become formalised until after World War II. During the war, kimono factories shut down, and the government encouraged people to wear monpe (also romanised as mompe) – trousers constructed from old kimono – instead. Until the 1930s, the majority of Japanese still wore kimono, and Western clothes were still restricted to out-of-home use by certain classes. 131 Fibres such as rayon became widespread during WWII, being inexpensive to produce and cheap to buy, and typically featured printed designs. Cloth rationing persisted until 1951, so most kimono were made at home from repurposed fabrics. 76 The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class. 36 Formalisation sought perfection, with no creases or uneveness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono. As neither Japanese men or women commonly wore kimono, having grown up under wartime auspices, commercial kitsuke schools were set up to teach women how to don kimono. 16 these rules on proper dressing are often described in Japanese using the English phrase “Time, Place, and Occasion” (TPO). 44 Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation. 76, 135 for instance, the expensive furisode worn by young women for Seijinshiki was deemed a necessity. 262 which were displayed and inspected publicly as part of the wedding, including being transported in transparent trucks. By the 1970s, formal kimono formed the vast majority of kimono sales. 132 Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but also a perception of kimono knowledge, allowing them to dictate prices and heavily promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. £18 billion). The sale of informal brand new kimono was largely neglected. 129 and ended a number of expensive practices. 98 It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals. 98 about US$5), a few percent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this. 36 and formerly-expensive traditions such as bridal kimono trousseaus generally disappeared, and when still given, were much less extensive. In the early years of the 21st century, the cheaper and simpler yukata became popular with young people. 36, 159 and kimono were again promoted and worn as everyday dress by a small minority. Japanese clothing. The kimono is worn wrapped around the body, left side over right, and is sometimes worn layered. Today, the vast majority of people in Japan wear Western clothing in the everyday, and are most likely to wear kimono either to formal occasions such as wedding ceremonies and funerals, or to summer events, where the standard kimono is the easy-to-wear, single-layer cotton yukata. It is always worn with an obi, mens hanfu and may be worn with a number of traditional accessories and types of footwear. Kimono differ in construction and wear between men and women. After the four-class system ended in the Tokugawa period (1603-1867), the symbolic meaning of the kimono shifted from a reflection of social class to a reflection of self, allowing people to incorporate their own tastes and individualize their outfit. Post-WW2, kimono schools were built to teach those interested in kimono how to wear it and tie a number of different knots. The process of wearing a kimono requires, depending on gender and occasion, a sometimes detailed knowledge of a number of different steps and methods of tying the obi, with formal kimono for women requiring at times the help of someone else to put on. A number of different types of kimono exist that are worn in the modern day, with women having more varieties than men. Whereas men’s kimono differ in formality typically through fabric choice, the number of crests on the garment (known as mon or kamon) and the accessories worn with it, women’s kimono differ in formality through fabric choice, decoration style, construction and crests. The furisode (lit., “swinging sleeve”) is a type of formal kimono usually worn by young women, often for Coming of Age Day or as bridalwear, and is considered the most formal kimono for young women. The uchikake is also worn as bridalwear as an unbelted outer layer. The houmongi and the tsukesage are semi-formal women’s kimono featuring a design on part of the sleeves and hem. The kurotomesode and irotomesode are formal kimono with a design solely along the hem, and are considered the most formal kimono for women outside of the furisode. The iromuji is a low-formality solid-colour kimono worn for tea ceremony and other mildly-formal events. Other types of kimono, such as the yukata and mofuku (mourning) kimono are worn by both men and women, with differences only in construction and sometimes decoration. The komon and edo komon are informal kimono with a repeating pattern all over the kimono. In previous decades, women only stopped wearing the furisode when they got married, typically in their early- to mid-twenties; however, in the modern day, a woman will usually stop wearing furisode around this time whether she is married or not. The word kimono literally translates as “thing to wear”, and up until the 19th century it was the main form of dress worn by men and women alike in Japan. Traditionally, the art of wearing kimono (known as kitsuke) was passed from mother to daughter as simply learning how to dress, and in the modern day, this is also taught in specialist kimono schools. First, one puts on tabi, which are white cotton socks. Then the undergarments are put on followed by a top and a wraparound skirt. Finally, the kimono is put on, with the left side covering the right, tied in place with one or two koshihimo and smoothed over with a datejime belt. Next, the nagajuban (under-kimono) is put on, which is then tied by a koshihimo. The obi is then tied in place. Kimono are always worn left-over-right unless being worn by the dead, in which case they are worn right-over-left. When the kimono is worn outside, either zōri or geta sandals are traditionally worn. Women typically wear kimono when they attend traditional arts, such as a tea ceremonies or ikebana classes. Any plain black kimono with less than five crests is not considered to be mourning wear. Funeral kimono (mofuku) for both men and women are plain black with five crests, though Western clothing is also worn to funerals. At these annual celebrations, women wear brightly coloured furisode, often with fur stoles around the neck. Kimono are matched with seasons. The “coming of age” ceremony, Seijin no Hi, is another occasion where kimono are worn. During these months, kimono with more rustic colours and patterns (like russet leaves), and kimono with darker colours and multiple layers, are favoured. Awase (lined) kimono, made of silk, wool, or synthetic fabrics, are worn during the cooler months. In the warmer weather months, vibrant colors and floral designs (like cherry blossoms) are common. Lightweight cotton yukata are worn by men and women during the spring and summer months. Today, kimono can be made of silk, silk brocade, silk crepes (such as chirimen) and satin weaves (such as rinzu). Up until the 15th century the vast majority of kimono worn by most people were made of hemp or linen, and they were made with multiple layers of materials. However, silk is still considered the ideal fabric for more formal kimono. Kimono are typically 39-43 inches (990-1,090 mm) long with eight 14-15 inches (360-380 mm) wide pieces. Modern kimono that are made with less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers, are more widely worn today in Japan. These pieces are sewn together to create the basic T-shape. Kimono are traditionally sewn by hand, a technique known as wasai. Kimono are traditionally made from a single bolt of fabric called a tanmono. However, even machine-made kimono require substantial hand-stitching. Tanmono come in standard dimensions, and the entire bolt is used to make one kimono. The finished kimono consists of four main strips of fabric – two panels covering the body and two panels forming the sleeves – with additional smaller strips forming the narrow front panels and collar. Kimono fabrics are frequently hand-made and -decorated. Kimono are worn with sash-belts called obi, of which there are several varieties. The two most common varieties of obi for women are fukuro obi, which can be worn with everything but the most casual forms of kimono, and nagoya obi, which are narrower at one end to make them easier to wear. In previous centuries, obi were relatively pliant and soft, so literally held the kimono closed; modern-day obi are generally stiffer, meaning the kimono is actually kept closed through tying a series of flat ribbons, such as kumihimo, around the body. The yukata (浴衣) is an informal kimono worn specifically in the spring and summer, and it is generally less expensive than the traditional kimono. It is worn for festivals and cherry blossom viewing ceremonies. Because it was made for warm weather, yukata are almost entirely made of cotton of an often lighter weight and brighter color than most kimono fabrics. The hakama, which resembles a long, wide pleated skirt, is generally worn over the kimono and is considered formal wear. Although it was traditionally created to be worn by men of all occupations (craftsmen, farmers, samurai, etc.), it is now socially accepted to be worn by women as well. Obi are typically long, rectangular belts that can be decorated and coloured in a variety of different ways, as well as being made of a number of different fabrics. Modern obi are typically made of a crisp, if not stiff, weave of fabric, and may be relatively thick and unpliant. Zōri are a type of sandal worn with kimono that resemble flip-flops by design, with the exception that the base is sturdier and at times forms a gently sloping heel. Zōri can be made of wood, leather and vinyl, with more formal varieties featuring decorated straps (known as hanao) that may be embroidered and woven with gold and silver yarn. The obi is similar to a belt, wrapping around the outer kimono and helping to keep all of the layers together, though it does not actually tie them closed. These shoes are typically worn with white socks usually mostly covered by the kimono’s hem. Geta are sandals similar to zōri that are made to be worn in the snow or dirt, featured with wooden columns underneath the shoes. Initially men used it under kimono. By 2012 new variations of it emerged. Multiple designers use the kimono as a foundation for their current designs, being influenced by its cultural and aesthetic aspects and including them into their garments. He has explored various techniques in design, provoking discussion on what identifies as “dress”. Issey Miyake is most known for crossing boundaries in fashion and reinventing forms of clothing while simultaneously transmitting the traditional qualities of the culture into his work. He has also been tagged the “Picasso of Fashion” due to his recurring confrontation of traditional values. His use of pleats and polyester jersey reflected a modern form of fashion due to their practical comfort and elasticity. Miyake found interest in working with dancers to create clothing that would best suit them and their aerobic movements, eventually replacing the models he initially worked with for dancers, in hopes of producing clothing that benefits people of all classifications. His two most popular series were titled, “Pleats, Please” and “A-POC (A piece of Cloth)”. Yohji Yamamoto and Rei Kawakubo are Japanese fashion designers who share similar tastes in design and style, their work often considered by the public to be difficult to differentiate. Over 10 years of Miyake’s work was featured in Paris in 1998 at the “Issey Miyake: Making Things” exhibition. They were influenced by social conflicts, as their recognizable work bloomed and was influenced by the post war era of Japan. They differ from Miyake and several other fashion designers in their dominating use of dark colors, especially the color black. American Vogue of April 1983 labeled the two “avant-garde designers”, eventually leading them to their success and popularity. The Japanese are often recognized for their traditional art and its capability of transforming simplicity into creative designs. As stated by Valerie Foley, “Fan shapes turn out to be waves, waves metamorphose into mountains; simple knots are bird wings; wobbly semicircles signify half-submerged Heian period carriage wheels”. These art forms have been transferred onto fabric that then mold into clothing. Traditional clothing often included a variety of colors in their time, and their use of “the absence of color” provoked multiple critics to voice their opinions and criticize the authenticity of their work. With traditional clothing, specific techniques are used and followed, such as metal applique, silk embroidery, and paste- resist. The type of fabric used to produce the clothing was often indicative of a person’s social class, for the wealthy were able to afford clothing created with fabrics of higher quality. Stitching techniques and the fusion of colors also distinguished the wealthy from the commoner, as those of higher power had a tendency to wear ornate, brighter clothing. Different forms of street fashion have emerged in different Tokyo locales, such as the rorīta in Harajuku, the koakuma ageha of Shibuya or the Gyaru subculture fashion style. Japanese street fashion emerged in the 1990s and differed from traditional fashion in the sense that it was initiated and popularized by the general public, specifically teenagers, rather than by fashion designers. It is characterized by “a knee length skirt or dress in a bell shape assisted by petticoats, worn with a blouse, knee high socks or stockings and a headdress”. Lolita fashion became popular in the mid-2000s. Different sub-styles of lolita include casual, sweet, gothic, black and hime (“princess”). Kogyaru or kogal is another Japanese street fashion based on a Shibuya club-hostess look. Women with this style tan their bodies and faces to a deep brown colour, and will frequently use light lipstick to accentuate the darkness and brownness of their complexion. The kogal trend is found in both Shibuya and Harajuku, and is influenced by a “schoolgirl” look, with participants often wearing short skirts, oversized knee-high socks, and sparkling accessories. English, Bonnie. Japanese fashion designers : the work and influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo. Valk, Julie. “The ‘Kimono Wednesday’ protests: identity politics and how the kimono became more than Japanese.” Asian Ethnologyno. Boivin, Mai (22 April 2013). “Okinawa Traditional Costume – Ryuso”. Retrieved 16 October 2021. See “Explanation” button for relevant costumes. Kennedy, Alan. “Japanese Traditional Dress and Adornment”. Department of Asian Art. Dalby, Liza (1993). Kimono: Fashioning Culture (1st ed.). Elizabeth LaCouture, Journal of Design History, Vol. Textile Museum (Washington, D.C.) (1996). The kimono inspiration : art and art-to-wear in America. Seattle: University of Washington Press. Rebecca A. T. Stevens, Yoshiko Iwamoto Wada, Textile Museum (1st ed.). Washington, D.C.: Pomegranate. p. Wada, Yoshiko Iwamoto; Rice, Mary Kellogg; Barton, Jane (2011). Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (3rd ed.). New York: Kodansha USA, Inc. pp. Rogers, Krista (14 December 2015). “Dress like an aristocrat from the Nara period at new costume rental shop in Nara【Photos】”. Badgley, Joshua L. “Women’s Outfits”. Stevens, Rebecca A. T.; Wada, Yoshiko Iwamoto (1996). The kimono inspiration: art and art-to-wear in America (first ed.). Washington DC, San Francisco: The Textile Museum, Pomegranate Artbooks. Liddell, Jill (1989). The Story of the Kimono. Rybalko, Svitlana (June 2012). “JAPANESE TRADITIONAL RAIMENT IN THE CONTEXT OF EMERGENT CULTURAL PARADIGMS”. Cogito (2066-7094, Humanities Source, EBSCO (Host). Badgley, Joshua L. “Women’s Garments”. Oxford: Oxford University Press. Fassbender, Bardo; Peters, Anne; Peter, Simone; Högger, Daniel (2012). The Oxford Handbook of the History of International Law. Ishimura Hayao et al. Robes of Elegance: Japanese Kimonos of the 16th-20th Centuries. 町人のきもの 1 寛文～江戸中期までの着物 Mami Baba. North Carolina Museum of Art (1988), p. Jackson, Anna. “Kimono: Fashioning Culture by Liza Dalby”. Bulletin of the School of Oriental and African Studies, University of London 58 (1995): 419-20. JSTOR. Rev. of Kimono: Fashioning Culture. Dalby, Liza. (Mar 1995) “Kimono: Fashioning Culture”. 更新日：2010年11月25日. Dees, Jan (2009). Taisho Kimono: Speaking of Past and Present (1st ed.). Milano, Italy: Skira Editore S.p.A. Grant, P. (2005). Kimonos: the robes of Japan. Ashikari, M. (2003). The memory of the women’s white faces: Japanese and the ideal image of women. Goldstein-Gidoni, O. (1999). Kimono and the construction of gendered and cultural identities. Yamaka, Norio. (Nov 9 2012) The Book of Kimono. Spacey, John (July 11, 2015). “16 Traditional Japanese Fashions”. Shoji, Kaori (2012-07-17). “Suteteko: Hanging out in underwear is a cool way to survive the summer heat”. Nakagawa, K. Rosovsky, H. (1963). The case of the dying kimono: the influence of changing fashions on the development of the Japanese woolen industry. Peirson-Smith, Anne; II, Joseph H. Hancock (15 July 2018). Transglobal Fashion Narratives: Clothing Communication, Style Statements and Brand Storytelling. Black, Daniel. “Wearing Out Racial Discourse: Tokyo Street Fashion and Race as Style.” Journal of Popular Culture 42, no. 2 (April 2009): p.241. Aliyaapon, Jiratanatiteenun, et al. Wikimedia Commons has media related to Clothing of Japan. 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笠帽limao, a general term for a type of Chinese hanfu hat, characterized by a wide brim. In ancient China, limao笠帽 were made of many materials, including bamboo baskets, pouches, ramie, yarn etc. The shape of limao笠帽 is with usually large brim, round, square or pointed tops. The later it was developed, the more it resembled today’s hats. The primary form had already appeared during the Shang and Zhou dynasties( 1600 B.C.-256B.C.), and its invention was naturally related to shading from the sun and rain, with a large brim that could both block the rain and shade the sun. In the Ming Dynasty this hat was called a damao大帽, yet it’s been around before Ming, inherited from the Song Dynasty and earlier dynasties. Then let’s take a look at what the limao笠帽 looked like worn by Ming Dynasty soldiers. What about the damao大帽 worn by non-military officials and civilians in Ming dynasty? So how did the term of damao in Ming dynasty come about? The picture below shows two limao unearthed from the tomb of the Yuan Dynasty minister Wang Shixian汪世显. The origin of damao is recorded in an ancient book of the Ming Dynasty, san cai tu hui《三才图会》(1607). Here is the quote 《三才图会》:“大帽，尝见稗官云:国初高皇幸学，见诸生班烈日中，因赐遮荫帽，此其制也，今起家科贡者用之。 ” Generally when Zhu Yuanzhang, the first emperor of the Ming Dynasty, saw the students taking the imperial examinations sweating in the scorching sun, he gave them damao to protect them from the sun. This book is an encyclopedic book written by 王圻Wang Qi and his song 王思义Wang Siyi, who were literature scholars and book collectors during the Ming Dynasty. The image below is a painting from the Tang dynasty, showing that the basic shape of the damao differs little from that of the Tang dynasty. The 平番得胜图ping fan de sheng tu is currently housed in the National Museum of China and is considered to be an accurate portrayal of the Ming dynasty’s army and is of high reference value. The above is the consistent history of limao笠帽 in Chinese hanfu. Chinese dynasties, worn by all classes. The basic shape with a high top made of black gauze and a knotted cord appeared early on. Of course, hats with brims is a common thing for every culture and are found in all parts of the world, just as Eastern and Western civilizations coincidentally documented the prehistoric Flood. For those interested in more specialized and complete information, here is a ten-minute video detailing the history of limao. To summarize, limao was first seen in the Han Dynasty terracotta figurines, called li笠, and documented in writings in the ancient book 急就篇(48b.c.-33b.c.), but the brim was not as big as it is now, in the Northern Dynasty(386-581), limao was inspired by the Xianbei people whose ancestors were nomads in ancient Siberia, so the brim was widened, and the top of the hat was added (recorded in the Northern Dynasty mural) and is almost the same as now, after the consistent development recorded but not limited to the Tang Dynasty terracotta figurines and Song Dynasty paintings, especially that Fanyangli influenced the limao style of the Yuan dynasty, and then the Yuan emperor Kublai Khan added curtains behind the limao, and beads and feathers according to the Mongolian custom, and then Ming emperors removed the curtains in the early Ming dynasty, forming a variety of styles. 1. damao was influenced by limao of all the previous dynasties, and arose spontaneously. 3. In the middle of the fifteenth century, Emperor Yingzong abolished the bead-string, stipulating that the damao could only be worn with plain string. 2. In the early Ming dynasty, influenced by the Mongolian style of the Yuan dynasty (Mongolia added the beads according to its own nomadic style), damao used the gems or beads as a string. 6. damao usually matches with wangjin网巾, a kind of mesh scarf tied back the bangs neatly. Now high-priced hanfu stores are making the damao exactly according to the Ming Dynasty style, and are considered historically accurate. However, some middle or low priced hanfu store are lazy and don’t make it accurately, so the details are confused with another country’ traditional hats with brim, or even worse. A few days ago a famous chinese artist accidentally used the picture of damao of that lazy store as reference to draw her super popular characters and post it on twitter, it could be controversial and offensive to some people from another culture who are not familiar with hanfu and lead to misunderstanding. And then she experienced cyberbullying which is really bad. I have cautiously observed, and must state that the damao she drew does not show a very clear feature that significantly different from the Ming dynasty damao of a traditional hat from another culture, and I think one reference picture of damao from taobao store does have a slight problem and is ambiguous. Incidentally, the non-damao hat that worn by the other character has also attracted criticism is no problem and actually called yishanguan翼善冠, one of the traditional types of hats for Chinese hanfu, which I will describe later. In a more general sense, was the ancient Chinese costume culture, while retaining its original form, influenced by xiyu culture (a general reference to non-Chinese countries on the Silk Road, the ancient cultures of Western and Central Asia and the ancient states, xiyu西域 literally meaning western region) and nomadic cultures such as xianbei culture? Yes, especially in the Tang Dynasty. Well, you get the idea. For example, yuanlingpao圆领袍/rongfu戎服. If a culture had close contact with China in ancient times, but is geographically separated from China by a long distance or even by the sea, the later its identity will become stronger, and what used to look like Chinese clothing will become less obvious, such as the kimono. Did ancient China radiate its costume culture to its neighbors(not all of them), leaving behind similar or even convergent forms, while at the same time they developing their own local characteristics? Yes. Here are examples of the basically accurate damao in style of ming dynasty by hanfu store. It does not contain all the types.

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Xiapei (Chinese: 霞帔; lit. It was also referred as xiapeizhui (Chinese: 霞帔坠) when it was ornamented with a peizhui (Chinese: 帔坠; pinyin: pèizhuì; lit. Chinese clothing accessory in either the form of a long scarf, a neckband, or in the shape of waistcoat depending on the time period. The xiapei appeared as early as the Qin dynasty and continues to be worn until now (although the shape of the xiapei evolved with time). In the Ming and Qing dynasties, the xiapei, along with the fengguan, became the daily clothing of queens and the formal clothing of the wives of senior officials. Since the Song dynasty, peizhui started to be used to ornate the xiapei. The xiapei eventually became part of the traditional Chinese wedding attire for commoners. The xiapei appears as early as the Qin and Han dynasty and was in the shape of the long, thin-silk scarf. The xiapei was also introduced and worn in the late Goryeo and Joseon where it was called hapi; it was bestowed by the Ming dynasty along with the jeokui and many other garment items. Wei, Jin, Northern and Southern dynasties. In the Sui and Tang dynasties, the xiapei gained its name due to its beauty like rosy clouds (霞; xia). During this period, it became increasingly popular. In the Tang dynasty, the xiapei was an embroidered scarf made of silk which was attached to a woman’s neck and shoulder that would wrap around her body. During the Wei, Jin, Northern and Southern dynasties, the xiapei was known as embroidered collar. Peizhui (帔坠), the ornament which was used to decorate the xiapei, were among the jewelries given by wealthy families and high status families to women on their wedding. In the Song dynasty, xiapei became a component part of the formal attire; the embellishment of the xiapei in this period were determined according to the social rank of its wearer. Similarly to the way it was worn in the Tang dynasty, the xiapei was still attached to the neck and shoulder of a woman, except that it was repositioned to also hang on her chest in order to display the ornament (i.e. peizhui) which was attached to the front end of the xiapei. In the Ming dynasty, the xiapei was inherited from the one worn in the Song dynasty. It was worn by queens as daily attires and by the wives of senior official as a formal attire. It was also used as part of the ceremonial attire for titled women. The Ming dynasty xiapei was a form of long embroidered neckband which was trimmed with gold and lace. Women who were given rank of 1st and rank of 2nd by the Ming emperor had to wear a xiapei which was decorated with golden cloud and pheasant patterns embroidery. The xiapei eventually became part of the wedding attire for commoners. Ming dynasty Empress Xiao yizhuang. Women who were given the rank of 8th and 9th had to wear a xiapei which was embroidered with branch pattern. Ming dynasty Empress Xiaoduan wearing xiapei. Ming dynasty noblewomen wearing a blue embroidered xiapei over her red robe. Ming dynasty noblewomen wearing a green embroidered xiapei over her red robe. Woman wearing xiapei; portrait of an official woman. Woman wearing xiapei in late Ming. Coloured tassels were decorated the bottom part of the waistcoat. In the Qing dynasty, the Ming dynasty xiapei (long scarf) evolved into the Qing dynasty xiapei which was in the form of a sleeveless waistcoat. The waistcoat-shaped xiapei was tied at the sides, reached below the knee and had a fringed pointed bottom hem. Throughout the Qing dynasty, Han Chinese women, following the Ming dynasty customs, would wear the xiapei on their wedding day. Similarly to the Ming dynasty, the waistcoat xiapei was worn by the queens as a daily form of attire while the wives of senior official as a formal attire. Ordinary women wear allowed to wear xiapei on rare occasion, such as weddings and funerals. The xiapei was actually first worn as part of the Wedding attire and after the wedding, it would be worn for special events. Chinese woman wearing xiapei, Xu Family of Guangzhou Chinese officials, Qing dynasty. Qing dynasty lady in a red robe and xiapei over shoulders. Waistcoat-like xiapei, Qing dynasty. Women’s waistcoat-like xiapei, Qing dynasty, late 19th century. The xiapei was called hapi in Korea; it was a long, wide piece of black silk which was worn over the shoulders. Hapi was an ornamental garment and was a ceremonial cape which was worn by the queens, crown princess, and royal women (including the consort of the crown prince, the consort of the crown prince’s son, the queen dowager, and the grand queen dowager) along with the jeokui. According to the Annals of Joseon, from 1403 to the first half of the 17th century the Ming Dynasty sent a letter, which confers the queen with a title, along with the hapi and many other items. Hapi (black silk band with gold ornament motifs) is worn over the shoulders. The hapi was bestowed by the Ming dynasty and was included in the set of ceremonial attire sent to the queen. Black hapi worn on top of jeokui. Encyclopedia of Korean Folk Culture. San Francisco: Long River Press. Yang, Shaorong (2004). Traditional Chinese clothing : costumes, adornments & culture (1st ed.). Lewandowski, Elizabeth J. (2011). The complete costume dictionary. Lanham, Maryland: The Scarecrow Press. KESSLER, ADAM T. (2017-08-23). “The Last Days of the Song Dynasty: Evidence of the Flight of Song Officials to Southeast Asia before the Mongol Invasions”. Journal of the Royal Asiatic Society. National Museum of Korea. San Francisco, CA: China Books & Periodicals. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Vollmer, John E. (2007). Dressed to rule : 18th century court attire in the Mactaggart Art Collection. Tibberts, Jennifer (2021-01-01). “Investigating How Qipao and Hanfu Dresses are Representative of China”. Mactaggart Art Collection. Edmonton: University of Alberta Press. Encyclopedia of Korean Folk Culture. This page was last edited on 24 April 2024, at 20:38 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Mamianqun, also known as the horse-faced skirt, is a type of skirt worn by Han Chinese women as the bottom of a garment item in Hanfu. It is named this way because of its resemblance to the mamian fortress, which has stairs on either side (like the pleats) and a door in the front and back (like the skirt doors). Each of these two panels is identical and forms half of the skirt, han dynasty hanfu which is then sewn together with a single waistband creating the overlapping front. The Mamianqun is composed of two overlapping panels of fabric that wrap around the lower body. The Mamianqun originated in the Song and Liao dynasties and became popular for its functionality and aesthetics. And it was the most distinctive style of women’s clothing in the Ming and Qing dynasties. The Mamianqun is a beautiful and unique type of skirt that has a rich history in Chinese culture. It continued to be worn in the Yuan, Ming, and Qing dynasties. It is still worn today and has been modernized to fit contemporary fashion trends.

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The Southern and Northern Dynasties (420-589 AD) marked a transitional period in Chinese history. Despite a fragmented political landscape, Hanfu, the traditional clothing of the Han Chinese, continued to evolve and thrive. This article delves into the intricacies of Hanfu fashion during this era, exploring its styles, influences, and significance. Influences from the Central Plains, as well as foreign styles like Central Asian and Indian, were visible in clothing choices. 1.2 Women’s Hanfu: Women’s clothing featured layered garments, including a robe-like outer garment called Ru, worn over a long skirt (Qun). 1.1 Economic Prosperity and Influences: During this period, southern China witnessed economic growth and greater regional contact, resulting in the infusion of diverse cultural influences in Hanfu. 1.3 Men’s Hanfu: Men’s attire typically consisted of a robe (Pao) and skirt-like trousers (Shang). The length and style of the robes varied according to social status and occasions. Weaving patterns like checks, plaids, or vertical stripes were popular, reflecting the individual’s identity and fashion taste. Detailed embroidery, vibrant colors, and accessories such as waistbands and headdresses were common, representing elegance and sophistication. 2.1 Political Changes and Fashion: The Northern Dynasties witnessed frequent changes in political power and regional conflicts. This turmoil affected Hanfu fashion, resulting in the emergence of distinctive styles. 2.2 Women’s Hanfu: Hanfu for women in the north had a more somber and practical style compared to the southern counterparts. The skirt (Qixiong Ru) became a popular choice, consisting of a jacket and pleated skirt. The color palette shifted towards darker shades, reflecting the harsher and colder northern climate. 2.3 Men’s Hanfu: Men’s clothing experienced changes, with Northern Dynasties’ fashion favoring layered garments and complex patterns. The clothing designs often reflected military influences due to the prevalent warfare during this period. Robes with high collars, narrow sleeves, and elaborate brocade became popular. In the Northern Dynasties, the hairstyle of women often featured decorative headdresses such as gold hairpins adorned with pearls or jade. 3.1 Headwear: In the Southern Dynasties, women often wore crowns, hairpins, and decorative combs, while men preferred headscarves and various forms of turbans. 3.2 Accessories: Both men and women adorned themselves with various accessories, including jade pendants, belt ornaments, and fans. 3.3 Footwear: Traditional Chinese footwear during this period included cloth shoes (Niu’er), boots (Jixie), and layered socks. Decorative details, embroidery, and fabric choices often complemented the overall Hanfu attire. 4.1 Social Hierarchy: Hanfu played a significant role in reflecting an individual’s social status and identity. These accessories represented social status, personal taste, and cultural symbolism. 4.2 Cultural Identity: Hanfu acted as a symbol of cultural identity and pride, reinforcing the Han Chinese’s deep connection with their ancestral traditions. 4.3 Influence on Later Dynasties: The fashion trends and influences from the Southern and Northern Dynasties left a lasting impact on subsequent dynasties’ clothing styles and contributed to the development of Hanfu as a whole. 5.1 Decline and Suppression: With the establishment of the Sui Dynasty in 589 AD, Hanfu faced a decline due to political changes and the implementation of new clothing norms. Different styles, fabrics, and colors were reserved for specific social classes, enabling easy identification within the society. The subsequent Tang Dynasty further enforced a dress code called Tangzhuang, which relegated Hanfu to ceremonial and traditional contexts. 5.2 Modern Revival: In recent decades, there has been a resurgence of interest in Hanfu, fueled by a desire to embrace and promote traditional Chinese culture. Enthusiasts and Hanfu associations have played a crucial role in reviving and preserving the art of Hanfu making and wearing. 6.1 Tang Dynasty: Although the Tang Dynasty favored Tangzhuang, remnants of Hanfu styles from the Southern and Northern Dynasties can still be seen in certain ceremonial court attire, such as the long, flowing robes worn by the emperor. Festivals, gatherings, and online communities have sprung up to celebrate and share knowledge about Hanfu. The growing interest in aesthetic expression led to the emergence of various intricate designs, elaborate adornments, and decorative elements. 6.2 Song Dynasty: The revival of Hanfu during the Song Dynasty drew inspiration from the earlier dynasties, including the Southern and Northern Dynasties. 6.3 Ming and Qing Dynasties: The Ming and Qing Dynasties showcased a more conservative approach to clothing, with an emphasis on intricate embroideries and sophisticated details. Nonetheless, subtle influences from the Southern and Northern Dynasties continued to shape the overall style of formal and ceremonial attire. 7.1 Cultural Preservation: The reviving interest in Hanfu has contributed to the ongoing preservation and restoration of traditional Chinese clothing. Efforts to rediscover and recreate historical patterns, designs, and craftsmanship techniques are keeping this invaluable art form alive. 7.2 Cultural Identity and Pride: Wearing Hanfu serves as a source of cultural pride for many Chinese individuals, as it reconnects them to their rich history, traditions, and heritage. It has become a medium for promoting Chinese culture on a global scale. 8.1 Hanfu Revival Movement: Over the past decade, the Hanfu revival movement has gained significant momentum in China and abroad. 7.3 Global Recognition: Hanfu has gained international recognition, captivating individuals around the world with its beauty, elegance, and historical significance. Enthusiasts, known as “Hanfuists,” actively participate in cultural events, costume parties, and social gatherings while dressed in Hanfu attire. This movement not only celebrates ancient traditions but also fosters a sense of community among like-minded individuals. 8.2 Modern Adaptations: Contemporary designers have embraced the essence of Hanfu while incorporating modern elements to make it more accessible and wearable in everyday life. This fusion of tradition and innovation has allowed Hanfu to transcend the boundaries of time and become a versatile fashion choice for those seeking a connection to Chinese cultural heritage. 8.3 Digital Influence: The rise of social media platforms and online communities has greatly contributed to the popularization of Hanfu. Sharing photos, tutorials, and discussions online has helped spread awareness and knowledge of Hanfu fashion, attracting a wider audience and fostering a vibrant online Hanfu community. 9.1 Authenticity: With the revival of Hanfu, debates surrounding authenticity and historical accuracy have emerged. Questions arise regarding the sources of information, the accuracy of historical records, and the interpretation of designs. Balancing historical accuracy with modern reinterpretations poses a challenge for those seeking to embrace Hanfu as a living cultural tradition. Some argue that wearing Hanfu without understanding its cultural significance and history can diminish its value and perpetuate cultural stereotypes. It is crucial to approach Hanfu with respect, understanding, and a willingness to learn and appreciate the culture it represents. 9.2 Cultural Appropriation: As Hanfu gains popularity beyond China’s borders, concerns about cultural appropriation have been raised. The revival and continued popularity of Hanfu in contemporary times reflect the enduring appeal and significance of traditional Chinese clothing. As more people embrace Hanfu as a form of self-expression and cultural pride, it is likely to become a lasting and influential fashion trend. Efforts to preserve the skills of Hanfu making, promote historical research, and encourage cross-cultural dialogue will contribute to the growth and sustainability of this ancient art form. The Southern and Northern Dynasties witnessed a fascinating era of transformation and diversity in Hanfu fashion. This traditional Chinese clothing evolved and adapted to changing social, political, and cultural landscapes. Its intricate designs, vibrant colors, and beautiful accessories reflected not only fashion but also social status and cultural identity. The legacy of Hanfu in the Southern and Northern Dynasties continues to inspire and shape contemporary appreciation of traditional Chinese attire. Its influence on later dynasties and contemporary fashion demonstrates its enduring appeal and legacy. Hanfu in the Southern and Northern Dynasties represents a remarkable period of evolution, diversity, and cultural significance in traditional Chinese clothing. The revival movement, coupled with the global recognition of Hanfu, ensures that this cherished cultural heritage will continue to thrive, providing a glimpse into China’s rich history and traditional identity.