There’s a certain kind of outfit that turns heads, not just because it’s beautiful, but because it leaves people wondering: Is this really how ancient people dressed? Enter the Qixiong Ruqun (齐胸襦裙), a style of Hanfu where the skirt is tied all the way up to the chest—sometimes even under the armpits. It’s dramatic. It’s feminine. And it’s sparked years of debate over whether it’s based on history or pure fantasy. The Rise of a Silhouette That Defies Gravity At a glance, the Qixiong Ruqun feels like a distant cousin of the Korean Chima Jeogori—a wide-skirted dress worn high on the torso, paired with a short jacket. In fact, when you fluff out the skirt and widen the waistband, the two styles can look eerily similar. But the rabbit hole runs deeper than visual resemblance. Questions around the Qixiong Ruqun don’t just come down to aesthetics. They ask something more fundamental: How do you even keep this thing from sliding down? Anyone who’s tried wearing one has likely felt that awkward sensation—the pull of gravity on a waistband that doesn’t seem to be anchored to anything solid. It’s not a minor wardrobe inconvenience. It’s a design flaw. And it’s raised…

This section contains Ruqun (襦裙), which can be divided into: Jiao Ling Shang Ru (交领上襦), Dui Jin Shang Ru (对襟上襦), Zhe Qun (褶裙) type A, Zhe Qun type B, Qi Xiong Shang Ru (齐胸上襦). Size range: Jiao Ling Shang Ru, Dui Jin Shang Ru, and Qi Xiong Shang Ru (155/80A to 175/96A),  Zhe Qun (155/64A to 175/80A). Please read the introduction of the topic and how to use this guide in advance. The Ruqun in this section should actually be called "Shan Qun (衫裙)". Ruqun is supposed to refer to the Hanfu style from the Wei and Jin dynasties, with a Yaolan (腰襕).   Introduction Ruqun (襦裙) is one of the earliest and most basic clothing forms in the history of Chinese dress. The Ruqun described here generally has a short upper Ru, reaching only to the waist or flush with the chest, while the Qun (skirt) is long and hangs down to the ground. According to the different styles of the collar, can be divided into: Jiao Ling Ruqun(交领襦裙, cross-collar); Dui Jin Ruqun(对襟襦裙, lapel). According to the height of the skirt waist, can be divided into: Zhong Yao Ruqun(中腰襦裙, mid-waist), the same as the Qi Yao Ruqun(齐腰襦裙); Gao Yao…

Ruqun (襦裙), is one of the earliest and most basic forms of Hanfu. Ru means top garment, and Qun means skirt. There are two types of Ruqun if categorized by where the skirt is tied, one with the skirt tied above the chest (the chest-high Ruqun - Qixiong Ruqun), and the other one is tied on the waist, and for today, we are going to talk about the waist-high Ruqun - Qiyao Ruqun. Let's take a look at history and how to wear the Qiyao Ruqun.   1: History of Qiyao Ruqun Ruqun is one of the styles under the Yi Chang (衣裳) category of hanfu, Yi Chang basically means top and skirt, although traditional Chinese clothing varied greatly from each dynasty to the next, the few basic styles remained unchanged for the most part. During the Tang Dynasty, other than the iconic Qixiong Ruqun, a variety of Qiyao Ruqun styles were also in favor. In this famous Chinese painting “Night Revels of Han Xizai (韩熙载夜宴图)”, all the musician ladies were wearing Qiyao Ruqun, with bold and vibrant colors.   2: Wear the Top Garment of Qiyao Ruqun Unlike Qixiong Ruqun, you have to wear a camisole with the Qiyao…

Qixiong Ruqun(齐胸襦裙) is a typical style during the Tang Dynasty, the golden age of China. You can find similar styles of clothing in the famous Tang Dynasty paintings. This is a type of Ruqun with the skirt tied above the breasts and worn with short blouses. Now let’s look at the individual pieces and how to wear Hanfu - Qixiong Ruqun.   1: Wear the Blouse of Qixiong Ruqun The word Ruqun translates into top garment and skirt in Chinese, it is one of the earliest and most basic forms of Hanfu. This blouse has parallel collars and is relatively short to match the long skirt, it is very common to find flower and plant shaped patterns on fabrics during the Tang Dynasty. Put the blouse on first, and tie the knot.   2: Wear the Skirt of Qixiong Ruqun Moving onto the skirt, it is long and pleated, unlike traditional skirts which are usually one piece of fabric wrapped around the body, this modern twist separates the back and front panel and has two sets of ties, it is designed to ensure a better fit and help it stay put on the body. The first step into the center…

Today, we share a group of photos of Ruqun, the posture and style is worth learning Ruqun has always been a popular style, put on your ruqun and take beautiful pictures~

Before, we introduced the way to wear a wist ruqun(one slice), and next, we will simply tell you how to wear a Qi xiong Ruqun(Chest Ruqun). Qi Xiong Ruqun is made up of front and back pieces(as the picture show). Step 1: Separate the front and back pieces and wear the back ones first. Step 2: tie up the back pieces. Step 3: tie up the front one(put white tape and red tape together). Step 4:Put an X-fork behind you, then take the tape to the front. Step 5: Make a knot. Step 6: The next step is to decorate the extra tape, wrap them in circles, just like a kind of Chinese food: Mahua (麻花, Fried Dough Twists). Step 7: Tie a knot at the end. Step 8: The red tape also needs to be wrap in circles. Finished~ Wearing Hanfu does not seem to be such a difficult thing, but it also requires repeated attempts to get the best look. If you have any questions during the wearing process, you are welcome to contact us by email, we will give you a more detailed explanation. More about how to wear Hanfu can be found here.

Many friends who have not touched Hanfu will have a lot of confusion when they wear Hanfu for the first time. How to wear it? Well, we will have a series of articles to simply tell you how to wear Hanfu. Today, let me show you how to wear a Waist Ruqun. First of all, what you have to know is that the Hanfu were without belts and buttons, all by lacing. The first one to introduce is Waist Ruqun(one slice), one slice means that the only one piece of dress. Step 1: Put the skirt over the waist, align the center of the skirt with the middle of the body, wrap the skirt around the waist and wrap the lower body. (This process is similar to a bathrobe after bathing.) Step 2: Sort out, and from the side, the place to be tied is left out. Step 3: Wrap the rope around the back (Note: cross the rope twice) Step 4: Then wrap around the front of the body. Step 5: Pass the rope through the part of the rope that has been tied to the waist Finished~ Wearing Hanfu does not seem to be such a difficult thing, but…

The previous article's introduction focuses on women's Ruqun, and then we introduce men's Ruqun. The men's Ruqun is a male dress, composed of a top blouse and a lower dress, and the upper jaw is mostly handed over(Jiaoling). Compared with the women's skirts, the men's skirt style and pattern are plainer. "Zhou Yi(周易)" said that “Yellow Emperor, Yao, Shun is wearing clothes and the world is ruled”, which shows that in the Yellow Emperor's era, the tops of the blouses were the styles of the ancient Chinese people. This is the prototype of the Ruqun (a top blouse and a lower dress)of the next generation, costumes of the blouses, and other costumes. Although its specific shape still needs further research, but the suit of a top blouse and a lower skirt lays the foundation of Hanfu. Until the appearance of Zhiju, Quju, and so on, the number of people wearing Ruqun(Ru dress) has been reduced, but the official high-standard men's dress was still the Ruqun system(a top blouse and a lower dress), which continued until the Ming Dynasty. The traditional dress of Hanfu is an enclosed skirt, which is made up of several pieces of skirts and is connected to…

In the previous article, we introduced the Ruqun(襦裙), The Ruqun is composed of a short top and a long dress, that is, composed of a top and a lower dress. Song Suzhen's "Silkworm" poem: "I don't worry about the bread bait, I have fortunately had a Ruqun(Ru dress)." The style of the Ruqun has appeared in the Warring States period. The collar of the scorpion is divided into "Jiaoling Ruqun" and "Zhiling Ruqun". The waist of the dress is divided into"Zhongyao Ruqun", "Gaoyao Ruqun" and "Qixiong Ruqun". Ruqun is classified according to whether they are clipped or not. The Ruqun can be divided into single Ruqun and double Ruqun, single Ruqun close to the shirt, and double Ruqun are close to coat. Next to introduce is "Banbi (半臂, half arm)", it and the shawl constitute an important part of the Ruqun. "Banbi" classification: 1.according to the collar type, which can be divided into : Duijin half-armed dress Jiaoling half-armed dress Tanling half-armed dress (Tang Dynasty). It is a short-sleeved top for summer use in ancient China. It was only popular in the private sector and was convenient for the daily life and labor of the working people. The length of…

The Ruqun(襦裙) is one of the earliest and most basic forms of clothing in the history of Han costumes. From the Warring States period with physical evidence, at the end of the Ming and Qing Dynasties with the "shaving and easy clothing". Is the most basic form of traditional Han costumes. In the meantime, more than 2,000 years, although the length and width have changed, the basic form has always maintained the original style. The Ruqun(襦裙) consists of the lower dress and the upper jaw (is short coat) and is generally called the Changfu (常服, uniform). According to the collar type, the Ruqun can be divided into: "Jiaoling Ruqun (交领襦裙, cross collar Ruqun)" "Zhiling Ruqun (直领襦裙, straight collar Ruqun)" According to the waist position of the dress, can be divided into: "Zhongyao Ruqun (中腰襦裙, a middle waist Ruqun)" "Gaoyao Ruqun (高腰襦裙, a high waist Ruqun)"  "Qixiong Ruqun (齐胸襦裙, a chest Ruqun)" the Jiaoling Ruqun: the cross-collar dress is quite common in the Song Dynasty, it is characterized by the captain for the cross-collar.Can be subdivided into three: Jiaoling-Qiyao Ruqun(交领-齐腰襦裙,cross-collar Qi waist Ruqun): Qiyao Ruqun: dress's waist and waist are flush. Jiaoling-Gaoyao Ruqun (交领-高腰襦裙,cross-collar high waist Ruqun): Gaoyao Ruqun: The line…

When watching Chinese period dramas, viewers often notice characters wearing elegant gowns with long, flowing trains that sweep the ground. This style sparks curiosity about its origins. Is this a genuine element from ancient Chinese fashion, or has it been influenced by Western costume design? The answer lies in a fascinating journey through history, where clothing served as a symbol of status and cultural identity. This article delves into the evolution of these trailing garments, examining their roots in early Chinese dynasties and how they compare to similar trends in Europe. By understanding the past, we can appreciate the blend of tradition and artistic license in modern storytelling. Ancient Roots In the Warring States Period, early forms of trailing clothing appeared, as seen in silk paintings from Chu State tombs. These garments evolved into more structured robes during the Eastern Han Dynasty, where long trains became associated with formal wear for nobility. Over time, this style adapted, influencing later periods like the Tang Dynasty and Song Dynasty. Artworks such as Admonitions of the Instructress to the Court Ladies (女史箴图) depict women in layered outfits with distinct trailing elements, showcasing how these designs were idealized in court life. The persistence of…

Hanfu represents the enduring attire system of the Han ethnic group, reflecting centuries of cultural practices and aesthetic values. This clothing is defined by precise elements like the right-crossing collar, broad sleeves, and hidden ties, distinguishing it from modern interpretations. It serves as a functional record of China's historical identity, blending philosophy with daily wear. Early forms such as the Shenyi (深衣) from the Pre-Qin era laid the foundation, emphasizing unity in design. The Han period featured the Quju (曲裾) for formal events, while the Tang dynasty's Qixiong Ruqun (齐胸襦裙) expressed vibrancy and freedom. Song styles like the Beizi (褙子) favored understated elegance, and Ming innovations such as the Mamian Qun (马面裙) and Liling Aozi (立领袄子) highlighted technical mastery. Each shift mirrored societal values, creating a rich visual legacy. https://youtu.be/O8j8zk_WsBo 1. The basic characteristics of Hanfu Hanfu represents the traditional dress of the Han Chinese people, with a history that stretches back millennia. Its design principles are deeply rooted in cultural practices and aesthetic ideals, offering a unique perspective on garment construction. This clothing style emphasizes fluidity and grace, moving beyond mere fashion to embody a way of life. Each element of Hanfu serves a purpose, blending form and function…

The happy ending went viral on Weibo. Mei Zhuyu and Wu Zhen overcame the barrier between humans and demons to be together, and viewers were thrilled: "This is the HE (happy ending) we wanted!" Unlike other hit dramas that relied on constant twists, cliffhangers, or heavy plotting, Moonlit Reunion locked onto what today's viewers actually want to feel. With delicate visuals and the flow of everyday emotions between characters, the show offered audiences a journey into another world. That difference allowed Moonlit Reunion to break free from the clichés of fantasy costume dramas. Its emotional frequency matches modern audiences—when we're touched by the pure love in the show, deep down it's because we all long for the courage to choose and the right to be chosen. So what exactly made the drama hit that emotional "switch" for so many? Huan.tv Big Data sat down with producer Wu Ruoyan to look behind the curtain. All Cast, All In: Form and Spirit as One "First the form, then the spirit." That was the casting philosophy, and it's why Moonlit Reunion could hook viewers in seconds. Whether it's the contrast written into the leads or the arcs given to supporting characters, every performance…

Who hasn’t been mesmerized by Tian Xiwei’s (田曦薇) stunning looks in the hit drama Moonlit Reunion (子夜归)? From the flowing Qixiong Shanqun (齐胸衫裙) to the intricate updos adorned with hairpins, let’s uncover the Chinese aesthetic secrets behind these viral styles that have taken the internet by storm. Clothing: Timeless Hanfu Silhouettes Qixiong Shanqun is a signature skirt style for women during the Sui, Tang, and Five Dynasties. Its defining feature is an extremely high waistline—usually positioned above the chest—which elongates the figure and creates a graceful, flowing effect when walking. Tanling Banxiu (坦领半袖) is a standout short outer layer in the Hanfu system. “Tanling” refers to its wide, curved or square neckline, which gracefully reveals the neck and collarbone, while “Banxiu” denotes short sleeves that end at the elbows. Worn over a short inner shirt, it adds depth and layers. Its origins trace back to the upper jacket of the Wei and Jin dynasties, evolving over time into its current form. Duopo Jianse Qun (多破间色裙) gets its name from the number of fabric panels—terms like “six-panel skirt” or “twelve-panel skirt” highlight its complex sewing technique. In the Sui and Tang dynasties, multi-panel skirts were all the rage with high-chest long…

Have you ever noticed how often chest-baring dresses dominate dance scenes in today"s historical dramas? This singular style, frequently referred to as the "Dunhuang style," has become a ubiquitous visual shorthand. But a glance through history"s rich tapestry reveals a far more diverse and fascinating story of dance attire, where each dynasty expressed its unique aesthetic and cultural values through movement and fabric. Warring States Elegance During the Warring States period, the ideal of a slender, graceful figure was paramount. This is perfectly captured in the carved "Yu Wu Ren (玉舞人)" figurines. These artifacts depict dancers in long, trailing Zhiju (直裾) robes with flowing sleeves, their hair styled in intricate buns. The emphasis on a tiny waist was not merely aesthetic; it was a cultural reflection of the Chu kingdom"s famous preference for slender figures, a trend so influential it was said the kingdom"s people would starve themselves to achieve it. The dance movements from this era aimed for an ethereal, floating quality. Dancers used their elongated sleeves and heavy skirts to create beautiful, sweeping motions, making their bodies seem almost weightless. This connection between costume and choreography was intrinsic, with the clothing designed to enhance and amplify the dancer"s…

Silk whispers against stone. Graceful sleeves dance with upturned eaves. Across centuries, Hanfu and ancient Chinese architecture engage in a silent, breathtaking dialogue. These two pillars of Chinese civilization embody shared principles of balance, symbolism, and profound respect for nature. Walking through a courtyard in flowing robes isn't merely a photo opportunity; it's stepping into a living canvas where fabric and form converse in the language of heaven, earth, and humanity. This encounter reveals the deep, interwoven roots of China’s aesthetic soul. Shared Foundations Both Hanfu and ancient structures spring from the core principle of Tian Ren He Yi (天人合一) – harmony between heaven and humankind. The classic Shenyi (深衣) garment, with its distinct upper and lower sections, mirrors the division between sky and land. Its wide sleeves symbolize boundless capacity, embracing the universe's vastness. Similarly, imperial palaces stand as testaments to cosmic order through strict axial symmetry, reflecting the belief in a central, governing power. The iconic swooping rooflines, known as Feiyan (飞檐), defy their earthly anchors, reaching skyward with dynamic elegance. Observing a figure in a Ruqun (a short jacket over a long skirt) within the Forbidden City reveals uncanny visual echoes. The layered skirt echoes the tiered…

Once confined to museum displays and historical dramas, traditional Chinese attire now flows through city streets worldwide. This isn't costume play—it's a cultural homecoming. Hanfu, the umbrella term for China’s pre-17th-century clothing systems, has leapt from ancient scrolls into contemporary wardrobes. Young designers, historians, and everyday enthusiasts weave threads of millennia-old aesthetics into modern life, creating wearable poetry that honors heritage without sacrificing relevance. The movement transcends fashion; it’s a tactile dialogue between dynastic splendor and digital-age identity, reshaping how generations connect with their roots. Echoes in Every Stitch Hanfu’s brilliance lies in its architectural diversity, mirroring China’s philosophical shifts across eras. The structured solemnity of Zhiju (直裾) robes from the Ming Dynasty speaks of Confucian order, while the Tang Dynasty’s wide-sleeved, high-waisted Ruqun embodies an open, cosmopolitan golden age. Song Dynasty silhouettes favored subtle elegance—cross-collared jackets paired with flowing skirts reflecting scholarly refinement. Each cut, from the curved-hem Quju (曲裾) to the horse-faced pleats of Mamianqun (马面裙), encodes dynastic values in fabric. Beyond aesthetics, these designs solved practical needs. Wide sleeves circulated air in humid summers, layered robes insulated against northern winters, and silk’s natural temperature regulation made it ideal for varied climates. The precision of symmetrical cutting (typically…

Hanfu whispers where Western fashion shouts. This ancient Chinese attire reveals its genius not through ornate excess but through deliberate emptiness—inviting wind, light, and human grace to complete its design. Like a scroll with unpainted mist or a melody’s resonant pause, Hanfu transforms wearers into collaborators with nature. Its flowing sleeves and undyed linens become canvases for shifting sunlight and passing breezes, proving restraint holds more power than saturation. This philosophy of purposeful absence—Liubai (留白)—turns clothing into living art, where the unsaid speaks loudest. Colors Borrowed from Earth and Sky Forget laboratory dyes. Hanfu hues emerge from dawn skies, mossy stones, and autumn forests. Moonlight White isn’t stark but hazy—like fog on rice paper. Stone Blue mirrors rain-soaked cliffs, softened by centuries. Ocher glows like sunset-warmed clay. These colors reject artificial vibrancy, instead echoing landscapes. A plain white skirt in a gingko grove becomes gold-streaked when leaves pirouette onto its folds. Fabric doesn’t dominate; it adapts. Wind paints temporary patterns, shadows add depth, and seasons dictate palettes. Hanfu wearers don’t just dress—they carry fragments of the living world. This harmony extends beyond pigments. Linen and hemp breathe with the wearer, their muted tones shifting under sunlight like river currents. A…

The crimson robes shimmer like liquid sunset, azure silks hold captured mist, and golden threads pulse with imperial legacy. When Hanfu flows, it's not merely fabric in motion; it's a millennia-old chromatic saga whispering secrets of the East. Each hue, meticulously extracted from roots, leaves, and blossoms, carries profound narratives of status, season, and spirit, woven into the very warp and weft of Chinese civilization. Far more than aesthetic choices, these colors formed a silent language – a vibrant lexicon where every shade spoke volumes about the wearer's place in the cosmic and social order. Today, as this ancient attire experiences a renaissance, the timeless palette of Hanfu continues to captivate, bridging dynasties past with the bold expressions of modern style. Crimson No color resonates deeper in the Chinese soul than crimson. Revered since the Shang and Zhou dynasties, this potent hue symbolized supreme nobility and auspicious fortune. It pulsed at the heart of life's most sacred ceremonies. Imagine heavy silk blazing with China Red, embroidered golden phoenixes and peonies dancing on phoenix coronets and ceremonial capes. Sunlight catching intricate Pan Jin embroidery creates a regal shimmer reserved for emperors and empresses. Beyond the bridal chamber, crimson commanded reverence in…

What makes an outfit transcend centuries? Zhao Liying's (赵丽颖) recent embrace of Tangzhuang (唐装) offers a masterclass in ancient Chinese aesthetics. Moving beyond her usual youthful charm, she embodies imperial elegance through deliberate choices in hairstyling, fabric selection, and makeup. This transformation reveals core principles of Tang fashion – principles centered on sophistication achieved through restraint, quality, and harmony, not mere extravagance. Her look serves as a powerful testament to the enduring brilliance of historical Chinese design, proving its relevance for modern style seekers. Hairstyle Forget towering, jewel-encrusted creations. Zhao Liying's Tangzhuang impact begins with a remarkably simple coiled bun. This choice defies a common misconception: that historical Chinese hairstyles require overwhelming complexity to feel regal. Her sleek, unadorned updo demonstrates that true luxury lies in clean lines and impeccable execution. The polished finish creates an immediate sense of refinement, allowing the wearer's features and the clothing itself to take center stage. The allure of intricate braids and multiple ornaments is understandable, yet often leads to visual chaos. Zhao Liying's stylists understood that a single, well-crafted bun provides a stronger foundation for elegance. It offers a timeless quality, avoiding the dated look that overly elaborate styles can project. This focus…