Fashion

Yang Zi's Ming-style square collar in the ancient costume drama "Jia Ye (家业)" is truly eye - catching. Square collars are rare even today, so were they really popular in ancient times? Netizens are saying it's such a niche style! Let's start with the fact that similar rectangular and square collars already existed during the Shang and Zhou dynasties. However, the structure of these collars still requires further research, and they weren't very popular. Among traditional collars, the cross - collar was the most common. Rich Ming - style Collars By the Ming Dynasty, there was a wide variety of collars, including stand collars, round collars, square collars, and cross collars. While the front - opening collars popular in the Tang and Song Dynasties and classic cross collars were common, square collars were relatively rare. But they often appeared in Ming Dynasty portraits. You could wear a cross - collar or stand - collar inside a square collar, like Yang Zi wearing a stand - collar and Han Dongjun a cross - collar in the leaked photos of "Jia Ye" Artifacts with Square Collars Many clothing artifacts unearthed from the Ming Dingling Mausoleum feature square collar elements. Most of them…

In early period cdramas, especially those with Tang-style costumes, this kind of big flower hairdo was often seen. But why is it less common today? Well, now there are more references from cultural relics, offering a wider range of options for hair and makeup styles. However, the association between the Tang Dynasty and wearing big flowers still persists as a stereotype in most people's minds. The Tang people's fondness for wearing peonies in their hair was closely linked to their love for these flowers. Peonies are so rich and magnificent, and some rare varieties are extremely precious. Only by wearing a whole peony could one show their status. Moreover, once a peony was worn, there was no room for other flowers, leading to the popular custom of wearing a single big flower on the head. Additionally, when the Tang people styled their hair in the 'big head style', there was some empty space on the head, so a big flower wouldn't look overly 'garish'. The most famous example is the Ladies with Head - flowers (簪花仕女图), which clearly shows this kind of adornment. This hair - flower - wearing custom reached the peak of fashion in the prosperous Tang Dynasty.…

Today, let's continue the previous special topic about Gong Li's red - carpet shows throughout the 1990s, which can be regarded as a dazzling cheongsam show. In this long - spanning show, Gong Li presented us with a perfect and eye - catching display. The arrival of the new millennium marked the end of an era and the gentle start of another. All nostalgic and classical elements achieved unexpected development and presentation under the influence of new - style culture, with the cheongsam being a representative. If we look at the cheongsam's development in the vast waves of the entire era's civilization, it would be an extremely long - winded narrative. However, using Gong Li's choices as a reference, it's easier to discover the changes and context. In 2000, a new era began. Gong Li was invited to be the chairperson of the jury at the 50th Berlin International Film Festival, becoming the first Chinese judge to enter the three major European film festivals. It can be said that from 2000 on, Gong Li transformed from a Chinese actress into a globally influential superstar and a symbol of Chinese cinema. This change was also very concretely reflected in her subsequent…

Finally, Tang - style hairstyles are no longer confined to the all - too - familiar big - head look! When we now mention the restoration of Tang - style, we often associate it with the elaborate big - head look and intricate head ornaments. In fact, this exaggerated style was not the only one in the Tang Dynasty. Many daily - life hairstyles are more amiable. For example, in the TV drama Wu You Du (无忧渡), Song Zuer's hairstyles throughout are more minimalist. Let's first note that the Tang Dynasty was a highly inclusive era. It not only had the characteristics of the Central Plains but also incorporated those of the Western Regions. There was the capable and tall style in the early Tang and Wu Zhou periods, the elegant and luxurious style in the prosperous Tang, and the elaborate and high - profile style in the middle and late periods. And according to different scenarios, there were grand makeup and hairstyles for formal occasions, and simple and capable ones for daily life. Although each era has its own characteristics, most daily - life hairstyles in the Tang Dynasty were mainly simple buns. Now, we can see various Tang…

Recently, Chen Duling specially shot a set of costumes in the style of 1980s ancient - costume dramas, which left netizens hardly recognizing her. Some even wonder: Is there really such a significant aesthetic difference between classical makeup and modern makeup? Let's start with the conclusion. The biggest difference between them lies in the 'charm'. Most of the so - called classical makeup adheres to the traditional aesthetic standards for eyebrow and lip shapes, presenting a classical charm. In contrast, modern makeup is mostly the result of integration under the influence of various trends, like the once - popular Korean and European - American styles, with a style leaning towards modern simplicity and fashion. This charm, though abstract, can be expressed in forms. For example, the makeup and styling of the 1987 version of A Dream of Red Mansions are often regarded as a classic because its style shows a harmonious beauty. Here, harmony means that the proportion of a person's eyebrows and eyes complements the makeup, without being obtrusive, and the colors are warm - toned. So, the reason why classical makeup is enduringly attractive is the grasp of this sense of harmony. The most challenging part of classical…

Today is a special sharing session about cheongsam pankou buttons. In the process of making a cheongsam, these buttons are not only the finishing touch but also the starting point, just like the opening of a perfect work. A surprising or unexpected start can always spark more attention and appreciation later. Meanwhile, these buttons, which are linked to the essence of traditional Chinese culture, are an important way for us to rediscover Chinese characteristics. They are small, delicate, and a vivid symbol of the ancient people's aesthetics. In ancient times, our ancestors needed to use ropes or belts to tie knots or fasten buttons to fix the front of their clothes and keep warm during work. This kind of knot can be regarded as the earliest origin of the frog buttons. Later, with the development of dynasties, the knots also changed accordingly. For example, the "ribbon" in the Zhou Dynasty, the "silk ribbon" in the Northern and Southern Dynasties, the "silk knot ribbon" in the prosperous Tang Dynasty, and the "jade ring ribbon" in the Song Dynasty. These are all the step - by - step changes of the knot ribbons evolving into frog buttons. In the Ming and Qing…

Have you ever seen a neckerchief in a costume drama for the first time? In the costume drama Unburdened Ferry, Duan Banxia, played by Song Zuer, often appears wearing a short shawl. It looks like a pibo (披帛), but the way of tying a knot in front of the chest is so similar to our modern neckerchief. Could this also be a kind of "time - traveling" fashion? Let's answer first. It's called a "neckerchief". Similar ways of wearing it were seen in the Northern and Southern Dynasties, and it became even more popular during the late Tang, Five Dynasties, and the Northern Song. It should be an extended style of the pibo or peizi (帔子), but actually shorter and wider than the pibo. It's mainly used to wrap the neck, keep out the cold, and match clothes. In the painting The Picture of Proofreading Books in the Northern Qi Dynasty, we can see the tying style of the neckerchief of ladies in the Northern and Southern Dynasties. At this time, peizi already existed and was once commonly in a "short and wide" style, which is very similar to the neckerchief we see later. After the Wu Zhou period, something…

Yang Zi's new makeup look in the ancient costume drama "Jia Ye" (The Family Business) is truly eye - catching. With a white veil on her head, netizens exclaimed, "Do I seem to see the Goddess of Mercy?" First, Yang Zi's veil style is somewhat similar to the "gaitou" (盖头) in Song Dynasty paintings and also resembles the fujin popular among women in the late Ming Dynasty, but it doesn't cover the forehead. The gaitou refers to a "square purple silk cloth" that can cover half of the body. It's just a square piece of cloth. One can go out directly by draping it over the head. As Mr. Shen Congwen verified, "the 'gaitou' was indeed a popular head - wear among women in the Song Dynasty." The relationship between the Ming Dynasty fujin and the Song Dynasty gaitou remains inconclusive. In the drama "Jin Nang Miao Lu" (The Wonderful Record in the Pouch) with a Ming - style setting, the "gaitou" also appeared. It can be seen that the gaitou is more like a square scarf for draping. Working women may tie it up locally for convenience. The fujin popular in the Ming Dynasty is actually a headscarf with…

We always habitually praise the beauty of cheongsams. However, its beauty needs a woman's figure and bearing to support and shape it, just like a win - win cooperation, where neither can be missing. Bearing is influenced by personal vision and mindset, while body shape is restricted by height, weight, and body proportions. The former requires long - term cultivation, while the latter can be improved by some methods. So today, I want to talk about the relationship between different female body types and cheongsams, aiming to solve the common problems when choosing cheongsams, such as 'What style of cheongsam suits me?', 'Will I look good in it?' In fact, these concerns are mainly about our own body shapes. Everyone has advantages and disadvantages in their figures, and a good choice can make up for the shortcomings. How to Choose Qipao Styles for Different Body Types First, we need to understand our body characteristics. Common body types mainly include H - shaped, strawberry - shaped, pear - shaped, X - shaped, and apple - shaped. H - shaped Body The H - shaped body has a straight - up - and - down shape with no obvious waist curve, so…

In the ancient - costume drama The Longest Promise, Hanikiz's Tang - style makeup was truly impressive. Considering her previous Dunhuang - themed looks, netizens exclaimed that she was the 'Chosen One of the Tang Dynasty'. Why do we have such a strong impression of this kind of makeup? Let me start with the conclusion. We often say that the 'Hu style' prevailed in the Tang Dynasty. But where did this 'Hu style' come from? Looking back at this trend, the Uyghur people are a prominent example. The Uyghurs were originally called 'Huihe'. Through historical development and evolution, they eventually became the Uyghur ethnic minority we know today. The Uyghurs have distinct facial features, with thick eyebrows, big eyes, and three - dimensional facial structures, along with a strong and healthy build, which gives people a strong sense of the 'Hu style'. The historical influence of the Uyghurs is also profound. Before the Tang Dynasty, they were called 'Huihe' and once submitted to the Turks. Later, when the Turks were in turmoil and the Tang army attacked the Turks, they helped the Huihe establish the 'Uyghur Khaganate'. From then on, they 'abandoned their nomadic lifestyle and became sedentary people', which…

Recently, the new drama styling of Meng Ziyi has sparked quite a controversy. This large neckline design that reveals the collarbone, which we seemed to only see in early costume dramas, is popular again. In fact, this design isn't just in TV dramas but also in ancient - style photo studios everywhere. Some people even deliberately lower the collar to show their collarbones and camisoles. This somewhat revealing image is more like 'border - crossing' rather than creating an ancient - style atmosphere. Does this way of dressing really exist? First, there were indeed wide - necked robe designs in the Qin and Han dynasties, used as outerwear when layering. Later, during the Northern and Southern Dynasties, it was mainly applied to ruqun (a traditional Chinese women's clothing style), a transition from the shallow cross - collar to the front - closing collar similar to that in the Tang Dynasty. However, this way of dressing was revealing but not alluring, having nothing to do with border - crossing. How wide could the necklines be in the Qin and Han dynasties? The side width of the neckline of the straight - skirted robe N10 in the Mashan Chu Tomb was 43…

Recently, the new drama A Good Match for Chen and Jin starring Ren Min and Ci Sha started filming. Netizens directly called out the costumes they wore, saying, "These clothes are so bad. Change them quickly!" Why did netizens say so? The costume style of this drama is in the Ming Dynasty style. In Ming-style costumes, the most important aspects are the clothing pattern, texture, and the allowance. The pattern can only be seen when the clothes are laid flat, so the most obvious thing recognizable to the naked eye is the allowance issue, which directly affects the clothing pattern. The allowance here refers to the "total sleeve length". Some formal wear patterns pay attention to "the sleeve should reach beyond the wrist when the arm is bent back". That is, when cutting, there should be enough room for the arm to bend, so that the sleeve length won't be affected when the arm is bent. When the wearer bends their arm, this kind of sleeve will present a beautiful streamline. Previously, the costumes in The Ninth Purple were criticized by netizens. The clothes basically had no allowance, making the person look big-headed and small-bodied, with completely uncoordinated proportions. The…

Cheongsam is a gem of Chinese fashion, a symbol of Chinese women's beauty, and the most glorious part of Chinese clothing culture. It represents the Oriental beauty in the eyes of Westerners and the idealized interpretation of female beauty in the hearts of the East. It is graceful yet reserved, gentle and elegant yet full of charm, showing the elegant bearing and graceful charm of women's figures and gaits with its unique sense of flow and rhythm. Only such clothing is worthy to represent the Oriental symbol behind thousands of years of aesthetic culture as the 'Chinese national treasure' and the 'national dress for women'. So today, I'd like to talk about the cheongsam from the perspective of its historical development, as well as the cultural characteristics and aesthetic preferences behind it. Literally, cheongsam refers to the long gowns worn by the Banner people. At that time, the gowns were loose - fitting, straight - shaped, with wide borders embroidered with various patterns of different meanings. The embroidery and decorations on the borders were symmetrically arranged, and the edges of the clothes and sleeves were often decorated with gorgeous embroidery, ribbons, and hems. Later, with the passage of time and…

Whenever people mention the aesthetic standards of the Tang Dynasty, nine out of ten will say, 'Of course, plumpness was considered beautiful!' Many plus - sized girls have been teased with comments like, 'If you went back to the Tang Dynasty, you'd definitely be a beauty.' But was Tang Dynasty aesthetics really that rigid? Let's get straight to the point. Don't misunderstand—preferences for body types in a certain era don't represent the whole picture. Ancient people weren’t as strict about beauty standards as one might think. The Tang Dynasty's aesthetics evolved over time, reflecting its inclusive nature, which was the true essence of its golden age. With cultural confidence, women didn’t suffer from appearance anxiety! From the slender figures of the early Tang to the fuller beauty of the High Tang, it was all part of women’s self - awareness and expression. While body ideals shifted, the underlying principle was health and vitality—a remarkably balanced perspective. Let’s take a quick look at the evolution of Tang Dynasty aesthetics. Early Tang The early Tang inherited the Sui Dynasty’s preference for tall, slender figures. Women wore layered skirts, and their makeup was understated, characterized by thin eyebrows, pale faces, and red lips.…

In the ancient costume drama No Worries Ferry, Zuer Song's Tang Dynasty-style bun appears simple yet elegant. The hair accessories on her temples, not overly exaggerated, perfectly complement her facial features. So, what exactly are these hair accessories called? Well, they are decorative hair ornaments. Initially, combs, Bi (篦), and Huadian (花钿) were worn on the temples, and later, specialized accessories like Lianshu (帘梳) and Yanbin (掩鬓) emerged. This way of wearing them helps fill the decorative gaps in the bun, adding layers and visually elevating the crown of the head while enhancing facial contours. Let's start with combs. This comb - wearing method has a long history, dating back to the Han and Jin Dynasties as decorative items, categorized into wide - toothed combs and fine - toothed Bi. It reached its peak of popularity during the Tang and Song Dynasties. In the mid - to - late Tang Dynasty, with the improvement of living conditions, women became more inclined to adorn themselves. They would style elaborate, tall buns and wear various hair accessories. Combs, like jade pendants, were symbols of social status. The higher one's status, the more exquisite and luxurious the combs were. Ancient combs, as hair…

It's unclear when it started, but almost all heroines and heroes in ancient - costume dramas now sport high ponytails, and the 'armor battle - damaged makeup' trend has also become popular. Netizens point out that high ponytails can actually hit the face during martial arts practice, which is quite painful. The mass replication of high ponytails and battle - damaged makeup not only risks causing visual fatigue but also likely puts pressure on makeup artists and stylists to create unique variations. Let's revisit the costume drama styles of 50 years ago. The most classic is arguably the image from A Touch of Zen. In 1970, actress Xu Feng starred in A Touch of Zen, which catapulted her to fame and established her cold yet glamorous 'heroine' persona. Her character design featured a high bun, often paired with a headscarf or hat. Over her 15 - year screen career, she appeared in about 50 films, all as a heroine. This sleek attire and hairstyle conveyed an independent, self - reliant, and powerful image. Looking at other classic films, heroines rarely wore ponytails. Even with updos or half - updos adorned with accessories, the styling showcased distinct personalities while still emphasizing…

The beauty of gardenias and jasmines intertwined is truly unforgettable. In the previous feature, we briefly introduced Anna May Wong. Those familiar with Chinese - American actors in Hollywood surely know this name. Even if not, you've probably seen her iconic photos. With big bright eyes, classic willow - leaf eyebrows, high cheekbones, and a fringe, dressed in a cheongsam, she was a well - known Eastern face in early 20th - century Western society. Her hairstyle, makeup, and clothing style were emulated by countless Western girls. She was also the first Chinese actress to bring the cheongsam image to Hollywood. Let's explore her story and the beauty of the cheongsam she presented. Anna May Wong was born in Los Angeles, US, with her ancestral home in Taishan, Guangdong. Her family was third - generation immigrants. Her grandfather was among the earliest Chinese laborers who went to California to pan for gold. Her father, Huang Shanxing, held traditional ideas, favoring sons over daughters and longing to return to his roots. He returned to Guangdong, got married and had children there, then came back to the US and married Anna May Wong's mother. Before her, there was an elder sister, and…

It's time for another session of sharing cheongsam details. In previous issues, we've talked about the types of handmade frog buttons on cheongsams, the collar and sleeve styles, and the exquisite front - placket patterns. Today, I'd like to discuss the slits, which play a crucial role in the overall design of cheongsams. Don't underestimate this small detail. A tiny slit can present a variety of charming female moments. A smaller slit results in smaller steps, making the posture and gait automatically slow and elegant. A larger slit offers a stronger sense of fluidity, and the faintly visible legs bring out the charming rhythm of the cheongsam. The slits in cheongsams are like opening the door to the sensuality of Chinese clothing. However, this sensuality is not the straightforward Western - style one. It is based on Chinese female culture and the generally reserved and implicit nature of Eastern women. Through a small opening, it slowly releases the rhythm and charm of female beauty. Next, let's talk about the common types of cheongsam slits, as well as their respective advantages and characteristics. Before that, here's a little knowledge about slits. In the early Republic of China, cheongsam slits were actually…

In the historical drama 'Hua Jian Ling,' Ju Jingyi's red and blue dress, adorned with petal - like decorations, left a deep impression. Did such clothing actually exist? Let's start with the conclusion. This triangular decorative piece can be referred to as 'Gui' or 'Chui Shao,' named for its resemblance to a jade tablet. Clothing decorated with Gui is broadly called 'Gui Yi,' a type of ceremonial attire. The earliest documented record of 'Gui Yi' appears in Song Yu's 'Ode to the Goddess': 'She shakes her embroidered robe and dons the Gui attire,' which sounds quite romantic. This might be the closest traditional garment to what one would imagine as celestial attire. Its exact structure remains unclear, but its general form can be inferred from paintings. First, let's explore what 'Gui' is. Descriptions of Gui Yi mention 'the hanging part is wide at the top and narrow at the bottom,' resembling an inverted triangle. As the name suggests, Gui Yi involves attaching 'Gui' decorations to clothing. However, the specifics of Gui Yi remain vague. It has been said to be ceremonial attire for noblewomen and frequently appears in paintings of celestial beings (e.g., Song Yu's 'Ode to the Goddess'). But…

Recently, I've been reading A Treasury of Cheongsams Worn by Chinese Aristocratic Families written by Song Luxia and Xu Jingcan. This book is set against the backdrop of those Chinese aristocratic families that once shone brightly and endured on the historical and political stage. The cheongsam, as the central element throughout this backdrop, is like a cultural micro - cosmet of China's upper class. Through its owners, it reveals the clothing culture, aesthetic trends, humanistic features, and craftsmanship of the last century. The book showcases 90 old cheongsams worn by famous ladies from Chinese aristocratic families. As the authors said, "They are a rare, non - renewable, and endangered collection of specimens of Shanghai - style old cheongsams." These cheongsams represent the highest level of Shanghai - style cheongsams in the last century. The two authors and many colleagues spent a great deal of effort collecting and displaying these cheongsams. It's not just about reviewing and presenting the appearance of national clothing culture but also a challenging task of racing against history and time to rescue more buried, forgotten, and neglected clothing cultural treasures. So, today, let's follow the context and characters in the book to explore the beauty of…

This is a rather special share today. Recently, at the Guardian Art Center in Beijing, there was an exceptionally rare and once - in - a - decade exhibition of traditional Chinese attire—the Qing Dynasty Court Embroidery Exhibition. The exhibition traces the timeline from the early to the late Qing Dynasty, focusing primarily on the royal attire of the Qing court. Through the passage of a thousand years and the morning mist of history, we witness the unparalleled heights achieved in fabric, color, patterns, craftsmanship, and aesthetic levels of royal garments. At the same time, we can admire the brilliance and splendor of the ancient silk industry and traditional plant dyeing techniques throughout the Qing Dynasty. The Qing rulers placed great emphasis on using colors and patterns to establish the order and rituals of the dynasty. Thus, different colors carry distinct cultural connotations, and various printing techniques conceal philosophical and ritualistic meanings unknown to us. Today, let us follow my footsteps to appreciate the beauty of Qing Dynasty attire colors. Sacrifices were the most significant duty of the ancient emperors—a religious ceremony to express reverence and gratitude to the heavens and earth, embodying the ancients' worship and respect for natural…

Whether watching period dramas or wearing traditional Hanfu, the topic of posture often brings up sloping shoulders, with Liu Yifei being a classic example. So, does classical aesthetics truly equate to sloping shoulders? A recent article on Ming Dynasty undergarments sparked a lengthy debate about the classical aesthetics of sloping versus square shoulders. Today, let’s dive into this discussion. First, the conclusion: Are square shoulders unsuitable for classical attire? Not necessarily. Traditional clothing’s flat - cut structure naturally accommodates the shoulders, creating a softened, secondary shape. The discomfort or visual awkwardness some perceive often stems from posture—some people unconsciously stiffen their shoulders when puffing their chests, while extreme thinness can disrupt visual balance, making the clothes appear oversized. Another factor is tailoring. Many period dramas incorporate structured cuts at the shoulder seams, leading to a constrained look. Style Comparison Hanfu’s flat - cut design allows extra fabric at the shoulder area, creating a graceful curve that enhances the upper body’s fullness and grandeur. While flat - cutting dominates, traditional Hanfu also includes localized structured adjustments like inset panels or darts. However, many period dramas, despite appearing flat - cut, use structured shoulder seams for a modern, fitted look. This results…

Sometimes, it feels awkward to see characters in TV dramas wearing large - sleeved outfits for outings, meals, dates, fights, or even sleeping. Were ancient clothes really all about big sleeves? How inconvenient would it be to use the restroom? Are historical drama sleeves getting even larger these days? One netizen joked: 'So big you could fit a person inside!' Let's get straight to the point. While we often describe Hanfu as 'wide robes and large sleeves', it's important to note that this is a characteristic of formal Hanfu, used to show the wearer's social status, like the historical Dashu Shan (大袖衫) or Gongfu (公服). People rarely wore such exaggerated sleeves outside ceremonial occasions. Let's break down Hanfu sleeve styles. There are many suitable for daily life. Narrow sleeves are practical for labor or martial arts; Chuihu sleeves (垂胡袖), Pipa sleeves (琵琶袖), and straight sleeves are for non - labor daily wear; short sleeves can be casual outer layers or summer homewear. For example, the Quju (曲裾) and Zhiju (直裾) unlined gauze robes, common in the Western Han Dynasty, had sleeve openings around 29 cm wide. Modern fashion sleeves average 10 cm, with looser ones at 15 cm. So, 30…

Women understand women best. The cheongsam girls in her paintings are well - known internationally! The second installment of the cheongsam series by the artist has arrived. In the previous issue, we mainly talked about the female cheongsam moments painted by male painters. Today, let's discuss how female painters shape female beauty, and what different perspectives and presentations they have from male aesthetics. The painter we're going to talk about today has a special background and an amazing story. Her name is Pan Yuliang (潘玉良). Born on June 14, 1895, in Yangzhou, Jiangsu, and from Tongcheng, Anhui, formerly named Chen Xiuqing and also known as Zhang Yuliang, with the courtesy name Shixiu, she is a modern Chinese painter, sculptor, and art educator. Dramatic Life Before talking about her works, let's briefly learn about Pan Yuliang's story. She was born into a very poor family in Yangzhou. She lost her father at one year old, her sister at two, and her mother when she was eight. An eight - year - old girl faced the problem of survival. Orphaned Pan Yuliang was first adopted by her uncle. Unfortunately, at the age of 13, her gambling - addicted uncle sold her to…