The eighth Xitang Hanfu Culture Week this year demands the origin of the word "Hanfu" and its connotation of the same lineage. Promoting the significance of Hanfu clothing is consistent with our consistent beginnings. Hanfu is more than just a piece of clothing, so we need to delve into the realm of traditional culture and combine it with contemporary expression and content. Introducing dynastic carnivals, Hanfu runway shows, weddings, coming of age ceremony, and more. Integrating the thinking of etiquette and aesthetics, advocating the rule, integrity, balance, and harmony of the Han clothing culture. Traditional renewal, innovative Chinese style. Xitang Hanfu Culture Week is willing to spread Hanfu culture with positive energy and experience the ritual of life in the culture with you. https://youtu.be/iGvJ6JJWUQQ Event Time: 2020 the Eighth Chinese National Costume Exhibition & Xitang Hanfu Culture Week:  October 31 to November 3, as scheduled How to Register: Registration for all events of Xitang Hanfu Culture Week will be opened soon, so stay tuned! Appreciation of Previous Activities:

It is every woman's nature to love beauty, and modern women have a common hobby - buying jewelry, and when they see jewelry with good design, they are always delighted and want to buy it as soon as possible. Hanfu girls are no exception, and they often use different styles of Hanfu jewelry to match their Hanfu when they go out in Hanfu clothing. For women, Hanfu jewelry is the best weapon used to adorn themselves and shine in the crowd with elegance and beauty. But you may not realize it, the Sui and Tang dynasties' women were much more particular about Hanfu jewelry than we are today, especially the high officials and noblemen of the time. The aristocratic ladies in their gorgeous clothes, who dressed up every day like "a lotus flower", looked like a pair of beautiful paintings from afar. Archaeologists have studied many Hanfu jewelries that were unearthed during the Sui and Tang dynasties, and from behind those artifacts, they have discovered that the women who wore those gorgeous Hanfu clothing actually had a legendary life story that was hidden from the public. In the following pages, we will talk about the trend of the unearthed Sui…

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…

The Tang Dynasty was the heyday of China's feudal society, especially during the years of Zhenguan (贞观) and Kaiyuan (开元) when the political climate was relaxed and people lived and worked in peace. The typical styles of the Tang Dynasty Hanfu are Gongfu (公服, official uniform), round-necked robe, Banbi (半臂), Pei (帔, large-sleeved formal dress), and so on. From the Sui to the Tang (618-907), the development of ancient Chinese Hanfu clothing reached its heyday, political stability, economic development, advances in production and textile technology, frequent foreign exchanges, etc. contributed to the unprecedented prosperity of clothing, clothing styles, colors, patterns, etc. were the unprecedented new situation. The women's costumes of this period are one of the most exciting chapters of Hans costume, with their rich beauty and splendor, and their exotic decorations are breathtaking. Chang'an in the Tang Dynasty was the political, economic, and cultural center of the time and, at the same time, the center of East-West cultural exchange. There were more than three hundred countries that had friendly relations with the government of the Tang Dynasty. The splendid Chinese culture, spreads to the world. To this day, some countries in East Asia still use the Tang Dynasty dress…

Tang Dynasty clothing mainly refers to the Tang Dynasty Hanfu clothes. Tang Dynasty is a period of great prosperity of China's feudal society. Both people's thoughts and material production have reached the ancient historical peak. Since the Tang Dynasty, a large number of flower patterns have been widely used in craft decoration. Its composition is lively and free, dense and symmetrical, plump, and mellow. Especially after the combination of wavy continuous patterns and floral plants, it was the popular pattern in that period. The style of the Tang Dynasty clothing has taken real flowers, grass, fish, and insects for sketching, instead of the previous creative idea of the "Mandate of Heaven." Still, the traditional mythical animals, like dragon and phoenix pattern, has not been excluded. At this time, the design of costume patterns tends to express the free, open mind and casual artistic style. The Feature of Tang Dynasty Clothing In the Tang Dynasty, foreign trade was developed, and the country was peaceful for a long time. Especially when the Tang Dynasty became the center of economic and cultural exchanges among Asian nations, it was the most glorious page in the history of Asian history. This period absorbed Indian and…

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~

On October 26, 2019, the Chinese national costume exhibition and the 7th China Xitang Hanfu culture week opened in Xitang ancient town, Zhejiang Province. "Spring and autumn water, Tang and song towns, Ming and Qing architecture, modern people." Here, everyone is dressed in Hanfu and treated with courtesy. As time goes by, the Hanfu culture week has been held seven times in Xitang. Compared with the previous years, the 7th Xitang Hanfu culture week received more support and praise from traditional culture lovers, and the number of activities reached a new record. With the sound of drums, the horses are marching together. It opened the curtain of the 7th Xitang Hanfu culture week and led the most anticipated Dynasty Carnival to us. The handsome and powerful pacesetters are the vanguard elites of this carnival. They are mighty and majestic. Next to it, there is a uniform horse team, full of energy and momentum, which brings people's thoughts back to the historical era in an instant. The carnival is divided into seven parts: "Han, Jin, Tang, Song, Yuan, Ming and Qing", which highly extracts the cultural and spiritual images of each dynasty. You will see the square array with magnificent momentum…

We have introduced Banbi (半臂) before, which is a kind of hanfu very suitable for wearing in summer. The tan collar introduced today is a small classification of Banbi. You will find that the shape of the tan collar is very similar to the collar of the T-shirt we usually wear. Tan collar (坦领), also known as U-collar, is a kind of short coat with a wide collar. Some of them cover it outside the skirt, some like today's short windbreaker. The lower body is matched with a long dress, which fully reflects the graceful posture and natural beauty of women in the Tang Dynasty. In the Tang Dynasty, the tan collar was more popular, not only for men and women but also for court uniforms. I spelled out a long picture to introduce it. It's easier to understand： Because of the wide popularity of Hu culture among different classes in the Tang Dynasty, it became a fashion hanfu for women to wear small sleeves in the Tang Dynasty. Popular in the Sui and Tang courts, and later spread to the folk, enduring. There are many conjectures about the origin of the tan collar. One conjecture is that the tan…

Some time ago, I watched the hot Chinese drama Chang' a Twenty-four Hours (长安十二时辰). I was attracted by the hanfu of the Tang Dynasty in the play. So I did some research on the clothes and fittings of the Tang Dynasty. Let's see who is the most fashionable in Chang'an. Ruqun Talking about the trend of wearing and matching in the Tang Dynasty, it's natural that we can't do without ruqun. Ruqun is one of the most common and distinctive dresses in the Tang Dynasty. The main features of this dress are short clothes on the upper body and long skirts on the lower body. Some of them wear silk shoulders around their arms. Others wear half-arm outside the gown and then wear silk. "Ru (襦)" is for internal wear, sleeve length, upper and lower shorter, just to the waist. Long skirts were the clothes of women in the Tang Dynasty, most of which were made of silk. Skirt waist is high, can hide the chest, outside shoulder put on a yarn shirt, can make upper body skin half-covered, there is a kind of vague aesthetic feeling. Banbi (半臂) is a short-sleeved shirt, sleeve length to the elbow, knotted in…

Recently, a TV play, "The Longest Day in Chang'an(长安十二时辰)" is very attractive! It tells the story of the hero defending Chang'an City from the enemy's destruction during the Tang Dynasty. In addition to the glamorous actors, the play also pays tribute to the culture and history of the Tang Dynasty, including traditional costumes, weapons, makeup, architecture and Lantern Festival costumes, which are carefully reproduced on the basis of historical data. Today, let's take a look at the Tang Dynasty hanfu in the TV series. Let's start with the Taoist costumes worn when Jackson Yi appeared. Because of the prevalence of Taoism in the Tang Dynasty, Taoist costumes can be divided into five parts: Tao scarf, Tao crown, Tao gown, shoes and socks, and decoration. Taoist priests have different ranks and wear different clothes. The crane is a commonly used pattern in Taoism, known as "the emergence of immortals into the sky". Men basically wear round collars robe. "Round collar" refers to a collar type that does not wrap around the neck. A button often falls on the right side of the wearer's collar. On informal occasions, the buttons can also be unbuttoned to make the neckline hang down naturally. In…

Riyadh's July heat met a different kind of fire on the Esports World Cup (EWC) red carpet. Wang Junkai, stepping onto Saudi soil as China's exclusive ambassador for the 2025 tournament, ignited global attention. His appearance transcended the expected celebrity cameo, becoming a statement of evolving artistry and cultural convergence. Gone was the familiar "National Little Brother" image; in its place stood a figure radiating controlled power and international sophistication. The EWC's choice of ambassador signaled more than star power—it marked a deliberate fusion of entertainment, competitive gaming, and cultural diplomacy on the world's newest mega-stage. Sartorial Metamorphosis Wang Junkai commanded the EWC entrance in head-turning precision. A sharply tailored black Balmain single-breasted suit, defined by its assertive peak lapels, formed the foundation. It spoke of authority, meticulously crafted. Beneath it, a crisp white AMI shirt offered minimalist contrast. Christian Louboutin's signature red soles punctuated his stride with subtle luxury. Yet, the true focal point was the Buccellati gold butterfly brooch pinned near his heart. This intricate piece, far from delicate, possessed an unexpected edge—a metaphor for Wang’s own artistic transformation. His grooming completed the evolution. A severely swept-back hairstyle exposed clean, strong features, amplifying a newfound maturity. Dark sunglasses…

The sea holds countless secrets, but few as compelling as the story brought to light in the upcoming film Dongji Island (东极岛). Directed by Guan Hu (管虎) and Fei Zhenxiang (费振翔), this cinematic endeavor plunges audiences into 1943, when a Japanese transport ship carrying 1,816 British POWs was torpedoed near China's eastern islands. Facing certain death as their captors abandoned ship and sealed the holds, the prisoners' fate hung in the balance. Against impossible odds, local fishermen from Dongji Island launched their small boats directly into enemy fire, embodying an ancient creed: "Those in peril at sea must be saved." This act of extraordinary courage, forgotten for decades, forms the powerful core of a film six years in the making, demanding monumental effort from cast and crew to resurrect a truth the world needs to witness. Releasing nationwide on August 8th, Dongji Island stars Zhu Yilong (朱一龙), Wu Lei (吴磊), and Ni Ni (倪妮), leading an ensemble cast in a testament to human resilience. Anchored in Truth Recreating this buried history required more than sets and scripts; it demanded pilgrimage. Guan Hu and Fei Zhenxiang led their team to the actual Dongji Islands, seeking the spirit of the past where…

Historical suspense drama Coroner‘s Diary (Zhaoxuelu, 朝雪录) surprises audiences with a sudden July 13 premiere on iQIYI. Forensic examiner Qin Wan (秦莞) and General Yan Chi (燕迟) navigate eight chilling cases to expose imperial corruption. Li Landi (李兰迪) transforms into forensic examiner Qin Wan, hiding her identity after her family’s unjust execution. Beside her stands General Yan Chi, portrayed by Ao Ruipeng (敖瑞鹏), whose military prowess shields their investigation into eight interconnected atrocities. Their partnership anchors Zhaoxuelu, which advanced its debut by three days to dominate summer streaming. Director Li Huizhu’s (李慧珠) signature visual tension permeates previews showcasing skeletal remains in moonlit courtyards and bloodstained scrolls. This unexpected scheduling shift capitalizes on intense fan anticipation fueled by Zhou Huang’s haunting soundtrack and viral promotional clips. Premiere Strategy Shift Platform iQIYI prioritized Zhaoxuelu Files following robust early engagement metrics. Over 250,000 viewers pre-saved the series before its rescheduled launch, signaling strong market readiness. Executives moved the premiere to fill a content gap left by A Dream Within a Dream’s (书卷一梦) conclusion, avoiding direct competition with romance drama Cherry Amber (樱桃琥珀). Six consecutive episodes debuted at noon on July 13, establishing immediate narrative immersion. Audience forums buzzed with approval for the accelerated…

The recent phenomenon of historical dramas embracing the character "jin" (锦, brocade) in their titles, like the hit series Flourished Peony (锦绣芳华), reveals more than a fleeting trend. This linguistic choice taps into deep cultural veins, transforming titles into shimmering gateways of promise. From Colourful Life (锦绣良缘) to Under the Power (锦衣之下), "jin" functions as a multifaceted emblem—evoking luxury, craftsmanship, and narrative ambition. Its recurrence speaks to a shared visual and symbolic language between creators and audiences, where a single character conjures worlds of opulence and intrigue. Characters Woven in Gold "jin" is far more than a decorative flourish. Its linguistic structure—combining "gold" and "silk" —historically signified textiles as precious as metal. As early as the Han Dynasty, scholar Xu Shen (许慎) defined "jin" as "colorful patterned silk," while Eastern Han lexicographer Liu Xi (刘熙) noted its value "equated with gold due to meticulous craftsmanship." This heritage persists in modern dramas, where titles like The Sword and the Brocade (锦心似玉) frame protagonists’ virtues as rare and refined. The character inherently elevates a title’s stature. When paired with "xiu" (绣) in "jinxiu," it becomes "splendid" or "magnificent," transforming ordinary words into poetic ideals: Flourished Peony suggests flourishing beauty. These combinations signal…

The highly anticipated Wuxia drama Fu Shan Hai (赴山海) is poised to set the summer viewing season ablaze, premiering on iQiyi July 22nd. This S+ production, a flagship entry in iQiyi's "Eastern Legends" lineup, has already shattered genre presale records, surpassing 8 million reservations across platforms. Adapted from Wen Rui'an's (温瑞安) revered Divine Land Swordsman (神州奇侠), the series injects a bold twist into the classic tale: a disillusioned modern editor, Xiao Mingming (played by Cheng Yi), finds himself transported into the very martial arts world he once penned. Thrust into the body of the youthful swordsman Xiao Qiushui (萧秋水), his journey from novice to revered hero unfolds against a backdrop of breathtaking landscapes and intricate conspiracies, promising a potent mix of nostalgia and novelty that has captivated audiences even before its debut. Transmigration Meets Tradition Fu Shan Hai masterfully blends the established lore of Wen Rui'an's universe with a contemporary "transmigration" narrative device. Xiao Mingming's (肖明明) abrupt transition from office drudgery to the perilous Jianghu creates immediate comedic and dramatic friction. His modern sensibilities clash humorously with ancient customs, offering fresh commentary on classic Wuxia tropes. Crucially, the adaptation retains the essence of the source material. Iconic characters like the…

When Yang Zi and Li Xian reunited on screen in Flourished Peony (锦绣芳华), they reignited a flame first kindled in 2019’s Go Go Squid! (亲爱的,热爱的). This deliberate revival of chemistry—spanning modern romance to Tang Dynasty intrigue—transcended mere nostalgia, evolving into a masterclass in IP longevity. Nostalgia Crafted Frame by Frame The 2025 drama meticulously resurrected signature moments from its predecessor. The "shoulder-burrowing embrace," iconic in Go Go Squid!, reappeared in Flourished Peony as a tactile bridge across six years. During promotional livestreams, Yang Zi’s playful jab at "industrial sugar" tropes and Li Xian’s cherry-feeding gesture became viral lore. Fans crowned them "Pure Fate CP," celebrating improvised hand dances and red-string embraces that mirrored their characters’ enduring bond. On July 9, 2025—exactly six years after Go Go Squid! premiered—both series’ official accounts staged a coordinated "One Life, One World" social media exchange. A montage intertwining the couples’ journeys framed it as karmic destiny, flooding platforms with hashtags like "#19SummerWindBlowsTo25." Viewers binge-watched Flourished Peony as tribute, declaring it "the ultimate gift" for loyal followers. Characters Reborn, Themes Elevated Yang Zi’s transformation from sweet-genius computer whiz Tang Nian (佟年) to resourceful entrepreneur He Weifang (何惟芳) showcased narrative ambition. Li Xian’s shift from esports…

Nanjing elevates its fashion ambitions with the appointment of Zhang Zhaoda (张肇达), a foundational figure in Chinese design, as Honorary Chairman for its 2025 International Fashion Week. His participation signals a strategic push to position Nanjing at the forefront of global fashion dialogue. Beyond a ceremonial role, Zhang will headline the opening gala with his iconic brand MARK CHEUNG, leveraging his four-decade legacy bridging Eastern aesthetics and international runways. This collaboration aims to transform Nanjing from a historical gem into a dynamic nexus for luxury commerce, cultural innovation, and trendsetting creativity. Design Philosophy Redefined Zhang Zhaoda’s journey began when Chinese design was virtually absent from global stages. His early 1980s collections introduced a nuanced equilibrium between market viability and artistic expression. The MARK CHEUNG label, renowned for its bias-cut silhouettes and subdued palettes, demonstrated that tradition could converse fluently with modernity. His approach earned him China’s inaugural Golden Top Award and UNESCO recognition. Zhang’s work consistently avoids cliched cultural symbols. Instead, he extracts abstract principles from Chinese art—like the fluidity of ink wash paintings or the structural logic of Ming furniture—translating them into contemporary garments. This intellectual rigor established him as a translator of heritage rather than a revivalist. His…

On July 5th, 2025, a vibrant group of 35 students from Singapore National University and Nanyang Technological University arrived at Jin Cheng (锦城) College in Chengdu. Their half-day visit promised cultural discovery and connection. Greeted warmly by the college leadership, including Founder Professor Zou Guangyan and President Professor Wang Yali, the Singaporean delegation joined Jin Cheng students for an exploration of campus life and shared traditions. The atmosphere buzzed with anticipation for the experiences ahead: discovering campus landmarks, engaging in meaningful dialogue, and diving into hands-on cultural activities designed to foster genuine connection between the young people of both nations. Moments of Shared Discovery The initial encounter dissolved any hesitation. Ice-breaking games sparked laughter and conversation, instantly bridging the gap between the Singaporean visitors and their Jin Cheng hosts. Guided by local students, the group explored the campus heart, including the Entrepreneurship Hall and the History & Alumni Museum. This journey through Jin Cheng's spaces provided context for the institution's spirit. A formal welcome followed in Room Z203 of the Siwei Building. Professor Zou Guangyan (邹广严) expressed heartfelt enthusiasm for the exchange, emphasizing its value for educational collaboration and enduring friendship between Singapore and China. He extended an open invitation…

From July 14 to 20, Shantou’s skyline will ignite with the inaugural "Chaos·Surging" Cultural Tourism Fashion Week. Centered along the Inner Harbor waterfront, events will transform landmarks like the Chaoshan History & Culture Expo Center and Xiaogongyuan Pier into dynamic stages for culture, design, and community. This festival merges intangible heritage with contemporary flair, positioning Shantou as a nexus of creative innovation along China’s southeastern coast. Fusion Runway: Heritage Reimagined National intangible heritage—paper-cutting and woodcarving—takes center stage as local artisans collaborate with avant-garde designers. These crafts evolve into wearable art, where delicate cut-paper motifs contrast with structured silhouettes. captures a gown featuring laser-cut woodcarving patterns layered over modern textiles, symbolizing dialogue across eras. Each piece narrates Chaoshan’s legacy while defying tradition’s boundaries. The runway becomes a cultural laboratory. Designers like Lin Wei embed porcelain-blue gradients inspired by Chaozhou kilns into minimalist tailoring, while tech-infused fabrics mimic the translucence of rice-paper lanterns. This synergy transcends aesthetics, offering a blueprint for preserving craftsmanship through relevance. Audiences witness how heritage fuels innovation, not nostalgia. Night Market Alchemy: Sips and Sounds At Chaoren Wharf, the "Tea Genesis" pop-up redefines tea culture. Chengchuan Zhicha and Hengdao Yipin launch fusion drinks like oolong-espresso tonics and lychee-infused…