One of the joys of wearing hanfu is discovering how effortlessly it can be adapted to different lifestyles, beliefs, and personal preferences. As a hijabi, one of my biggest considerations when choosing clothing is modesty. Thankfully, many hanfu styles already cater to this ideal with their long, flowing silhouettes, layered structures, and elegant designs. In fact, I’ve found hanfu to be one of the easiest traditional outfits to wear while staying true to both my modesty and aesthetic preferences. Although some hanfu styles are more fitted around the waist or involve shorter sleeves or lower necklines, there are many that work beautifully for hijabis without needing any extra modifications. Personally, I’m especially drawn to Ming dynasty style hanfu. These often feature a mamianqun skirt paired with either a shorter shirt (duijin shan) or a longer robe-style shirt (aoqun or dachang), both of which are generously cut and non-revealing. The fabrics drape naturally, the overall silhouette is loose, and the layering makes it feel effortlessly modest. The added bonus? Mamianqun prints are just stunning. The way the pleats open and close as you walk, revealing flashes of the pattern, creates a sense of movement and beauty that makes me feel elegant…

Yueqing, Zhejiang — At the 2025 “Crafting Dreams” ICH Parade in Yueqing this May Day, Hanfu makeup and styling artist Yu Xiaodan (俞小丹) will lead a troupe of enthusiasts in a mesmerizing display of Guoyun Fanghua (国韵芳华, “Elegance of Chinese Heritage”). Dressed as characters from Dream of the Red Chamber (红楼梦) and dancing to classical melodies like Etiquette Nation (礼仪之邦), her team embodies a cultural renaissance that’s captivating Gen Z. Born in 1996, Yu’s love for Hanfu began during college in Fuzhou, where a riverside Hanfu performance left her spellbound. She joined local Hanfu societies, spent savings on 200+ historically accurate outfits—from Tang dynasty qixiong ruqun (齐胸襦裙, high-waisted dresses) to Song-era beizi (褙子, long jackets)—and even splurged 20,000 RMB on a diancui (点翠, kingfisher-feather) crown. “Hanfu isn’t just clothing; it’s a portal to our past,” she says. In 2021, she apprenticed under Yang Shuyun, a legendary CCTV stylist known for Dream of the Red Chamber’s iconic looks. This training, coupled with workshops on huashen zhuang (花神妆, Flower Goddess makeup) in Guangzhou, honed her skills in blending historical accuracy with modern flair. Bridging Eras, Breaking Norms Yu’s talent lies in making Hanfu relatable. At the 2024 Hongqiao Azalea Festival, her “Pink-Green…

In the spoilers for the TV series Family Business, a scarf appeared. Isn't this a drama set in the Ming Dynasty? Fans questioned: Isn't this scarf too modern? First, let's clarify: we actually had similar scarf-like accessories in ancient times, known as Xiangpa (项帕), Lingjin (领巾), Yongxiang (拥项), or Fengling (风领). The term Weibo (围脖) also appeared during the Ming Dynasty. These accessories served two purposes: protection against cold and decoration. During the Southern Song Dynasty's Yuanxi Festival, women often wore Xiangpa, a decorative neck wrap. Zhou Mi, a scholar from the Song Dynasty, documented in Old Stories of Wulin: Yuanxi: During Yuanxi, women adorned themselves with pearls, jade ornaments, and Xiangpa, often wearing white garments suitable for moonlight. This suggests Xiangpa was a silk or brocade scarf, combining warmth and style. This aligns with historical records of Lingjin from the Song Dynasty. For example, Chen Yunping wrote in Drunken Peach Blossom: With delicate accessories and a tilted Lingjin, her hair was styled in twin buns. While Xiangpa and Lingjin shared similar materials and functions, Lingjin was more versatile, worn by both men and women. Artifacts like Tang Yin's Palace Ladies of the Shu Kingdom depict Lingjin as a triangular…

In recent years, there’s been a surge of interest in hanfu, not just as traditional attire, but as something that can be part of everyday life—including the workplace. For women who love hanfu and want to express that part of their identity in professional settings, there are more options now than ever before. With both modernised and traditional hanfu being widely available online, it’s becoming increasingly realistic to integrate this historical clothing into our weekday wardrobes. Modern hanfu—sometimes referred to as “fashion hanfu”—has already been adapted for casual social use. According to NewHanfu, it “inherits the elements of traditional Hanfu, and through long-term innovation and development, it is well adapted to the convenient social life in today's modern times.” This means pieces are typically more streamlined, accessible, and comfortable, often made with materials and cuts that suit daily wear. As a result, many modern hanfu outfits can already pass for smart-casual in a workplace setting. Pairing these with accessories like a structured purse, a watch, or a blazer can easily help elevate the outfit to look more professional without compromising the hanfu aesthetic. That said, I personally think there’s also space for more traditional hanfu elements in the workplace—if styled…

Do you think ancient Chinese people didn't carry bags just because you rarely see them in TV dramas? Historical records clearly show that carrying bags has been a long-standing practice in China. In Liu Shishi's new period drama Kill My Sins, her character sports various bags with each outfit. Some netizens even counted one bag per costume! Where do you think ancient people kept their money? Did they really not carry bags? Don't get too obsessed with Liu Shishi's large and small bags in the show. In fact, we've had our own bags since ancient times, and many would be considered trendy even today. Archaeological discoveries repeatedly prove that fashion's ultimate inspiration comes from Huaxia (华夏) culture. A leather bag unearthed from Niya in Xinjiang, dating back to the Han-Jin period, stunned the world when it was revealed. It looked exactly like a modern saddle bag from a luxury brand - proving that this fashion trend existed over 1,600 years ago. This isn't an isolated case. Ancient Chinese had all kinds of bags: saddle bags, handbags, crossbody bags, waist bags, box evening bags, backpacks, net bags, underarm bags... These discoveries show remarkable similarities between ancient and modern fashion across a…

In the TV series Kill My Sins, Chen Jin portrays a sage inspired by Wu Zetian, but with minimal makeup and no elaborate hairstyles. Netizens have commented: So even emperors had no appearance anxiety! Traditionally, Wu Zetian has been depicted as a glamorous and noble figure in films and TV shows. Actresses like Liu Xiaoqing, Gui Yalei, Lü Zhong, Liu Jialing, and Fan Bingbing have all played her, either with towering hairdos adorned with ornate hairpins or, like Chen Jin, in simple round-collared robes and futou hats, exuding authority without effort. The Historical Appearance of Wu Zetian Wu Zetian was known for her beauty, but historical records describe her as having a square forehead and broad cheeks (fang e guang yi). According to the New Book of Tang, her daughter Princess Taiping shared these features, leading Wu Zetian to remark that her daughter resembled her. This look, sometimes exaggerated with sharp-angled sideburns, resembles what we now call a square-round face. Her image remains enigmatic. Most later depictions show her in cross-collared or round-collared robes, typical of the Tang Dynasty, paired with a fangxin quling neckpiece and a diguang crown. However, these portrayals often mix contemporary fashion elements, making them unreliable.…

Yang Zi's headband in the latest drama The Mo has sparked heated discussions among netizens. This seemingly modern accessory actually has ancient roots as a Pazi (帕子), a square cloth used by women to wrap their hair, keeping it neat and tidy. This practice of head wrapping was common across various dynasties, particularly among the common folk, as it could be made from leftover fabric. Before the Wei and Jin dynasties, both men and women used Pazi, with men using it more frequently. One style, known as Zizuo (缁撮), resembled the bun-like wrap often seen on scholars in historical dramas. During the Qin and Han periods, the military also adopted this practice, using deep red cloth to create headscarves called Jiang Patou (绛帕头). In the Han Dynasty, it was often paired with Ze (帻), a type of headgear, becoming a popular fashion trend. Evolution of Head Wrapping Styles By the Wei and Jin dynasties, head wrapping became more prevalent among women. During the Sui and Tang dynasties, it was fashionable to wrap the entire head, and by the Song Dynasty, it evolved into a widespread hairstyle known as Baoji (包髻). The Pazi was not only used for wrapping hair but…

The Versatile Design of Tang Dynasty Outerwear Liu Shishi's costume in the new drama Kill My Sins features a loosely draped Hanfu style that has sparked online discussions. This garment, known as Piao (披袄), represents a traditional outerwear design from the Tang Dynasty. Unlike modern coats, this historical clothing piece demonstrates remarkable adaptability across seasons and occasions. The Piao originated from the Yuanlingpao (圆领袍), a round-collar robe commonly worn during the Tang era. Through practical modifications, ancestors transformed it into a multi-functional garment. The collar was widened and curved for both aesthetic appeal and warmth retention, while some versions adopted straight collars. When worn open, the decorative inner lining became visible, creating a sophisticated yet understated fashion statement. Tang Dynasty clothing didn't follow strict seasonal classifications. Instead, people adjusted the fabric thickness and layering for temperature regulation. Historical records like Tang Liudian (唐六典) document how winter versions contained specific amounts of padding, essentially serving as ancient down jackets. Summer versions featured lighter materials, functioning similarly to modern air-conditioning jackets. This practical design wasn't limited by gender - both men and women wore variations of the Piao. The garment's versatility allowed it to serve as a windbreaker in autumn, insulated coat…

In the popular drama The Glory of Youth, actor Li Xian's portrayal of Jiang Changyang wielding a round fan has captivated audiences. Contrary to popular belief, round fans, known as Tuanshan or Huanshan, were originally invented and used by men in ancient China. These fans, characterized by their circular or oval shape with a handle, were also referred to as Gongshan due to their prevalence in imperial courts. The Han Dynasty through the Northern Song Dynasty marked the golden age of round fans. The Multifunctional Use of Round Fans During the Wei, Jin, and Southern and Northern Dynasties, scholars often carried Zhuwei (deer-tail whisks) or feather fans while engaging in philosophical debates. Emperor Jianwen of Liang, Xiao Gang, even designed his own version, setting a trend. By the Sui and Tang Dynasties, round fans had largely replaced other fan types. Initially, these fans were not for cooling but for concealing one's face, a practice known as Bianmian. Historical records, such as The Riverside Scene at Qingming Festival, depict men using fans to avoid awkward encounters. The Hanshu also mentions bamboo fans used for grilling meat, showcasing their versatility. In the drama, Jiang Changyang primarily uses two fans: an ivory round…

When we think of veils, Western wedding traditions often come to mind. However, the Chinese have their own rich history of veil-wearing, dating back to ancient times. Known as Gaitou (盖头) during the Song Dynasty, this traditional head covering has deep cultural roots. According to historical records like Zhou Hui's Qingbo Magazine, Song Dynasty women wore Gaitou as a common head garment when going out in public. This practice actually originated from the Tang Dynasty's Weimao (帷帽), a hat with a hanging net curtain. Scholar Shen Congwen noted that while Weimao featured a hard hat with a net, Gaitou was simpler - just a square purple silk cloth draped over the head. Cultural Significance and Evolution The Gaitou served more than just practical purposes. In the context of Song-Ming Neo-Confucianism, it became an important garment that reflected social norms. As recorded in Sima Guang's Domestic Regulations, women were required to cover their faces when going out, showing how the veil became intertwined with Confucian etiquette. By the Ming Dynasty, similar head coverings called Fujin (幅巾) emerged, primarily worn by women dressing as men. While its connection to Gaitou remains unclear, this evolution demonstrates how head coverings adapted to changing fashion…

Yang Zi's upcoming drama, originally titled The Golden Hairpin, has once again found itself at the center of controversy. Following the earlier uproar over digital face replacements, viewers are now questioning the authenticity of the costumes, particularly the hats, which many argue bear a striking resemblance to traditional Japanese designs. While it's true that Japanese culture borrowed heavily from the Tang Dynasty, the current designs appear to be simplified versions of later Japanese styles rather than faithful recreations of Tang-era attire. The drama is based on a novel set during the reign of Emperor Yizong of Tang, yet the costumes seem to deviate significantly from historical accuracy. Historical Context of the Hats The Ying Guan (缨冠), a type of hat featured in the drama, is a blend of Han Dynasty's Tongtian Guan (通天冠) and Tang Dynasty's Futou (幞头). The most distinctive feature of the Ying Guan is its flat front and a hanging tassel at the back, which could be either curled (for military officials) or straight (for civil officials). Another hat, the Wu Maozi (乌帽子), is said to have originated during Japan's Heian period. The height of the Wu Maozi indicated the wearer's social status, with taller versions reserved…

The Evolution of Shuang Huan Wangxian Ji The hairstyle, known as Shuang Huan Wangxian Ji (双鬟望仙髻), has been hailed as the most iconic and popular fairy-like hairstyle, transcending age and time. Originating from the Shuang Huan Ji (双环髻), this hairstyle was initially designed for young girls. However, its ethereal beauty made it a frequent feature in divine paintings, such as the renowned Luoshen Fu Tu (洛神赋图) and the Eighty-Seven Immortals Scroll (八十七神仙卷). Over time, it evolved into a cultural phenomenon. During the Wei, Jin, and Southern and Northern Dynasties (魏晋南北朝), the high bun with double rings was prevalent. By the early Tang Dynasty (初唐), the Shuang Huan Wangxian Ji began to take shape, characterized by its round and full appearance. The hairstyle ranged from modest daily buns to exaggeratedly large ones, sometimes even matching the length of a face. By the mid-to-late Tang Dynasty (中晚唐), the contours of the hairstyle became wavy, adding a dynamic charm to its otherwise simple form. Popularity Across Dynasties In the Song Dynasty (宋代), this hairstyle became a fashion trend among commoners. Women adorned it with pearl accessories and simplified its originally exaggerated height, making it more wearable for daily life. However, by the Ming…

Yang Zi, the renowned Chinese actress, recently shared her Hanfu photos to celebrate the Lantern Festival, sparking widespread admiration online. Fans particularly praised the outfits for their everyday wearability. The Ming Dynasty-Inspired Hanfu Yang Zi showcased two distinct Aoqun (袄裙) styles, a common attire for women during the Ming Dynasty. The first was a pink cross-collar top paired with a gray pleated skirt, while the second featured a green front-closing top with subtle red accents for a contrasting effect. Both looks highlighted the elegance and versatility of Ming-era fashion. Historical Color Palettes The pink and gray combination reflects a timeless aesthetic, popular even during the Tang and Song dynasties. Notably, the Yangfei (杨妃色), a delicate pink hue derived from mineral pigments, adds a touch of historical charm. Similarly, soft greens and watery blues were favored for their understated sophistication. Modern Adaptations For a more formal occasion, Yang Zi’s standing-collar long coat with a Mamian skirt (马面裙) exemplifies Ming-era grandeur. However, the gray-toned ensemble proves that Hanfu can be adapted for daily wear with muted colors and thoughtful accessories. Styling Tips Traditional Hanfu often employs the 'clothing-over-skirt' technique, which, though less slimming than the reverse, offers a flattering fit for various…

The Court Ladies Adorning Their Hair with Flowers painting has inspired numerous costume dramas, including Dream of Splendor, National Beauty and Fragrance, and Peaceful Year. But how accurate are these adaptations? Let's delve into the authentic portrayal of court ladies from the Five Dynasties period. The Iconic Hairstyle and Its Origins The hairstyle seen in these dramas is inspired by the noblewomen depicted in Zhou Fang's (disputed authorship) Court Ladies Adorning Their Hair with Flowers. Characterized by towering buns adorned with hairpins and floral decorations, it exudes elegance. However, the clothing patterns and styles suggest a late Tang or Five Dynasties origin rather than the Tang Dynasty. Floral Patterns: Tang vs. Five Dynasties There's a noticeable difference between the floral patterns of the High Tang and late Tang/Five Dynasties. High Tang designs feature clustered, cohesive flowers, while late Tang/Five Dynasties styles are more scattered with paired flowers and leaves. This distinction helps date the painting to the late Tang or later. The Hairpin Flower Controversy Shen Congwen speculated that the prominent hairpin flowers might have been added by Song Dynasty artists. The painting shows women with loose, cloud - like hair adorned with golden hairpins, making the addition of large…

In the Japanese drama The Great Buddha Opens His Eyes, Satomi Ishihara's costume has sparked discussions online. Many pointed out that her hairstyle resembles the popular style of early Tang Dynasty in China, rather than the Tenpyo era in Japan. The answer is clear: this is the Shuang Ji Ji (双髻髻), a hairstyle popular from the Sui to early Tang Dynasty. It features two looped buns on the head, commonly worn by children and maids. Similar styles can be found among Chinese artifacts preserved in the Shosoin Repository. Not just the hairstyle, but even the eyebrows match the Tang Dynasty's aesthetic. Additionally, the Mei Ban Hua Dian (梅瓣花钿, plum - petal forehead decoration) and Mian Ye (面靥, dimple makeup) on the sides of the lips also draw inspiration from Tang fashion. In the Chinese historical drama Guo Se Fang Hua (国色芳华), actress Yang Zi wore this hairstyle, meticulously recreated based on murals and relics. The Shuang Chui Ji (双垂髻, double - drop bun) also appeared, a style beloved by Tang Dynasty noblewomen and often paired with men's round - collar robes. The drama references elements like the Mian Fu (冕服, emperor's ceremonial robe), Shi Er Zhang Wen (十二章纹, twelve imperial…

In the dramas The Palm and National Beauty and Fragrance, Zhang Yuxi's hairstyle stands out as distinctly different from others. Is this truly a Tang Dynasty style? The answer is yes. This hairstyle is called Fanwan Ji (反绾髻), a popular hairdo during the early Tang Dynasty. Its most notable feature is the strand of hair that curves around the forehead, formed by pulling hair from the back of the head to the front, hence the name Fanwan Ji. This hairstyle is also known as Leyou Fanwan Ji (乐游反绾髻). Leyou refers to Leyou Yuan (乐游原), a scenic spot in Chang'an, the capital of the Tang Dynasty. Located in the southern part of the city, it was a favorite destination for nobles and literati due to its breathtaking views and elevated terrain. The hairstyle's name reflects its free - spirited and elegant nature, making it a popular choice for women during outings. As described in Gu Kuang's poem Song of the Acrobat, "The girl from Wanling splits the air with her hands, the long pole stands horizontally as she moves up and down... her Fanwan Ji swirls like the wind." This highlights the hairstyle's beauty and practicality. Unlike other elaborate Tang Dynasty…

Did ancient Chinese brides really wear red for marrying down and green for marrying up? The short answer is no. This widespread myth, often perpetuated by historical dramas, has little basis in actual Song Dynasty customs or broader ancient Chinese traditions. Let's debunk these misconceptions and explore what people truly wore for weddings in imperial China. Official Attire Dictated Wedding Outfits During the Song Dynasty (960 - 1279 AD), wedding attire followed strict sumptuary laws rather than arbitrary color rules. Officials wore their rank - appropriate court robes - with green representing the lowest rank for men. The Yan Yi Yi Mou Lu historical records confirm newly appointed jinshi (进士, scholars who passed imperial exams) received green robes. Women of nobility wore qing (青, dark blue - green) ceremonial dresses, considered more prestigious than ordinary green. The Prestige of Qing (Dark Blue - Green) Contrary to modern confusion, qing and lü (绿, ordinary green) were distinct colors in ancient China. As documented in the Wen Xian Tong Kao historical text, the Tang and Song courts used purple, crimson, green, and qing to denote official ranks. Noble women's wedding garments like the ju yi (鞠衣), hua dian li yi (花钿礼衣), and…

For a while, many people dressed up as Daji wearing the so - called 'Warring States Robe,' especially after the release of the 'Fengshen' movie series. However, some noticed that Daji never actually wore such attire. So, what should Daji wear? What is the 'Warring States Robe'? First, let's clarify what the 'Warring States Robe' is. The term is closely tied to the Mashan No.1 Chu Tomb, where well - preserved prototypes of Warring States period clothing, specifically the 'Zhi Ju Robe,' were discovered. Most modern reproductions are based on artifacts from this tomb. Although originating from the Chu Tomb, due to limited research on unearthed artifacts, the Zhi Ju Robe's appearance is somewhat similar to indirect relics like murals from the same period. Thus, it's often loosely assumed that the Zhi Ju Robe represents noble attire popular across the six states. Clothing Styles of Different Periods However, there are distinct differences between the clothing styles of the Xia - Shang - Zhou, Spring and Autumn, and Warring States periods. The Xia - Shang - Zhou era marked a transition from primitive to civilized society, reflected in clothing. Nobles, officials, and commoners wore more refined garments, while slaves still donned…

The recent release of 'Nezha: The Devil Boy's Havoc' (Nezha 2) has reignited discussions about the iconic bun hairstyle that seems to define Nezha's appearance across various adaptations. Is it a coincidence or a stereotype? Netizens joke: 'Nezha can change his fate, but not his hairstyle.' The origin of the 'bun hairstyle' can be traced back to ancient China, where it was one of the many hairstyles popular among women. Its roots lie in the 'double bun' style, which was highly fashionable during that era. Excavated pottery figurines vividly depict the societal admiration for delicate feminine beauty. This trend even influenced ancient Japanese fashion, particularly during the Nara period. Historical dramas like NHK's 'The Great Buddha Opening Eyes,' set in Nara, showcase characters adorned with Tang Dynasty - inspired double - bun hairstyles. In Chinese history, children's double - bun hairstyles were referred to as 'Zongjiao.' Ancient texts emphasize the importance of preserving one's hair as a sign of filial piety. From around eight or nine years old, Han children, regardless of gender, would part their hair into two small buns resembling horns, hence the name 'Zongjiao.' Girls' buns were often styled like branching twigs, known as 'Yaji,' which led…

In the historical drama 'Guo Se Fang Hua,' many viewers noticed that Dong Jie's character, Feng Xiaoyi, stood out with a unique accessory—a piece of fabric wrapped around her chest, commonly referred to as 'Wei Shang' (围裳). This ancient fashion element, often humorously called 'butt curtain' in modern slang, has a rich history and cultural significance. What is 'Wei Shang'? 'Wei Shang,' which translates to 'surrounding skirt,' was a versatile garment in ancient China. It could be a single piece of fabric, multiple panels sewn together, or even a pleated design, depending on the fashion trends of the time. Scholars also refer to it as 'Yao Qun' (腰裙), described in 'The Dictionary of Ancient Chinese Clothing' as a short skirt worn around the waist. Research by Ruan Li from Shanghai University further defines it as a wide band tied around the hips, often adorned with decorative knots or beads. This accessory was not just for aesthetics; it served practical purposes too. In winter, it could be padded with cotton for warmth, while in summer, lighter fabrics were used for breathability. The 'Wei Shang' added layers and dimension to outfits, much like the tiered designs of Western cake dresses. Fashion Trends…