Beneath the stage lights of a Kunqu opera performance, Du Liniang (杜丽娘) glides forward, the iridescent blues and greens of her diancui (kingfisher feather art) headdress shimmering with every step. In the audience, 90s-generation jewelry designer Wang Shenglin (王圣临) watches his creation come alive, a testament to centuries-old craftsmanship captivating a modern crowd. This scene encapsulates a vibrant cultural renaissance: young artisans are breathing new life into China’s imperial jewelry traditions, transforming intricate techniques like diancui (点翠), filigree, and enamel work from museum relics into coveted “New Chinese Chic” accessories. From social media sensations to sold-out night classes, these artisans aren’t just preserving history—they’re rewriting it for a generation proud of its heritage. Artisans Rekindle the Flame Social media platforms buzz with admiration for Wang Shenglin’s creations. His designs—a diancui coronet adorned with “mountain-sea” motifs, silver-gilded filigree peony hairpins, or butterfly earrings inspired by Palace Museum treasures—garner thousands of “stunning!” and “so ethereal!” comments. Followers eagerly inquire about purchasing these wearable pieces of history, blurring the line between cultural appreciation and contemporary fashion. The passion extends beyond online admiration. Young creators immerse themselves in meticulous apprenticeships. Lü Jikai (吕纪凯), another 90s talent, spent a year painstakingly recreating a Qing Dynasty…

The series of activities of the 2025 Beijing Great Wall Culture Festival in Huairou District - the "2025 Huairou National Trend Culture Season" will set off a national trend fashion in Huairou District, Beijing from July to October. Chinese and foreign Hanfu enthusiasts experienced immersive Hanfu travel photography in Qinglong Gorge, Huairou, Beijing, preheating the "2025 Huairou National Trend Culture Season" which will kick off in July. Hanfu Tourism Photography Theme Experience As the first pre - heating event, the immersive Hanfu travel photography theme experience was recently held in Qinglong Gorge. Twenty Chinese and foreign Hanfu enthusiasts gathered in Huairou, becoming the first batch of "Hanfu experience officers" to feel the charm of the integration of the national trend and nature, and let the world see the new expression of Chinese aesthetics where tradition and modernity are intertwined. "This is a blue - and - white porcelain bowl with a painting of ladies from the Ming Dynasty. We dressed up and took photos imitating the scene here, which made me feel the fun of the ancients painting their lives on porcelain." The influencer "Xiaoxi", who participated in the event, has had a strong interest in traditional culture since childhood.…

Within days of its premiere, The Princesss Gambit (桃花映江山) has ignited fervent discussion, its viewership soaring past 23,000 and climbing rapidly. This adaptation of Bai Lu Cheng Shuang's novel The Peach Blossom Folds the Rivers and Mountains (桃花折江山) thrusts viewers into the treacherous courts of Northern Yan and Da Qi. Princess Jiang Taohua (Meng Ziyi), a disposable pawn sacrificed in a royal power play, finds herself in a forced marriage to the formidable and morally ambiguous Prime Minister, Shen Zaiye (Liu Xueyi). Their union, born from desperation and political maneuvering, sets the stage for a dangerous dance where survival hinges on outwitting enemies, navigating palace conspiracies, and deciphering each other’s motives. Directed by the acclaimed Yi Jun (The Tribute of Youth,The Legend of Fuyao), the series wastes no time plunging audiences into a world of razor-sharp tension, breathtaking visuals, and complex characters whose motives are as layered as the intricate plots they weave. Yi Jun's Signature Precision Director Yi Jun's (易军) masterful control is evident from the opening frames. The premiere episode efficiently establishes the dire stakes: Taohua's desperate escape attempt, her heartbreaking sacrifice to save her brother, and the perilous journey to Da Qi. Yi Jun utilizes stark lighting…

After a prolonged seven-year hiatus, legendary Chinese auteur Jiang Wen (姜文) storms back into cinemas with Let the Music Fly (你行！你上！), slated for release on July 25. The film chronicles the tumultuous upbringing of world-renowned pianist Lang Lang, refracted through Jiang’s signature hyper-stylized lens. Its bombastic trailer—teeming with A-list stars, surreal imagery, and kinetic chaos—ignites both fervent anticipation and skeptical eyebrows. This isn’t just a comeback; it’s Jiang Wen defiantly planting his flag in the summer box office wars. Shifting its release date from July 15 to 25 strategically dodges clashes with DC’s Superman (超人) and the dark horse fantasy Liao Zhai: Lan Ruo Temple (聊斋：兰若寺). More intriguingly, it avoids a face-off with The Stage (戏台), starring Jiang Wen’s brother Jiang Wu (姜武). The siblings’ uncanny resemblance risks audience fatigue if both films opened simultaneously. Instead, Jiang Wen positions his opus against the historical drama The Litchi Road, betting his flamboyant vision can outshine safer bets. Initial reactions to the trailer reveal a polarized camp. Supporters champion Jiang’s audacious visual language—a whirlwind of masked figures, gravity-defying leaps, and cars chasing trains. Detractors, however, question the appropriateness of such extravagance for a biopic. Comparisons to his divisive 2014 film Gone with the Bullets (一步之遥) (rated 6.7) surface, alongside concerns that star power overshadows substance. Can Jiang…

The arena lights dim. The roar of the crowd fades. For Sun Yingsha (孙颖莎), Wang Manyu (王曼昱), and Chen Meng (陈梦) - China’s indomitable table tennis "Golden Flowers" - this isn’t an exit, but an entrance. Fresh from defending national glory on the Olympic stage, these athletes are executing a masterful pivot, trading crisp ping pong whites for haute couture and commanding covers of Vogue’s peers with the same fierce precision they deploy against opponents. Their journey isn't just about endorsements; it’s a cultural recalibration, proving athletic rigor translates seamlessly into runway-ready allure. The Unstoppable Rise of Wang Manyu Wang Manyu’s ascent in fashion mirrors her relentless climb in world rankings - swift, decisive, and impossible to ignore. Fresh off securing silver and gold at the grueling 2025 Doha World Championships, she landed in Beijing and headed straight to a farm. The result? A stunning GLASS China June cover, radiating cool detachment in Longchamp’s sleek Autumn/Winter 2025 separates. Her secret weapon? A natural intensity dubbed "Cold-Face Warrior" by fans. This 176cm powerhouse possesses the rare ability to make a simple black Balenciaga hoodie and jeans, worn at the brand’s Beijing flagship opening, look like high art. "Fashion events are small courts compared to world championships," one stylist…

In 2025, Ju Jingyi stands as a paradox: once vilified by China’s internet hivemind, now crowned the undisputed queen of luxury fashion. Her departure from talent agency SNH48 in 2024 ignited a metamorphosis that rewrote the rules of celebrity influence. Emerging from the shadows of online criticism, the former SNH48 member now dominates fashion leaderboards with record-shattering magazine sales and luxury collaborations. Defying a decade of body-shaming, plagiarism accusations, and viral mockery, she weaponized resilience into record-shattering triumphs. With five magazine covers amassing ¥60M+ in sales and Louis Vuitton collaborations redefining East-West aesthetics, Ju’s journey transcends vanity metrics - it’s a masterclass in rewriting destiny. The Magazine Empire When Ju Jingyi gracedCOSMO’s June 2025 cover clad in warrior-esque Alexandre Vauthier couture, she didn’t just break records—she atomized them. The issue sold 560,000 copies in 24 hours, grossing ¥30.89M and dethroning every Chinese celebrity’s historical sales . This wasn’t luck; it was strategy. Her 2024 debut withWonderland.saw Rahul Mishra and Yuima Nakazato haute couture pieces sell ¥7.74M in 30 minutes, signaling an industry shift: audiences craved her audacious aesthetic alchemy. By January 2025,L’OFFICIELdedicated three covers to her mermaid-inspired Iris van Herpen fantasy—a first for any Chinese star. The editorial’s fusion of…

No matter which ancient - cdrama it is, there's always a headband on or behind the character's head. This seemingly simple headband can make the wearer look graceful and full of Chinese charm. How can such a simple accessory be so appealing? Let me state my view first. This headband is extremely common in TV dramas and Hanfu makeup and styling. For instance, Liu Shishi (刘诗诗) often sported headband looks in the ancient - costume drama Huai Shui Zhu Ting (淮水竹亭). Although we usually just call it a "headband", it actually has multiple names. Let's briefly sort out its common names and wearing methods. Netizens joke that this headband is like a veteran actor, as it appears in every ancient - costume drama with excellent "acting". One of its names contains a character that's difficult to write (a character composed of "xu" on top and "jin" at the bottom, pronounced "xu", meaning a hair rope). According to Zhu Zi's Family Rituals (朱子·家礼), for mourning women, the "xu - jin" is a piece of slightly thin linen about eight inches long, used to tie the hair roots with the rest hanging at the back. In the Song Dynasty's Records of the…

Why do fairies in ancient costume dramas always have two loops on their heads? It seems that in the ancient costume dramas I watched as a child, fairies all sported this hairstyle. Usually, there are two loops, but there can also be multiple loops. What's the name of this hairstyle? Let me give the answer first. This hairstyle is called the Double-loop (Bun) Immortal-worshipping Hairdo, which evolved from the Double-loop Hairdo. "Bun" and "loop" are interchangeable, just different terms. The Double-loop Hairdo was originally a hairstyle for young girls, and multiple loops can also be collectively referred to as "Bun Hairdos". But perhaps because it's so beautiful, this hairstyle also frequently appears in paintings of immortals, such as the famous ancient painting The Nymph of the Luo River and The Scroll of Eighty-seven Immortals. Since then, the fashion has spread throughout history. Because it's the hairstyle of fairies, people weren't satisfied with the traditional name of the double-loop and gave it a new name, "Immortal-worshipping Hairdo". As the name suggests, "this style can only be found in the heavens". Evolution of the Hairstyle You can see that there's an evolutionary context from the traditional Double-loop Hairdo to the Double-loop Immortal-worshipping…

Why were the immortals in ancient costume dramas easily distinguishable at a glance? In today's Xianxia (仙侠) - themed movies and TV shows, the image of immortals usually features white, long robes fluttering in the wind, along with a combination of Chinese and Western photo - studio styles. So, which one is the "real immortal"? Let me state the conclusion first. The images in old - fashioned TV shows were mostly modeled after the traditional costumes in immortal paintings, rather than being conjured up out of thin air. In contrast, modern Xianxia dramas adopt a uniform white color scheme and loose - hair makeup due to modern minimalist aesthetics, which has created a stereotypical impression of Xianxia among most young people. However, can we just make wild guesses about immortal costumes without a dynasty background? No. Looking at the Xianxia dramas in recent years, there are those with ancient Chinese styles, Western styles, or a blend of both. But without exception, pure white and light - colored outfits dominate. No wonder fans say, "To look charming, wear all white." When we examine ancient murals, we find that the immortals' clothing was colorful. The ancients also painted immortals, and like us…

1. Ironing Care Our Qipaos are crafted from silk and handmade. For the sake of safe transportation, they are packed in waterproof packaging. Once you receive it, use a steam iron at a low temperature to iron the Qipao. After ironing it smooth, let it sit for 10 - 15 minutes before trying it on. During the ironing process, avoid dripping too much water to prevent water stains. 2. Washing Care Due to the special nature of the fabric and craftsmanship, refrain from washing the Qipao with water on your own. We recommend taking it to a dry cleaner. 3. Storage Care Before storing the Qipao, iron it flat and then hang it up (avoid using metal hangers to prevent rust stains from contaminating the garment). Store it in a place away from moisture and sharp objects. It's not advisable to store it together with spun silk or fur clothing. 4. Sun Exposure Prevention Silk is a protein fiber, and long - term exposure to the sun can cause the protein to denature, leading to yellowing, decay, or discoloration of the silk. Hence, don't expose the Qipao to the sun for extended periods. 5. Wearing Care Silk fibers are delicate…

Autumn and winter are indeed the perfect seasons for velvet. How can these seasons be complete without velvet? Its rich nobility, combined with a low - key yet luxurious velvety texture, makes it irresistible to many, thanks to its unmistakable aristocratic charm. Although its history can be traced back to the ancient Warring States period, velvet truly gained popularity during the Republican era. Inspired by cultural shifts and restoration movements, women started wearing streamlined and loose cheongsams, where velvet showed its unique allure. Take Soong Mei - ling (宋美龄), the First Lady of the Republic, as an example. Whether she was visiting the U.S. or attending important events, she always favored a fitted velvet cheongsam. Dignified, luxurious, and subtly elegant, her choice solidified velvet's status as a symbol of nobility and identity. Recommend a Velvet Gown Seizing the romance of October, I'm recommending an exquisitely simple yet elegant velvet gown named Huaman. Inspired by the dark - green Datura, it symbolizes mystery and eternal vitality. Made from silk velvet, its dense pile shimmers in different shades, like a precious relic from an ancient castle. The understated aristocratic charm, along with the serene dark - green color, creates a visually stunning…

In the world of Qipao, sleeve selection is crucial! In Qipao making, sleeves are an extremely important part. They not only help the skirt and waist achieve a slender silhouette but also accentuate the delicate beauty of the shoulders and neck. Moreover, a uniquely - designed and romantic sleeve is like the icing on the cake, an extension of decoration and an enhancement of beauty. Today, I'll focus on the sleeve types and styles of Qipao and discuss what kinds of sleeves it has. Classic Qipao Sleeve Types Sleeveless: A versatile Qipao style, it's light and simple, allowing the arms to be more fully exposed, which helps elongate the arm lines and create a slender figure. Shoulder Sleeve: The shoulder and sleeve parts are connected, creating soft shoulder lines and highlighting the overall feel of traditional Qipao, naturally fitting the curve of our shoulders. It's especially friendly to ladies with narrow shoulders and is often used in younger - styled Qipao. Moon Sleeve: Based on the sleeveless design, a small sleeve is added, softening the shoulder lines and providing some coverage for a slimming effect. Ultra - short Sleeve: Slightly longer than the moon sleeve, offering better coverage for the…

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…

Recently, the postures of actors in two popular ancient - costume dramas have once again become a hot topic. Why do people care so much about postures? Because postures are extremely important for both ancient - style actors and those who wear Hanfu. Let me state the conclusion first. What we often call posture is actually a person's figure and deportment, which are usually shown when walking, sitting, and standing. In the words of the older generation, it means sitting and standing properly. In current ancient - costume dramas, most characters have high social status, so the audience has higher requirements for them. After all, for a real gentlewoman from a prominent family, there are more constraints from etiquette, and the appearance presented should be more proper. However, in today's TV dramas, it's hard to see the so - called real 'gentlewomen from prominent families'. One reason is the poor postures. For example, the hunchback, the so - called 'rich and noble hump', and the forced standing postures can all reflect obvious posture problems. There are also details shown in expressions, such as the eyes and smiles. A good posture should at least be visually comfortable, natural, and aesthetically pleasing.…

September 9th is a special festival in Chinese traditional festivals. The Double Ninth Festival on this day is special because of its auspicious meaning. On the 9th day of the 9th lunar month, both the day and the month are 9, so it's called "Chongjiu". Also, 9 belongs to Yang in ancient times, and double Yang is a good omen and a good meaning. So on this day, there have always been traditional customs like "climbing high to drive away evil spirits, wearing dogwood, appreciating chrysanthemums, and sacrificing to heaven, earth, and ancestors to express gratitude for the harvest". In addition, it's also a festival for visiting relatives and respecting the elderly. In 1989, our government officially designated the 9th day of the 9th lunar month as "China's Senior Citizens' Day". On such a celebratory day, buying a gift for elders to show respect and love has become a top priority for many people. So what kind of gift to choose? If you haven't decided yet, we suggests giving your relatives or mother a cheongsam, which represents the beauty of Chinese national essence and is a women's national dress. It not only echoes the traditional festival atmosphere of the Double…

The shadowed alleyways of 1940s Shanghai hold more than crumbling bricks; they cradle the defiant spirit of Zhan Zhoushi (Zhang Ziyi). Her story in She's Got No Name (酱园弄) isn’t an isolated tragedy. It reverberates with the haunting cries of "Little Cabbage" (Bai Xiugu), a 19th-century woman similarly ensnared in a web of marital brutality and societal apathy. Both women were branded "husband-killers," their lives reduced to sensational trials where their guilt seemed preordained simply because they were women. Little Cabbage’s torment lay in her powerlessness - a pawn tortured into false confessions, her body broken to serve corrupt officials. Zhan Zhoushi’s agony, however, ignites into agency. Sold into marriage to a hulking, abusive gambler ("Big Block" James), her existence is a litany of bruises and humiliation. When she finally grasps the cleaver, it’s not just a weapon against her tormentor; it’s a shattering blow against the iron law of "husband as sovereign." Her trial becomes less about proving innocence and more about surviving a society eager to silence her. The film masterfully suspends us in this tension - Zhan Zhoushi’s fate literally "hanging" between old-world brutality and fragile modernity. Initially broken by police torture, a spark ignites within her…

64 Monkeys Herald a Legend's Return The internet erupted. A single image - 64 spectral monkeys locked in furious combat across a roiling cloud sea - instantly reignited decades of collective memory. This wasn't just concept art; it was a clarion call. After a staggering ten years in development limbo, the cinematic adaptation of Journey to the West's (西游记) most enigmatic chapter, "The True and False Monkey King," finally has tangible form, aiming for a 2026 release. At its heart lies the unparalleled legacy of Liu Xiao Ling Tong, the actor whose portrayal of Sun Wukong in the seminal 1986 TV series remains the undisputed gold standard, etched into the DNA of Chinese popular culture. Liu Xiao Ling Tong (六小龄童), now 64, embodies the Monkey King like no other. His iconic silhouette - the phoenix-feather crown, the shimmering golden staff - transcends mere performance; it is Sun Wukong for generations. His famous, often-misunderstood declaration - "Adaptation is not random fabrication; dramatic interpretation is not nonsensical chatter" - resonates with newfound weight today. Once perceived as artistic arrogance, it now reads as fierce cultural custodianship, a shield forged from deep reverence against decades of derivative, often disrespectful, commercial exploitation of the…

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.…

If there's any Chinese actress who knows how to wear a Qipao best, Gong Li undoubtedly tops the list. As an ambassador promoting Qipao culture, Gong Li has been showcasing the beauty of Chinese aesthetics to the world since her debut at international film festivals in 1988. Today, I'd like to focus on Gong Li and explore the remarkable chapters she has written with Qipao over the decades, as the most accomplished and influential Chinese actress in global cinema. Through her choices and presentations, we can rediscover the beauty, charm, and versatility of Qipao in different contexts. In 1988, Gong Li attended the Cannes Film Festival for the first time to promote her film King of the Children. Her youthful face was complemented by a pearl - white jacquard Qipao with subtle patterns, marking the beginning of her iconic association with Qipao. In the early days, her Qipaos were understated—short sleeves paired with a narrow skirt, adorned with delicate handmade floral buttons and statement earrings, creating a perfect balance of elegance. Even when standing alongside actresses like Sylvia Chang and Pan Hong, Gong Li radiated grace. 1990: Elegant Curve In 1990, at the Cannes closing ceremony, she wore another white…

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…