Finally, a historical drama recreates the coming - of - age rite. In When the Wild Geese Return, there's a scene where Zhuang Hanyan, played by Chen Duling, undergoes the Ji Li (coming - of - age ceremony for women). Netizens exclaimed, 'So this is the touching moment!' Nowadays, most children are considered adults once they reach a certain age, without a formal 'coming - of - age ceremony'. But in ancient China, one couldn't be truly 'adult' without understanding rites and undergoing the Guan Li (capping ceremony for men) for males or the Ji Li for females. Details of Rites Men usually had the Guan Li at 20, and women the Ji Li at 15. Also called 'Jia Ji' or 'Shangtou Li', the Ji Li involved parents or elders tying up the girl's hair and inserting a hairpin, signifying her adulthood and eligibility for marriage. As the saying goes, 'When a woman is betrothed, she undergoes the Ji Li and is given a courtesy name.' The main adornments in these rites were hair - tying and adding a crown or hairpin. Before adulthood, children wore their hair loose. The Guan Li for men had three stages, corresponding to different…

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…

When Qipao meets traditional Chinese red, each piece is a true masterpiece! The fusion of gardenia and jasmine scents creates an unforgettable beginning. Today, I’m sharing about red Qipao. Among all colors, red is undoubtedly the star of Qipao. It's not only associated with wedding attire but also deeply rooted in China's historical and cultural symbolism. Red embodies the soul of Chinese culture, symbolizing auspiciousness, celebration, eternal brightness, warmth, hope, vitality, and prosperity. In Chinese history, the five colors—white, blue, black, red, and yellow—were linked to the Five Elements (metal, wood, water, fire, earth) and virtues (benevolence, righteousness, propriety, wisdom, trust). Starting from the Zhou Dynasty, red was revered as a symbol of power and nobility, gradually becoming a staple in both royal and common households. By the Tang and Song Dynasties, red was widely adopted in daily wear and weddings. In the Tang Dynasty, the fourth - rank officials wore dark crimson, and the fifth - rank officials wore light crimson. The popular colors at that time were crimson, purple, bright yellow, and green. The combination of crimson and green was commonly used for women's clothing, and this color scheme was also applied in weddings, with grooms in red…

In previous features, we discussed the unsurpassable peak in Qipao cinema history—In the Mood for Love. Today, I want to focus on Qipao appearances in TV dramas, highlighting those classic moments where Qipao beauties shone. Each of these beauties has her unique charm, and the Qipao they wore were equally distinctive. In the vast ocean of Qipao styles, external beauty is secondary; the key lies in wearing the Qipao with personal flair and character. First, let's talk about a widely recognized Qipao beauty from recent years—Jing Tian in Rattan (2021). Her portrayal of a vine spirit, set in the Republican era, featured numerous Qipao styles that redefined elegance. The satin Qipao, primarily in pearl white, with its high side slit, atmospheric connected shoulder sleeves, double-round front placket paired with delicate piping and inlaid silk hard flower buttons, exuded both nobility and grace. It was not only light and smooth but also convenient for movement. Paired with Jing Tian's long hair like satin, it combined sexiness and cold beauty. The lace-embellished Qipao in pale blue highlighted her delicate features. The lace perspective showed the female's graceful figure in a hazy and implicit way. With exquisite bead embroidery printing and a small…

Why Do Costume Dramas Always Feature Loose Hair? In TV dramas, we often see characters with 'loose hair' styles, including half - down hairstyles. For ancient people, when was it necessary to tie up their hair? What were the customs around this? The conclusion is that both men and women were expected to tie up their hair in public after reaching adulthood. Many dramas wrongly assume that unmarried women can have loose hair and married women should tie it up. According to traditional etiquette, hair should be tied up after coming of age. Ancient coming - of - age ceremonies were closely related to hairstyles. For men, it was 'Guanli (冠礼)', and for women, 'Jili (笄礼)', also known as 'Shangtouli (上头礼)'. Records show men had Guanli at around 20, and women had Jili at about 15. For women, the Jili, also called 'Jiaji (加笄)' or 'Shangtouli', involved parents or elders tying up their hair and adding a hairpin, symbolizing adulthood and eligibility for marriage. As Confucian texts state, 'A woman promised in marriage is honored with Jili and given a courtesy name.' In Confucian ideology, wearing loose hair after adulthood was seen as barbaric or a disregard for rituals. The…

In the TV series When the Wild Geese Return, Wang Yan's character Aunt Zhou once said that wearing crimson red brightens the complexion. It seems she was right. In traditional Chinese colors, red is the most complexion - enhancing. Whether it's the bright red of the New Year or the peach pink of young girls, it brings to mind the vibrant spring. Actually, the crimson Wang Yan mentioned, judging from her attire, is more like 'Feihong' (妃红) or 'Yanzhi' (胭脂). The term 'Fei' color is related to clothing. One theory says it was originally 'Lychee Color' and became 'Yang Fei Color' because of Yang Guifei's love for lychees. Another theory is that it's named after the colors of her clothes. Anyway, 'Yang Fei Color' is linked to this Tang - Dynasty beauty. It's a milder version of crimson red. To understand its hue, we need to know about 'Fei' (绯) color. In ancient novels, 'Fei' robes describe women in fiery red. The character 'Fei' first appeared in Sui and Tang poetry and was defined by Xu Xuan in the Song Dynasty as 'a deep red dye for fabrics'. Historically, red was 'fire color', and 'Fei' is deeper, so 'Feihong' means…

Isn't It Uncomfortable? In period dramas, we often see these hard pillows. Even in museums, most pillow artifacts are made of wood or ceramic, making one wonder if they were truly this uncomfortable. The answer is that ancient pillows came in various forms, including silk, cloth, ceramic, wood, and even jade. However, softer pillows like silk or cloth ones didn’t preserve as well, so most surviving artifacts today are hard pillows. The Chinese character for 'pillow' (枕) has a 'wood' radical, suggesting that early pillows were primarily made of materials like wood or dried grass. The ancient text 'Shuowen Jiezi' defines a pillow as 'a support for the head during rest.' Some also used stones as pillows, especially in hot summers, as the coolness could relieve discomfort. As living standards improved, pillows diversified. For example, a silk pillow was unearthed from the Han Dynasty Mawangdui Tomb—a soft pillow! This rectangular pillow, embroidered with 'longevity patterns,' was stuffed with Eupatorium leaves, known for their aromatic and medicinal properties. The pillow’s ends were adorned with raised brocade, and its sides featured fragrant silk embroidery. This wasn’t just a silk pillow but also a medicinal one, proving that nobles had access to soft…

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…

When the wind blows the hem of the cheongsam, the swaying figure is truly beautiful. Today, I'd like to talk about the cheongsam skirt, that is, the skirt style of the cheongsam. Why this detail? Because when we choose a cheongsam, we must pay special attention to it. Selecting a skirt that suits us, looks good, and has a strong modifying effect is the key to choosing a cheongsam. When choosing a skirt, options like A-line, wide swing, fishtail, straight tube, and various lengths can be dizzying. So today, I'll discuss the different styles of cheongsam skirts, their characteristics, and which body types they suit. Straight Skirt The straight skirt is the most common basic style in cheongsam patterns. It features a straight-up-and-down design. The H-shaped vertical effect makes the skirt fall straight and neatly, making the cheongsam look extra long, upright, and slender. This is why most people choose straight-skirt cheongsams. It suits all body types, has a daily style, and can be worn on various occasions, with a natural sense of dignity. There are usually three lengths for straight skirts. The first reaches the calf. This length is more convenient and daily, with less of the cheongsam's charm…

The encounter between Qipao and the magnificent Chinese green creates unforgettable masterpieces. Green symbolizes the vastest and most touching freedom on earth. As writer Li Juan once said, 'When we see green, we always think: nothing will ever end, right?' This interpretation, though not as romantic or unique as others, perfectly captures the essence of green—its freshness and vitality that bring hope and life from spring to summer. It's no wonder so many people adore and continuously fall in love with green. This love has persisted since ancient times. Starting from the Han Dynasty, influenced by Taoist and Confucian philosophies, green became widely popular in both culture and aesthetics, admired for its natural and serene beauty. Beyond clothing, green was also prominently used in architecture, as recorded in Zhang Heng's 'Ode to the Western Capital.' In ancient Chinese art, green flourished in paintings, particularly in the Dunhuang Mogao Caves during the Wei, Jin, and Southern and Northern Dynasties. The harmonious blend of green with colors like earthy red, lapis lazuli blue, and black showcased its elegant and rich beauty. By the Tang and Song Dynasties, green became a staple in landscape paintings, symbolizing the vibrant life and artistic refinement of…

The encounter between the scents of gardenia and jasmine promises an unforgettable beginning. Today, we continue our review of cheongsam styles from films and TV shows, focusing on the 2021 Republican - era spy drama The Rebel. This series stood out not only for its stellar cast, including Zhu Yilong, Wang Yang, Tong Yao, Wang Zhiwen, and Zhu Zhu, but also for its nuanced portrayal of faith, humanity, and personal fate against the backdrop of a turbulent era. Zhu Yilong's performance earned him a nomination for Best Actor at the 2023 Magnolia Awards. The show excels in its authenticity and depth, much like the fleeting 'Sanxing Brand' toothpaste ad in the background—a subtle nod to the era's anti - foreign product movement led by industrialist Fang Yexian. However, today's focus is on the cheongsam aesthetics of the 1930s, when Shanghai became the birthplace of the modern 'Haipai' cheongsam. The Rebel serves as a historical corridor, showcasing how women's cheongsams remained vibrant and diverse despite material scarcity. Zhu Yizhen Zhu Yizhen, played by Tong Yao, is the daughter of a wealthy capitalist who abandons privilege to join the Communist underground. Her cheongsams reflect her purity and idealism—often made of linen in…

Too Ahead of Its Time! In the period drama When the Wild Geese Return, the character Zhuang Yushan, the second young miss, often appears in a pink puffy dress. People wonder if ruffled dresses existed in the Ming Dynasty, finding it incredibly fashionable. Let’s start with the conclusion. This style is called Tieli, and a similar one is Yesa. Both were influenced by Yuan - Mongol styles and were popular during the Ming Dynasty. Yesa and Tieli are quite alike, but the most obvious difference is that Yesa has a smooth front panel like a horse - face pleat, while Tieli is fully ruffled. According to Ming Palace History, 'Yesa has an unbroken back panel with side pleats and a front panel divided into two sections with horse - face pleats extending outward.' These styles were mainly men's wear, and women usually wore them for cross - dressing. Does it sound familiar? The once - popular 'Feiyu Fu' (Flying Fish Robe) in dramas, paired with the imposing Xiuchun Dao, is actually this style. 'Feiyu' refers to the pattern, which resembles a python but has a fish tail. Common 'Feiyu Fu' includes both Tieli and Yesa styles. Yesa not only has…

In the ancient - costumed drama When the Wild Goose Returns, the entrance scene of Concubine Miao is truly impressive. That bright red robe and the hair ornaments... Isn't it like a flashback to the scene of Princess Yuan's return to her natal family in A Dream of Red Mansions? Of course, it's the elegance of our country! A similar scene was also seen when Meng Ziyi got married in Purple in the Ninth Heaven, just with different patterns (kirin patterns). Who says Ming - style clothing is only low - key and luxurious? The grandeur of Ming - style formal dresses can be highly praised. First, let's conclude. What the imperial concubine wore was the "Python Robe" decorated with python patterns, a round - collared long gown style, with a standing - collared jacket inside, hairpins and hair ornaments on the head, and a horse - faced skirt below. This outfit is quite solemn and is a relatively high - level formal dress for noblewomen. No wonder some netizens said: This is not just an ordinary entrance of an imperial concubine. It seems like an "enthronement"! The "Python Robe" can be worn by both men and women. As a…

After the beginning of spring, everything comes back to life. In this season when spring sets the tone and all things harmonize, both people and beauty are blessed. That's why there are poems like 'the wind carries the fragrance of flowers, the rain washes away the dust of spring, and people thrive with the season.' As Yu Guangzhong described, 'I don’t know how spring crossed the border, why customs couldn’t stop her, only that she arrived in a lively, bright procession with colorful banners.' Shi Tiesheng also explained the essence of spring: 'The entire spring, until summer, is a season where life enjoys its own charm.' This charm is not only the calls of emerald birds after winter hibernation and the flitting of delicate butterflies but also you and me finally shedding thick clothes to step into spring in light dresses. Today, let's focus on cheongsams that embody the beauty of spring. In such a vibrant season, how can we lack colorful companions? White Cheongsam Although defined as white, this cheongsam is closer to the traditional Chinese beige, with a slight yellow tint adding warmth to the translucent white. Paired with silk crepe de chine fabric, it has a soft,…

"There is a Western writer (was it Bernard Shaw?) who once complained that most women choose their husbands far less attentively and carefully than they choose their hats. Even the most heartless woman speaks with affection when she talks about 'that brocade-lined robe from last year.'" This passage is from Eileen Chang's Record of Changing Clothes, with Ms. Chang's usual sharp and incisive writing style and unique perspective. Women's love for clothes seems to be innate. The colors, patterns, and styles of clothes are not only a source of beauty in women's lives but also reveal the diverse and rich inner worlds of their souls. For women, clothes not only enhance and reflect beauty but also relate to a person's deeper inner operating rules and aesthetic creative desires. In other words, they are the visible external features of a person's inner self. This is true for people, and even more so for a film with extremely high artistic value. For a director like Wong Kar-wai, who has an almost extreme pursuit of audio-visual language, women's clothes are the second language in his films. So, in In the Mood for Love, the cheongsam is the most direct manifestation of Su Lizhen's…

Some attentive netizens noticed: Why does Chen Duling's corset in When the Wild Geese Return have a front opening? What's the purpose of the split - like opening? Let's get to the point. In fact, front - opening corsets like this existed as early as the Ming Dynasty, known as Zhuyao (主腰). They were quite popular during the Yuan and Ming periods and were also called Hehuanjin (合欢襟). Their most distinctive feature was the front - opening, which could be fastened with ties or buttons. Some people also referred to Ming - Dynasty undergarments as Zhuyao instead of Moxiong (抹胸), just a matter of terminology. Artifacts show this style could have shoulder straps or not, and the straps could be crossed or parallel. Those without shoulder straps could still be categorized as Moxiong. Common Moxiong during the Song and Ming Dynasties were usually one - piece wraparound styles with ties, while Zhuyao had a front - opening design. This one - piece Moxiong was a long strip of cloth with ties on both sides, often gathered in the middle. It was a classic Hanfu undergarment and remained popular for a long time. In some regions, it was used as a…

Some cheongsams are born to dance with summer! The encounter between the scents of gardenia and jasmine marks an unforgettable beginning. Certain beauties are naturally suited to conspire with summer, like a cool and elegant cheongsam. When the afternoon light cuts diagonally across the skirt, the wind takes on a beautiful shape. It glides along the curves of the waist, cascading into ripples at the slit. The satin adorned with magnolia or bamboo leaves, originally nurtured in ink wash, is awakened by the summer breeze, wrapping around a woman’s graceful silhouette and turning the heat into light, poetic rhythms. The upper body is secured with traditional knotted buttons, locking in warmth, while the lower body lets the summer breeze roam freely. The flowing patterns on the fabric reveal how this long summer is stitched into the lining of time. Wearing such a cheongsam is the most unique beauty and joy of summer. Red Series The main palette is 80% rouge red, 10% peacock blue, and 10% gardenia yellow. This cheongsam, woven with Eastern brocade and Western motifs, exudes the grandeur of the Tang Dynasty. The vibrant red Song brocade resembles molten Western glass, with diamond grids holding cross-shaped floral patterns…

Costume dramas need to pay more attention! In The Legend of Zhuohua, the ceremonial attire of Zhang Wanyi and Jing Tian as emperor and empress is confusing at first sight—almost like couple outfits. The much - praised imperial costumes are actually incorrect. By design, Jing Tian wears a Di Fu (翟服), and Zhang Wanyi wears a Mian Fu (冕服). Both have similar bird patterns, seemingly identical. Historically, the Di bird on the Di Fu and the Hua Chong (华虫) in the Twelve Ornaments of the Mian Fu were originally unrelated. Later, their designs merged, creating a beautiful 'mistake'—they look the same, and technically, they are. However, the emperor’s attire should be black (玄色), not dark blue. Distinguishing the Birds The Di (翟) is described in Shuowen Jiezi as a 'long - tailed pheasant,' referring to its feathers. In the avian hierarchy of Chinese motifs, if ranked, Hua Chong > Di > Phoenix, as the phoenix is usually considered highest, but Hua Chong and Di birds, for imperial attire, are often excluded from the general ranking. The Di is the highest - ranking motif for empresses and noblewomen. Following Tang Dynasty customs, the Song Dynasty mandated Di birds on noblewomen’s attire,…

The period drama 'When the Wild Geese Return' (also known as 'The Noble Lady') is a hit. But what was a 'noble lady' like in ancient times? Was she just decked out in gold and silver, flashy and ostentatious? The answer is no. Ancient 'noble ladies', mostly daughters of prestigious families, were defined by their status rather than blatant displays of wealth. This was in line with the aesthetic of the time - true nobility was understated, 'noble without being showy'. Let's take the Ming Dynasty, the backdrop of the drama, as an example. Nobility in the Ming Dynasty was often reflected in unassuming yet substantial details. The 'diji' (䯼髻), developed from the 'teji' and 'guanzi' of the Song Dynasty, was the main headwear for married women. It was usually woven from silver or gold threads, horsehair, bamboo strips, or even human hair (some were made from paper or fabric) and covered with black gauze, like a cone over the hair bun. Various hair ornaments were inserted into it, including a 'fenxin' (worn at the center), a 'dian'er' (at the base), a 'tiaoxin' (at the top), a'manguan' (at the back), 'caochongzan' (insect - shaped hairpins on either side of the…