Chinese fashion elements have always been closely related to Chinese traditional culture, auspicious patterns and Hanfu also have a very good combination. There are many auspicious patterns in Chinese folk. On the new year's day, or on a festive day, people like to decorate their rooms with these auspicious patterns to express their yearning for a happy life and the celebration of a good day. It is the most common way to extend and extend the natural attributes and characteristics of some animals and plants. For example, dragon and Phoenix are used to symbolize power. From ancient times to now, Dragon is the auspicious God of ancient China. It is regarded as the totem of the Chinese nation and has supreme status. In Chinese, pronunciation often corresponds to several Chinese characters, so using the same and similar pronunciation can achieve a certain rhetorical effect. These auspicious patterns have been popular from the Han Dynasty to Ming Dynasty, and they are mostly seen in ancient porcelain of the Ming and Qing Dynasty. Today, Chinese fashion elements are constantly integrated into our modern life, and our Hanfu and auspicious patterns are also very well combined. Let's follow the steps of Hanfu Time…

"What should I wear tomorrow", it's like an epic puzzle, just like people asking you "what to eat at noon every day". According to a survey, in fact, many people want to try to wear Hanfu to work. Even if they are new to Hanfu, they also want to try more Hanfu styles on different occasions, but traditional Hanfu is too eye-catching and time-consuming. What should we do? Hanfu Time have prepared #How to wear Hanfu on weekdays# for you, made a plan for you to wear Hanfu on weekdays. Monday Monday must be a nightmare for many people. On this day, you need some stylish clothes to decorate your neat and generous office style. Focus on simple collocation, black and white sense of conciseness, and win in detail. Wear Examples: Tuesday Continuing the style of Monday, the style in Tuesday's dress can be slightly gentle, mainly comfortable and fashionable, adding some fresh colors, and the decoration of dark lines. It's very suitable for matching with wide-leg pants. Wear Examples: Wednesday On Wednesday, you can bring yourself and your colleagues a more comfortable mood. At this time, you can wear more outstandingly, even in bright colors and printed skirts. Wear Examples:…

Quju (曲裾) is a kind of Shenyi (深衣). Shenyi, that is, the top and the dress are connected together, use different colors of fabric as the edge. It is characterized by the deep hidden body, it looks graceful and elegant. Shenyi can specifically be subdivided into “Straight Ju Dress” and “Wavy Ju Dress”. This article introduces the way of wearing Quju. Step1: Get ready for Quyi. Put on the right sleeve first. Turn the inside of Quyi around behind you. Step2: And tie the laces behind you and under your right axilla. Step3: Put on the left sleeve. Step4: Tidy  collar. Step5: Wrap Quju backward. Step6: Turn the sharp corners of the outer skirt behind you. Step7: Fix the end of the apex at the left hip. Step8: Fold the collar part of the outer jacket neatly. Step9: Belt tie. Step10: Find the midpoint of the belt, tie the belt in some places below the waist, the midpoint of the belt is aligned with the middle of the waist. Step11: Wrap the belt around your back and overlap the ends of the belt. Step12: Tie a bow in the middle of the waist. Step13: Tidy up the overlap of the…

Hanfu in Tang Dynasty was introduced to you before. Today, it brings you the style of Hanfu in Song Dynasty. Before introducing the Han clothes of the Song Dynasty, let's first understand the Song Dynasty. The Song Dynasty (960 - 1279) was divided into two stages, the Northern and Southern Song Dynasties. It experienced eighteen emperors and enjoyed the country for 319 years. The greatest feature of hanfu in the Song Dynasty is simple and elegant. Compared with the elegant appearance and bold colors of the Hanfu of the Tang Dynasty, the Hanfu of the Song Dynasty is simple in shape, simple in tone, and the whole temperament seems more natural and elegant. Song Dynasty civilian men's clothing, mainly to the "Ao (袄)" and "Ru (襦)". In ancient times, the poorer people wore "Duanhe (短褐; short and thick clothes)", which were designed to facilitate work. In addition, men in the Song Dynasty also liked to wear a shirt (衫). Unlike the clothes we imagined, this kind of clothes was very self-cultivating, not the kind of generous design we imagined. Compared with men's clothing, women's clothing is more abundant, in the Song Dynasty, women generally wore Ao(袄), Ru(襦), Shan(衫), Beizi(褙子), Banbi(半臂), dress…

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…

Today, I will introduce you to a photographer. Her name is Dang xiaoshi (当小时). She is a Sichuan girl. She spends most of her time in Beijing. Like many people, Dang xiaoshi has been shooting some "commercial works" in order to live. However, due to a strong preference for "Chinese Style", there are occasional works of ancient style in private. At first, Dang xiaoshi just liked the costume style, but all the changes started with an invitation. A friend of hers got married and invited her to Nepal to take wedding photos. At that time, Dang xiaoshi put forward the idea of shooting with the theme of "Hanfu" to her friends. Originally, she just wanted to take a meaningful wedding photo for my friends, but when the photo came out, it got a lot of praise. Looking at the endless praise of Chinese clothes, she found that the charm of the original culture is so great. So she left beautiful pictures around the world with her Chinese clothes. Let's see what beautiful places she's been to. Hanfu in the United States When Hanfu, music and American enthusiasm are combined, there is a different spark. Hanfu in Nepal Hanfu in Japan…

Kyoto is an ancient capital of Japan. It preserves a large number of historic buildings. Many Japanese and tourists will feel Japanese culture in kimonos. However, in this ancient city, some local people often see a Chinese girl in Chinese costume walking down the street. Local Japanese all raised their thumbs: so beautiful, just like a fairy! The girl's name is Zhi Luo. She was born in 1993. She is from Beijing, China. Because her husband (Chinese) has been a photographer in Japan for many years, she came to Kyoto to work more than half a year ago. Why does Zhiluo like Hanfu? This is closely related to family education, she has often participated in activities about Chinese culture since childhood. Nowadays, Zhi luo works in Kyoto. As a result of working in photography, Zhi Luo wore Hanfu to work and became a landscape on the street. Although there were differences in the form and system of Han uniforms in different dynasties, Zhi Luo was very fond of it. She said: "Wear Tang and Song style when it's hot, Wei, Jin and Ming-style when it's cold, you can wear it all year round." Usually, Zhi Luo wears Chinese clothes to…

March is a hanfu enthusiast, She also insists on wearing Chinese clothes every day in her daily work, which affects colleagues and many people in the company. This time, she climbed the highest Chug peak in Germany in her hanfu, and the beautiful hanfu was praised by many tourists. Some photos of her trip to Germany: Some photos of daily wearing Hanfu:

Before, we introduced the way to wear a wist ruqun(one slice), and next, we will simply tell you how to wear a Qi xiong Ruqun(Chest Ruqun). Qi Xiong Ruqun is made up of front and back pieces(as the picture show). Step 1: Separate the front and back pieces and wear the back ones first. Step 2: tie up the back pieces. Step 3: tie up the front one(put white tape and red tape together). Step 4:Put an X-fork behind you, then take the tape to the front. Step 5: Make a knot. Step 6: The next step is to decorate the extra tape, wrap them in circles, just like a kind of Chinese food: Mahua (麻花, Fried Dough Twists). Step 7: Tie a knot at the end. Step 8: The red tape also needs to be wrap in circles. Finished~ Wearing Hanfu does not seem to be such a difficult thing, but it also requires repeated attempts to get the best look. If you have any questions during the wearing process, you are welcome to contact us by email, we will give you a more detailed explanation. More about how to wear Hanfu can be found here.

Many friends who have not touched Hanfu will have a lot of confusion when they wear Hanfu for the first time. How to wear it? Well, we will have a series of articles to simply tell you how to wear Hanfu. Today, let me show you how to wear a Waist Ruqun. First of all, what you have to know is that the Hanfu were without belts and buttons, all by lacing. The first one to introduce is Waist Ruqun(one slice), one slice means that the only one piece of dress. Step 1: Put the skirt over the waist, align the center of the skirt with the middle of the body, wrap the skirt around the waist and wrap the lower body. (This process is similar to a bathrobe after bathing.) Step 2: Sort out, and from the side, the place to be tied is left out. Step 3: Wrap the rope around the back (Note: cross the rope twice) Step 4: Then wrap around the front of the body. Step 5: Pass the rope through the part of the rope that has been tied to the waist Finished~ Wearing Hanfu does not seem to be such a difficult thing, but…

Today, we are talking about a magical guy, because he is very obsessed with Hanfu for 8 years, and in order to wear Hanfu, he has stayed his long hair for 4 years. What's the story of wearing Hanfu every day? Let's take a look! He is only 23 years old, wearing a Hanfu is very ancient. From the beginning of junior high school, he watched the Hanfu on TV. He thought that Hanfu is very traditional and has a feeling of traditional nationality, so he began to obsess with Hanfu from that time. Hanfu is a traditional national costume that has been inherited by the Han people for more than 4,000 years. It gives a fresh feeling to him. In order to make Hanfu more beautiful, he began to keep his hair. Opened his home wardrobe, all are Hanfu clothes, there are more than 30 sets of various styles, all kinds of colors, the habit of buying Hanfu, the love of Hanfu, is obsessed. Whether it is cold winter or hot summer, he insists on wearing Hanfu to go out. Everyone has paid a lot of attention to him, and he has become the "Starman". How do you understand…

The Princess's Gambit (桃花映江山), the highly anticipated historical romance drama starring Meng Ziyi (孟子义) and Liu Xueyi (刘学义), ignited screens with a blazing premiere. Its debut shattered records, soaring past 23,000 on popularity indexes, signaling potential dominance in the competitive costume drama landscape. Yet, this initial triumph quickly met a wave of audience skepticism. Online forums filled with debates questioning the central pairing's on-screen chemistry and the narrative's structural integrity. The drama promised intrigue between the neglected Northern Court Princess Jiang Taohua (姜桃花) and the cunning Qi Kingdom Prime Minister Shen Zaiye (沈在野). Their journey—beginning with forced alliance and mutual distrust, evolving through political machinations towards tentative partnership and love—faced immediate scrutiny. While some viewers championed the leads’ performances and embraced the familiar tropes, others pointed to repetitive plot devices and jarring inconsistencies, leaving The Princess's Gambit suspended between acclaim and critique. The Leads' Portrayal Initial reactions focused intensely on the perceived age gap between Liu Xueyi’s Shen Zaiye and Meng Ziyi’s Jiang Taohua, with some unkindly comparing him to her uncle. This surface-level critique overlooks the character’s inherent nature. Shen Zaiye is no youthful idealist; he is a seasoned political operator, burdened by responsibility and navigating treacherous court dynamics.…

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…

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…

The quiet revolution in fashion isn't loud—it flows. Across bustling cities and serene landscapes, a refined aesthetic emerges: garments honoring heritage while embracing contemporary life. This movement transcends fleeting trends, weaving cultural threads into daily elegance. At its heart lies craftsmanship, where ancient techniques meet modern silhouettes. The Xiangyunsha (香云纱) embroidery set exemplifies this philosophy—unassuming luxury that speaks through texture, drape, and meticulous detail. The Fabric of Time Xiangyunsha isn’t merely silk; it’s alchemy. For centuries, artisans sun-dyed this fabric over 20 times, coaxing crackled patterns resembling aged porcelain. These "turtle wrinkles" aren’t flaws but narratives—each fissure a testament to patience. Unlike synthetics, Xiangyunsha breathes. Its porous structure wicks moisture, offering coolness in summer’s grip. With wear, magic unfolds. The fabric deepens in luster, developing an oil-like sheen that glows softly. This organic evolution makes every garment unique—a living heirloom. The black base in this set serves as a canvas, where light dances across subtle ridges, revealing hidden dimensions. Traditional dyeing uses mineral-rich river mud and plant extracts, yielding hues that harmonize with nature. Modern wearers inherit this legacy: cloth carrying earth’s poetry. Its weight feels substantial yet airy—structure without stiffness. Stitches of Sunlight Hand embroidery transforms fabric into art.…

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…

The cheongsam, a timeless symbol of Chinese elegance, demands more than just the garment itself. Its high collar, intricate closures, and figure-hugging silhouette place unique emphasis on the wearer's posture and poise. While modern adaptations offer greater accessibility, capturing the garment's inherent grace and the wearer's inner charm remains an art. Among the most critical, yet often overlooked, elements are the hands. Restless or awkwardly placed hands can shatter the delicate harmony of a cheongsam portrait. Mastering purposeful, graceful hand gestures is paramount. These subtle movements and placements not only guide the viewer's eye but also become powerful tools for expressing character, enhancing femininity, and weaving a narrative of refined elegance. The following sections explore 7 essential hand positions, transforming them from potential pitfalls into instruments of profound photographic expression. The Waist: Anchor of Poise Positioning hands at the waist is fundamental. A gentle placement, perhaps fingers lightly interlaced or one hand resting slightly higher than the other, creates a sense of balance and composure. This gesture subtly defines the wearer's form, emphasizing the natural curve of the torso inherent to the cheongsam's design. When combined with a slight side angle towards the camera, it elongates the figure and accentuates…

Beneath the cool summer skies of Mudanjiang, Heilongjiang, a living tapestry of tradition unfolds each evening. Dozens of models from Tang Man Culture Company grace parks and plazas, their Manchu qipaos—with sculpted collars, coiled buttons, and artful slits—blending ancestral grace with modern silhouettes. Led by Jia Shujuan (贾淑娟), a provincial intangible heritage inheritor, this daily procession embodies a cultural renaissance where every stitch narrates millennia of Manchu wisdom. Craftsmanship Reimagined Jia’s studio produces over a thousand unique qipaos annually, each a canvas of innovation. Regional motifs merge with ink-wash paintings and botanical dyes, transforming silk into storytelling mediums. The garments honor Qing Dynasty techniques likepan jin(coiling gold) embroidery, while contemporary cuts accentuate natural forms. Seasonal inspirations yield breakthroughs like the Ice-Snow Qipao. Jagged hems mimic glacial formations, while hidden snowflake cutouts along slits create "moving snowfall" illusions under light. This dialogue between environment and craft reflects Jia’s philosophy: "Technology is the bone, culture the soul, nature the muse." Nature’s Silent Language Heilongjiang’s wilderness breathes within every design. Wild tussah silk, harvested locally, provides the foundation. Artisans hand-paint patterns using roots, berries, and leaves—forest hues whispering through fabric. Peonies bloom across bodices, cranes soar on sleeves, each element distilling Northeast China’s…

In eastern China’s Anhui Province, ancient aesthetics are rewriting modern economic narratives. Tax data reveals a 7.4% surge in textile and apparel sales from January to May 2025, driven by the explosive popularity of mamianqun (horse-face skirts) and Hanfu attire. This resurgence isn’t mere nostalgia; it’s a cultural reawakening merging heritage craftsmanship with digital innovation, positioning Anhui at the forefront of China’s "guochao" (national trend) movement. Stitching Success The mamianqun, characterized by its pleated panels and symbolic motifs, has transcended historical reenactments to dominate mainstream fashion. Social media influencers and festivals like the Hefei Hanfu Carnival amplified its visibility, transforming local workshops into supply chain hubs. Artisans now blend traditional dyeing techniques with AI-assisted pattern design, cutting production costs by 30% while preserving authenticity. Anhui’s textile factories report 40% higher export orders for silk-blend fabrics, catering to Southeast Asian and European markets. Provincial tax incentives for heritage crafts further enabled small businesses to scale rapidly. As one Hefei designer noted, "Young consumers seek identity, not costumes—they’re investing in wearable history." Heritage Reimagined Beyond textiles, Anhui’s intangible cultural heritage fuels diverse industries. Ceramics infused with Longkiln techniques saw 8.5% revenue growth, while bamboo-woven handbags and lacquerware suitcases boosted box retail sales…

Paris Fashion Week’s autumn/winter showcases witnessed an undeniable shift: Chinese celebrities commanded global attention with distinctive aesthetics and unapologetic individuality. Moving beyond traditional "ambassador" roles, stars like Wang Yibo, Xin Zhilei, and Dilraba delivered masterclasses in personal style, blending Eastern sensibility with avant-garde Western design. Their presence wasn't merely noted; it became the focal point of social media buzz and front-row photography, signaling a new era where Chinese influence reshapes high fashion narratives. From Wang Yibo’s (王一博) youthful reinvention to Xin Zhilei’s (辛芷蕾) sharp elegance and Dilraba’s (迪丽热巴) ethereal grace, each moment resonated far beyond the runway, cementing their status as true style innovators. Boyish Charm, Reimagined Wang Yibo’s arrival at the Chanel show shattered expectations. Gone was the aloof idol; in his place stood a sun-kissed, tousle-haired vision of relaxed sophistication. His artfully messy "lamb's wool" curls framed a face radiating ease, a stark contrast to previous polished looks. The choice of Chanel’s AW25 glittering boucle tweed jacket was inspired, its intricate craftsmanship amplified by playful touches: a single swallow brooch pinned low and layered COCO CRUSH rings. The ensemble masterfully balanced haute couture grandeur with an approachable, almost rebellious, boyish energy. His interaction with the crowd—removing sunglasses to…