Rediscovering Chinese aesthetics
Hanfu experiences a revival in popularity, blending historical symbolism with contemporary fashion trends, igniting cultural appreciation and innovative designs, both in China and abroad,
On March 6, Douyin E-commerce released the 2024 Douyin E-commerce Female Consumer Trend Data Report. It unveiled that in the past year, the order volume of horsefaced skirts — a type of hanfu, the traditional style of clothing worn by the Han people — among female users on Douyin, skyrocketed by 841 percent compared to the previous year.
“I’ve noticed that there are so many people wearing horse-faced skirts on the streets now, from young women to children; it’s unbelievable,” said Wang Zicheng, 23, a hanfu enthusiast.
He recalled that when he wore hanfu for the first time in 2018 at his coming-of-age ceremony, it was still a minority interest even among young people in China. Now, he is confident wearing it everywhere, even outside of China.
While studying at University College London, UK, and now at Boston University, US, Wang has taken pictures of himself wearing hanfu against the backdrop of iconic landmarks in various countries, such as Big Ben, the Egyptian pyramids, and the White House, illustrating a captivating blend of different cultures.
Wei Xiaobo, 33, noticed the same change. He is the owner of the Taobao store “Huaibian Xiaozhu”, specializing in restored traditional hanfu. He founded the store in 2014 while at university and shifted to full-time entrepreneurship in 2019.
It was at that time that he noticed more general consumers were starting to rediscover the attire. “Previously, customers who came to the store to purchase hanfu were mainly fans of it and were familiar with the clothes and their associated terms,” said Wei. “Around 2019, however, it was noticeable that many customers had only recently discovered it or had no prior knowledge of it.”
Since then, sales at Wei’s store have continued to climb, with another significant surge recorded in 2023. Currently, over 41 percent of his customers are between the ages of 18 and 25.
As a frontline practitioner, Wei experienced the impact of the hanfu trend on production lines. Previously, it was not easy to find Chinese manufacturers for hanfu fabrics; sourcing from neighboring countries was often necessary. “However, an increasing number of Chinese manufacturers now produce such fabrics, and even allow customization of patterns,” he said.
Tradition meets modernity
With the rising popularity of hanfu, traditional attire and modern fashion are blending not only in clothing styles but also in cultural and conceptual dimensions.
Some hanfu enthusiasts believe that each design of hanfu’s structural form reflects historical and cultural symbolism. They advocate for strict adherence to traditional forms and craftsmanship. However, some ordinary consumers prioritize the aesthetics and comfort of the clothing itself over strict historical accuracy.
Wei is among those who firmly uphold their beliefs regarding the structure of traditional hanfu. When engaged in restoration work, he meticulously references historical materials such as museum exhibitions and reports from archaeological teams. He dedicates significant effort to studying traditional clothing, aiming to provide consumers with authentic attire in its original form.
Despite his unwavering convictions about hanfu aesthetics, he acknowledges the emergence of different viewpoints. “It’s a natural outcome of the resurgence and evolution of traditional culture in modern society,” he said.
According to him, some people misunderstand hanfu, assuming it’s all about loose-fitting and impractical for daily wear. However, attire worn during ancient agricultural activities was also well-suited for everyday life. “We can explore more traditional casual wear to meet daily clothing needs, rather than arbitrarily altering traditional ceremonial attire,” said Wei.
Zhou Shuang, 37, is a lecturer at the Wuhan Institute of Design and Sciences in Wuhan, Hubei province, specializing in character styling for film and television and traditional Chinese clothing culture. According to her, traditional Chinese attire features three distinctive design elements. First, the collar crosses over, with the right side wrapping over the left. Second, the garment is loose-fitting, with wide sleeves that extend past the arms. Third, it is fastened with cords instead of buttons.
“Each design carries its own cultural significance. For instance, the loose-fitting robes and wide sleeves symbolize the harmony of nature,” she said. “For those with a deep understanding of hanfu, their dedication to its structural integrity is admirable. It’s a way of safeguarding and upholding the historical continuity of traditional clothing culture.”
However, Zhou also pointed out that for those unfamiliar with traditional clothing culture, it’s understandable for them to desire a blend of classical elegance with contemporary fashion.
This combination is referred to as the neo-Chinese style. “Neo-Chinese style clothing design doesn’t merely layer traditional elements but seamlessly integrates modernity and tradition comprehensively and naturally,” explained Zhou. “It aims to showcase traditional charm that resonates with the aesthetic preferences of contemporary individuals.”
Beyond style
Sanmu (pseudonym), 33, is the founder and designer of INGKO, a women’s clothing brand specializing in neo-Chinese style. Reflecting on the establishment of INGKO with his wife in 2019, Sanmu recalls that the prevalent Chinese-style clothing options in the market at the time were mostly hanfu or Zen-style attire favored by middle-aged and elderly customers, leaving a gap for young fashion brands with Chinese artistic flair.
“In recent years, hanfu has garnered increased attention and admiration from young people, laying a strong foundation for the contemporary appreciation of Chinese aesthetics among today’s youth,” said Sanmu.
He also noticed that since 2022, the neo-Chinese style has surged in popularity.
“Our suppliers, fabric merchants, and accessory providers have begun experiencing shortages, and there has been a noticeable growth in factories manufacturing related products,” he said.
However, Sanmu took a distinctive approach with INGKO, aiming to capture the allure of Chinese women. For example, he believes qipao can be both elegant and cool, open to incorporating subtle punk or metallic elements into the design. “Why can’t someone wear a qipao to a nightclub?” he thought.
Sanmu’s design inspirations stem from heroines in films from his youth, such as Guan Qiaohong from Hidden Man, directed by Chinese filmmaker Jiang Wen. He fondly recalled the character’s inspiration — a female assassin named Shi Jianqiao (1905-1979), who spent a decade in hiding to avenge her father’s death by assassinating the warlord Sun Chuanfang (1885-1935) during the 1920s.
“These heroines embody a calm, decisive, and independent image of Chinese women, diverging from the gentle stereotype often portrayed in Western perceptions,” he said.
Drawing from this inspiration, Sanmu and his wife conceived a women’s clothing line called “Chushan” (Taking the Field) in early 2020. One promotional image that encapsulates the essence of this series features a woman in a black qipao, facing the camera with a clenched fist raised in salute.
“This concept incorporates the Taoist philosophy of chushan, signifying the notion of venturing out to combat evil, aiming to convey the chivalrous spirit and righteousness of Chinese women,” he explained. “I hope to showcase contemporary cultural trends by blending traditional Chinese aesthetics into modern fashion, celebrating our ethnic culture.”
Despite the growing hanfu trend in China and the efforts of enthusiasts and academics to promote it, there remains a general lack of understanding among people in other countries about Chinese traditional clothing.
According to Wang, he traveled to a dozen countries, including the UK, Germany, the US, and Mexico, while wearing hanfu. One memorable moment occurred at Big Ben, where international tourists were intrigued by his outfit and approached him. “They guessed about the origin of my clothes, suggesting countries like Japan, South Korea, and even Brunei, but none correctly identified that it’s from China,” Wang said.
He believed this misconception stemmed from the fact that people in other countries have few chances to see authentic hanfu
items. “Even in museums like the British Museum, most clothing artifacts are from the
Qing Dynasty (1644-1911), which is typically not categorized as hanfu,” he said.
One potential solution might be to integrate hanfu into everyday wear. In fact, Zhou’s students are currently exploring possibilities that preserve hanfu’s cultural heritage while meeting the needs of everyday dress choices. Their innovative hanfu designs involve minimal alterations to the structure and focus on improving fabric and craftsmanship.
Zhou disclosed that they integrate materials such as organza or chiffon, along with contemporary decorative techniques, to give a traditional, refined look to the garments while also lowering costs and improving practicality. In contrast to traditional silk, cotton, and linen, modern fabrics usually offer affordability and ease of maintenance.
“Traditional Chinese clothing culture is essential for students to refine their aesthetic sensibilities and spark fresh design concepts, enabling them to integrate this knowledge into practical design,” she said.