Introducing our modern Hanfu set featuring a beautiful long robe and a stylish swirl skirt. Inspired by traditional Chinese clothing, this set combines classic elements with a modern twist. The exquisite embroidery and delicate patterns on the shirt are perfectly matched with the flowing lines of the swirl skirt, creating a stunning and elegant look. Made with high-quality fabrics and attention to detail, this set is perfect for any special occasion or for adding a touch of traditional Chinese fashion to your everyday wardrobe. Items ~ Robe | Skirt Materials ~ Polyester Occasions ~ Daily Color ~ Yellow | Brown Sizes S, M, L Detailed size information in product images. Please note that our sizes are measured by hands so there may be up to 0.7 ~ 1 inch (2 ~ 3 cm) discrepancies. Sample images were shot after products were hanged and conducted streamed iron. We highly recommend you do the same after you receive your package. Please keep steam temperature low when trying iron the wrinkles. At our store, we take pride in providing excellent customer service. We understand that purchasing clothing online can be a daunting task, so we make it our mission to ensure that our customers are satisfied with their purchases. However, because of the nature of personalized clothing, we DO NOT offer returns on our clothing products. We are still happy to offer exchange or modifications if you are not happy with the sizes. In addition, we believe in open and clear communication with our customers. If you have any questions or concerns about our products or your order, we encourage you to reach out to us at any time. We believe that great customer service is the cornerstone of a successful business, and we strive to deliver it with every interaction.

Traditional Chinese fashion. 霓裳 by illustrator KUZI

This piece of clothing is perfect for cosplay lovers, Chinese traditional costume enthusiasts, or anyone looking to add a little bit of exotic flair to their wardrobe. Our Sexy Hollow Out Suspender Han Clothing Cosplay Costume Classical Retro Elegant Fairy Chinese Hanfu Exotic Nightdress is perfect for any event or occasion. It is sure to bring attention and be the talk of the night! Plus, it's lightweight and easy to transport, making it perfect for travel and storage. With luxurious fabric and a timeless design, this costume is sure to make you stand out. Women - Size Chart Size Bust in Inches Waist in Inches Hips in Inches XXS 0 32 1/2 25 35 XS 2 33 1/2 26 36 S 4 34 1/2 27 37 6 35 1/2 28 38 M 8 36 1/2 29 39 10 37 1/2 30 40 L 12 39 31 1/2 41 1/2 14 40 1/2 33 43 XL 16 42 1/2 35 45 18 44 1/2 37 47 XXL 20 46 1/2 39 49 22 48 1/2 41 51 Women - Plus Sizes Size Chart Size Bust in Inches Waist in Inches Hips in Inches 1X 20W 47 43 1/2 49 22W 49 45 1/2 51 2X 24W 51 47 1/2 53 26W 53 49 1/2 55 3X 28W 55 51 1/2 57 30W 57 53 1/2 59 Please Note: Our General US Size Chart works with most clothing brands and manufacturers, but sizes can vary between brands.

Chen Yifei 陈逸飞 famous Chinese classic painter, director and fashion designer, is a central figure in the development of Chinese oil painting and is one of China's most renowned contemporary artists. Although he was denounced for 'capitalist behavior' Chen's obvious talent and mastery of oil painting techniques won him recognition by the authorities.

http://lilsuika.deviantart.com/art/Evolution-of-Chinese-Clothing-and-Cheongsam-Qipao-353219884 Evolution Of Chinese Clothing And CheongSam/QiPao Chinese clothing has approximately 5,000 years of history behind it, but regrettably I am only able to cover 2,500 years in this fashion timeline. I began with the Han dynasty as the term hanfu (meaning: dress of ethnic Chinese people) was coined in that period. Please bear in mind that this is only a generalized timeline of Chinese clothing primarily featuring aristocratic and upper-class ethnic Han Chinese women (the exceptions are Fig. 8 (dancer) and Fig. 11 (maid, due to the fact I couldn’t find many paintings in the Yuan period)). Image Source: lilsuika Main resources: 5,000 years of Chinese Costume , China Chic: East Meets West , and Changing Clothes in China: Fashion, History, Nation and Hong Kong Museum of History . 5,000 years of Chinese Costume is an invaluable resource (though sadly currently out of print), I would highly recommend this book if you can get your hands on it. Han Dynasty: “In the Han Dynasty, as of old, the one-piece garment remained the formal dress for women. However, it was somewhat different from that of the Warring States Period, in that it had an increased number of curves in the front and broadened lower hems. Close-fitting at the waist, it was always tied with a silk girdle.” (5,000 years of Chinese Costume, pg. 32) Wei and Jin dynasties: “On the whole, the costumes of the Wei and Jin period still followed the patterns of Qin and Han.” (5,000 years of Chinese Costume, pg. 54) “From the costumes worn by the benefactors in the Dunhuang murals and the costumes of the pottery figurines unearthed in Louyang, it can be seen that women’s costumes in the period of Wei and Jin were generally large and loose. The upper garment opened at the front and was tied at the waist. The sleeves were broad and fringed at the cuffs with decorative borders of a different colour. The skirt had spaced coloured stripes and was tied with a white silk band at the waist. There was also an apron between the upper garment and skirt for the purpose of fastening the waist. Apart from wearing a multi-coloured skirt, women also wore other kinds such as the crimson gauze-covered skirt, the red-blue striped gauze double skirt, and the barrel-shaped red gauze skirt. Many of these styles are mentioned in historical records.” (5,000 years of Chinese Costume, pg. 65) Southern and Northern Dynasties: “During the Wei, Jin and the Southern and Northern Dynasties, though men no longer wore the traditional one-piece garment, some women continued to do so. However, the style was quite different from that seen in the Han Dynasty. Typically the women’s dress was decorated with xian and shao. The latter refers to pieces of silk cloth sewn onto the lower hem of the dress, which were wide at the top and narrow at the bottom, so that triangles were formed overlapping each other. Xian refers to some relatively long ribbons which extended from the short-cut skirt. While the wearer was walking, these lengthy ribbons made the sharp corners n the lower hem wave like a flying swallow, hence the Chinese phrase ‘beautiful ribbons and flying swallowtail’.” (5,000 years of Chinese Costume, pg. 62) “During the Southern and Northern Dynasties, costumes underwent further changes in style. The long flying ribbons were no longer seen and the swallowtailed corners became enlarged. As a result the flying ribbons and swallowtailed corners were combined into one.” (5,000 years of Chinese Costume, pg. 62) Sui Dynasty: “During the period of the Sui and early Tang, a short jacket with tight sleeves was worn in conjunction with a tight long skirt whose waist was fastened almost to the armpits with a silk ribbon. In the ensuing century, the style of this costume remained basically the same, except for some minor changes such as letting out the jacket and/or its sleeves.” (5,000 years of Chinese Costume, pg. 88) Tang Dynasty: “The Tang Dynasty was the most prosperous period in China’s feudal society. Changan (now Xian, Shananxi Province), the capital, was the political, economic and cultural centre of the nation. […] Residents in Changan included people of such nationalities as Huihe (Uygur,) Tubo (Tibetan), and Nanzhao (Yi), and even Japanese, Xinluo (Korean), Persian and Arabian. Meanwhile, people frequently traveled to and fro between countries like Vietnam, India and the East Roman Empire and Changan, thus spreading Chinese culture to other parts of the world.” (5,000 years of Chinese Costume, pg. 76) “…all the national minorities and foreign envoys who thronged the streets of Changan also contributed something of their own culture to the Tang. Consequently, paintings, carvings, music and dances of the Tang absorbed something of foreign skills and styles. The Tang government adopted the policy of taking in every exotic form whether or hats or clothing, so that Tang costumes became increasingly picturesque and beautiful.” (5,000 years of Chinese Costume, pg. 88) “Women of the Tang Dynasty paid particular attention to facial appearance, and the application of powder or even rouge was common practice. Some women’s foreheads were painted dark yellow and the dai (a kind of dark blue pigment) was used to paint their eyebrows into different shapes that were called dai mei (painted eyebrows) in general.” (5,000 years of Chinese Costume, pg. 89) “In the years of Tianbao during Emperor Xuanzong’s reign, women used to wear men’s costumes. This was not only a fashion among commoners, but also for a time it spread to the imperial court and became customary for women of high birth.” (5,000 years of Chinese Costume, pg. 89) Song Dynasty: “The hairstyle of the women of the Song Dynasty still followed the fashion of the later period of the Tang Dynasty, the high bun being the favoured style. Women’s buns were often more than a foot in height.” (5,000 years of Chinese Costume, pg. 107) “Women’s upper garments consisted mainly of coat, blouse, loose-sleeved dress, over-dress, short-sleeved jacket and vest. The lower garment was mostly a skirt.” (5,000 years of Chinese Costume, pg. 107) “Women in the Song Dynasty seldom wore boots, since binding the feet had become fashionable.” (5,000 years of Chinese Costume, pg. 107) “Although historians do not know exactly how or why foot binding began, it was apparently initially associated with dancers at the imperial court and professional female entertainers in the capital. During the Song dynasty (960-1279) the practice spread from the palace and entertainment quarters into the homes of the elite. ‘By the thirteenth century, archeological evidence shows clearly that foot-binding was practiced among the daughters and wives of officials,’ reports Patricia Buckley Ebrey […] Over the course of the next few centuries foot binding became increasingly common among gentry families, and the practice eventually penetrated the mass of the Chinese people.” (Chinese Chic: East Meets West, pg. 37-38) Yuan Dynasty: “Han women continued to wear the jacket and skirt. However, the choice of darker shades and buttoning on the left showed Mongolian influence.” (5,000 years of Chinese Costume, pg. 131) “After the Mongols settled down in the Central Plains, Mongolian customs and costumes also had their influence on those of the Han people. While remaining the main costume for Han women, the jacket and skirt had deviated greatly in style from those of the Tang and Song periods. Tight-fitting garments gave way to big, loose ones; and collar, sleeves and skirt became straight. In addition, lighter more serene colours gained preference.” (5,000 years of Chinese Costume, pg. 142) Ming Dynasty: “The clothing for women in the Ming Dynasty consisted mainly of gowns, coats, rosy capes, over-dresses with or without sleeves, and skirts. These styles were imitations of ones first seen in the Tang and Song Dynasties. However, the openings were on the right-hand side, according to the Han Dynasty convention.” ((5,000 years of Chinese Costume, pg. 147) Qing Dynasty When China fell under Manchurian rule, Chinese men were forced to adopt Manchurian customs. As a sign of submission, the new government made a decree that men must shave their head and wear the Manchurian queue or lose their heads. Many choose the latter. On the other hand, Chinese women were not pressured to adopt Manchurian clothing and fashions. “Women, in general, wore skirts as their lower garments, and red skirts were for women of position. At first, there were still the “phoenix-tail” skirt and the “moonlight” skirt and others from the Ming tradition. However the styles evolved with the passage of time: some skirts were adorned with ribbons that floated in the air when one walked; some had little bells fastened under them: others had their lower edge embroidered with wavy designs. As the dynasty drew to an end, the wearing of trousers became the fashion among commoner women. There were trousers with full crotches and over trousers, both made of silk embroidered with patters.” (5,000 years of Chinese Costume, pg. 173) The Manchurians attempted several times to eradicate the practice of foot-binding, but were largely unsuccessful. Manchurian women admired the gait of bound women but were effectively banned from practicing food-binding. Hence, a “flower pot shoe” later came into creation and it allowed its wearer the same unsteady gait but without any need for foot-binding. Photograph of flowerpot shoe here: [link] 1911-1940s “Ever since the Tang Dynasty, the design of Chinese women’s costumes had kept to the same straight style: flat and straight lines for the chest, shoulders and hips, with few curves visible; and it was not until the 1920’s that Chinese women came to appreciate ‘the beauty of curves’, and to pay attention to figure when cutting and making up dresses, instead of adhering to the traditional style.” (5,000 years of Chinese Costume, pg. 214) “The most popular item of a Chinese woman’s wardrobe in modern times was the qi pao . Originally the dress of the Manchus, it was adopted by Han women in the 1920s. Modifications and improvements were then made so that for a time, it became the most fashionable form of dress for women in China. Two main factors account for women’s general preference for the qi pao : first, it was economical and convenient to wear. [...] Second, it was more fitted and looked more flattering.” (5,000 years of Chinese Costume, pg. 214-215) "The qi pao underwent numerous changes in style after its first appearance, and by the 1930's it had entirely changed from its original form to become unique among women's costumes." (5,000 years of Chinese Costume, pg. 215) Women traditionally bound their breasts in the Ming and Qing dynasties with tight fitting vests and continued to do so in the early 20th century. A ban on bound breasts began in 1927, in which the government started advocating for the “Natural Breast Movement”. Despite this, bound breasts still widely continued into the 1930s. The government also banned earrings as it fell under the criteria of deforming the natural body. The 1930s also saw the introduction of the western/French bra come to Shanghai. “The little vest was designed to constrain the breasts and streamline the body. Such a garment was necessary to look comme il faut around 1908, when (as J. Dyer Ball observed): ‘fashion decreed that jackets should fit tight, though not yielding to the contours of the figure, except in the slightest degree, as such an exposure of the body would be considered immodest.’ It became necessary again in the mid-twenties, when the jacket-blouse—a garment cut on rounded lines – began to give way to the qipao. At this stage, darts were not used to tailor the bodice or upper part of the qipao , nor would they be till the mid-fifties. The most that could be done by way of further fitting the qipao to the bosom was to stretch the material at the right places through ironing. Under these circumstances, breast-binding must have made the tailor’s task easier.” (Finnane 163, Changing Clothes in China: Fashion, History, Nation) Successful eradication of bound feet would not come until the 1949 when the People’s Republic of China came into power. 1950s-1960’s Under the People’s Republic of China, very few mainland women wore the cheongsam, save for ceremonial attire. In this era, clothing became de-sexualized for mainlanders. It was the flip side in Hong Kong, as the cheongsam (Cantonese, qipao in Mandarin) continued its function as everyday wear which lasted until the late 1960s. The cheongsam in the 1950s and 1960s became even tighter fitting to further accentuate feminine curves. Western clothing became the default after the late 1960s, though the cheongsam continued to survive as uniforms for students (who donned a looser and more androgynous version), waitresses, brides, and beauty contestants. 21st century Designers today are creating new forms of the qipao / cheongsam . The fish tail appears to be a current popular trend. More on Cheongsam/Qipao 2.0 here: [link] You can also see a more indepth timeline of the Cheongsam/Qipao here: [link] The 2010 Cannes Film Festival, FanBingBing , QiPao 3.0

This article lists beautiful Chinese actresses wearing different ethnic traditional clothing. China has 56 ethnic groups, each with their unique clothing. In addition, many TV shows feature traditional clothing from ancient times as well. If you love culture and pretty women, read this article.

by 朱山尽 Weibo🔗：https://m.weibo.cn/6906018733/4738335635144980

A look at the upcoming Central Saint Martin graduate’s debut collection.

Había una vez un imperio, en este, gobernaban el emperador y la emperatriz, su pueblo los amaba. Cómo muestra de su amor, tuvieron a una niña, Luo Binghe Desafortunadamente, los gobernantes murieron y dejaron solos a su pequeña a una edad muy temprana. Gracias a esto, la niña empezó a independizarse por si misma y buscaba ser capaz de proteger a cualquiera que ella quisiera, por eso mismo empezó a estudiar política, fuerza física y militar La gente la admiraba por su destreza en muchas artes, pero algo que no hacía feliz a los ancianos era algo muy simple. ¿No había un prometido para la princesa?, ¿¡Que pasaba!?.. pero la preocupación no fue mucha la princesa apenas era una adolescente apuesto a que cuando crecieran se interesaría por algún príncipe, ¿No? Pasaron los años... Nada, no había un prometido o alguien que llamara la atención de la princesa Luo, Luo Binghue estaba cansada, los ancianos y gobernantes de otros reinos no paraban de mostrar candidatos para ver si alguno llamaba su atención. ¿¡Que tiene de malo que ella tome el puesto de emperador y emperatriz a la vez!?; Bueno, si bien es mucho trabajo... Prefiere eso a casarse por deber Un día, una noticia llegó al palacio, ¡Una joven había caído del cielo! Y la emperatriz al verla quedó petrificada, ¡Que mujer tan bella!, Con paso al tiempo su corazón retumbaba feliz cada que la joven dama la acompañaba Hasta que pensó en algo, ¿¡Que tal hacer a la joven su emperatriz y ella tomaría el puesto de emperador ha?!, ¡Habría un gobernante que sería ella y habría una emperatriz que sería su amada muchacha! "Emperatriz Shen, la esposa y compañera de la gobernante Luo Binghe", con solo el pensamiento se estremecía de satisfacción ▲───────◇◆◇───────▲ Historia 100% mía, está es una historia GirlsLove osea una historia homosexual pero esta vez solo están chicas ya que tiendo solo a escribir BoysLove, cualquier parecido con a

Chinese Uyghur Royal Concubine Historical Portrait Art - Digital Download - Make Your Own Art For Your Home If You Are Interested In Other Cultures - We Are Doing A Series Of Women From Other Countries - Traditional Cultural Dress & Traditional Wedding Attire

Hanfu Photographer: Song Xi Da Qu

For Mother's Day, see how moms have cared for their children for the last 100 years.

Qing dynasty fashion by 叁木映画ForestStudio

Fabric: crepe Viscose 50%, polyester 40%, elastane 10% Shawl lapel Single-breasted Ruffle peplum blazer Fitting: Regular fit Included: blazer and pants Blazer length: 73 cm/ 28.7 in Sleeve length: 62 cm/ 24.4 in Pants length: 106 cm/ 41,7 in Pants length (inseam): 82 cm/ 32.2 in Colors: Red, White, Light Beige, Black, Green TRANSLATE with x English Arabic Hebrew Polish Bulgarian Hindi Portuguese Catalan Hmong Daw Romanian Chinese Simplified Hungarian Russian Chinese Traditional Indonesian Slovak Czech Italian Slovenian Danish Japanese Spanish Dutch Klingon Swedish English Korean Thai Estonian Latvian Turkish Finnish Lithuanian Ukrainian French Malay Urdu German Maltese Vietnamese Greek Norwegian Welsh Haitian Creole Persian TRANSLATE with COPY THE URL BELOW Back EMBED THE SNIPPET BELOW IN YOUR SITE Enable collaborative features and customize widget: Bing Webmaster Portal Back

Explore Retlaw Snellac Photography’s 3,108 favorites on Flickr!

by 朱山尽 Weibo🔗：https://m.weibo.cn/6906018733/4738335635144980

From electronic, light-up gowns to frocks made from broken dishes, Oddee counts down another top-ten list of the weirdest dresses.

A buttoned-down shirt with Cheongsam (traditional Chinese clothing) details that you can wear on its own or as an outerwear jacket. A statement classic piece to have in your wardrobe that can jazz up any outfit and can be worn for any occasion. Designed by Hadassah Lau in Singapore.

Trong tập mới nhất của 'Võ Mỵ Nương truyền kỳ', nàng Tiêu Thục Phi Trương Hinh Dư đã xuất hiện, thể hiện vẻ đẹp gợi cảm, tỏa sáng không kém gì Phạm Băng Băng.

📷 Photo By：@赵橙Cc 💄 Makeup By ：@清泽Makeup 🧚🏻‍♀️Model ：@党党党玉 👗Hanfu By ：@嵠上 Weibo🔗https://m.weibo.cn/7016881723/4755204182378485

#AiMi shares new pics More - https://t.co/9CHYVpydec

Traditional OKINAWAN (RYUKYU) costume.

YOGA HOSE AM ME-MADE-MITTWOCH #17! This pattern really attracted me right away - not so much because of the final shape of the pants, ...

Art by 陸曼陀 Danling★Lu Music : A Ballad in the Moonlight Mid Tang ( 766－835) Uyghur Princess: Uyghurs were one of the primary Tang allies...

YOGA HOSE AM ME-MADE-MITTWOCH #17! This pattern really attracted me right away - not so much because of the final shape of the pants, ...