Online Hanfu and Traditional Clothing Store

Hanfu clothing was formed through the natural evolution, and based on unique Han style and personality. The traditional Chinese clothing and accessories system, Hanfu, obviously different from that of other ethnic groups in China, is the embodiment of traditional Chinese etiquette culture, and Han Chinese culture — the dominant idea for most dynasties in Chinese history. It carries the outstanding handicrafts and aesthetics of the Han nationality, such as dyeing, weaving and embroidery, and inherits more than 30 Chinese intangible cultural heritages as well as the protected Chinese arts and crafts. Han Chinese Clothing, Hanfu originated from the Yellow Emperor’s crown dress, which was prepared by Yao and Shun (the following emperors after Yellow Emperor). It was formed in the Zhou Dynasty, and developed through the Han Dynasty, when a complete system of crown and clothing was created and recorded in the Four Books and Five Classics. Hanfu costumes then also became a part of the sacrifice rituals. Thereafter the emperors of the successive Han dynasties all considered inheriting the clothing of the Han Dynasty as a national event when ascending the throng. Hanfu has also influenced the entire Han cultural circle through the Chinese legal system. Traditional costumes of some Asian countries, such as Japan, Korea, Vietnam, Mongolia, and Bhutan, all borrowed the characteristics of Hanfu clothing. The denotative meaning of Hanfu is the costume of the whole Han nation. But when talking in the narrower sense, it refers to the dress and etiquette system of the Han Dynasty, thus also named Chinese Han dynasty clothing. Han clothing is made of a piece of cloth with a width of 2 chi 2 cun (about 50cm), and it can be divided into ten parts: collar, lapel, gusset, label, skirt (the full front of a Chinese gown), sleeve, cufflinks, belt, cross straps, and ba (a ceremonial dress in ancient China). The shapes and systems of Hanfu mainly include “Shen Yi (深衣)” system (the coat and dress are sew up), “Xia Chang (下裳)” system (separating the coat and lower skirt), and “skirt (襦裙)” system (short coat). Among them, the shape of the coat and the skirt was thought to follow the will of heaven, therefore was sacred and the most ceremonious and formal dress for the kings and the royals. What is China’s Traditional Clothing – Hanfu? The ordinary working people usually wore short clothes and trousers. The robe (shen yi) was worn by officials and scholar-officials, while the skirt was worn by women. For a piece of Hanfu, the left front of the garment crosses the right front of the garment across the chest, it naturally forms the cross of the neckline, so it is called “crossed collar”. The two straight lines intersecting in the middle of the garment represent the symmetry of traditional Chinese culture, showing a unique charm of fair and justice. While westerners restrict the development of female body with breastplate and skirt, the wide hanfu costumes allowed the body to stretch freely. There are two kinds of hidden buckles: with and without buckles. In general, there is no button for hanfu. Even if buttons are used, the buttons are hidden. Compared with the western clothing of the same period, Hanfu has indisputable excellence in human nature. The outfit is usually tied with a knot using straps. There are usually wide belts and long belts around the waist, made of the same cloth that was used to make the costume. The belts can be used to make knots, fastening the clothing, or are simply decorations symbolizing power. Hanfu consists of clothes, hair dress, hairstyle, face decoration, shoes, accessories and other accessories to make it an integrated clothing system. Each cloth is used in different ways. For instances, grass cloth was usually used to make clothes for mourning and sacrifice. Noble dress was made of embroidery cloth, brocade and silk. The cloth of Hanfu is mainly brocade, silk, cloth, cotton, linen, hemp, yarn, and printing and dyeing cloth. The ancient Han men and women tied their hair into a bun, put it on your head after reaching adulthood. Men often wore crowns, scarves or hats to fix hair. Women’s buns can be combed into a variety of styles, and wear jewels, step shake, hairpins and other ornaments on the bun. An important feature of the decoration of the Hanfu clothing is that people like to wear jade pendant. They also wore curtain hat and cover on head. Women’s Hanfu clothing of Jin Dynasty style was in accordance with the way of the Qin and Han dynasties, the overall clothing was relatively loose. The upper part of this kind of hanfu looked simple, while the lower part was the long pleated skirt, and looked complicated. There are also other accessories for Hanfu such as knee covering, silk wraps, silk scarf socks, sachets, swords, ivory plate, leather belt, jade belt, etc. The furniture for storing Hanfu was a garment suitcase called yī qiè (衣箧), and the hanger on which Hangfu was hung was called a yī héng (衣桁). Women at that time did not have any special headwear, but would cover the head with a scarf or jade silk. There are mainly two types of Hanfu in Tang Dynasty. The first type was the short skirts in the early Tang Dynasty. In the middle and late Tang Dynasty, the clothing strengthened the traditional aesthetic concept of Chinese culture, so loose clothes with big sleeves of Qin and Han Dynasties were popular again, but more elegant and sexier. The main feature of short skirts is that the sleeves of the upper section are small and narrow, and the lower body is matched with a tight skirt, usually with silk ribbon to fasten the skirt. The Hanfu in Song Dynasty was mainly based on the old style of the Sui and Tang dynasties. The upper jacket was usually worn at the front of the skirt. Compared with Tang Hanfu clothing, the skirt of Song Hanfu is narrower and has more pleats. At that time, woman’s hair ornaments were also relatively simple. Although they followed the noble hair style of the late Tang Dynasty, but they usually had their hair decorated with only hairpins or flowers, without many expensive ornaments. Simply put, Hanfu in the Song Dynasty was simple and elegant. The Chinese horse face skirt is made of two large pieces of fabric sewn together by a single waistband, creating an overlapping look. There are four panels of fabric in total called “qunmen” (skirt doors). The outer skirt door is decorated, while the inner skirt door is not. Mamianqun or Mamian Qun (马面裙, literally horse face skirt) was the most typical style of female Hanfu clothing during the Ming and Qing dynasties. The horse-faced skirt is pleated on the sides, while flat on the front and back. Moreover, the unsewn doors give women enough mobility to ride horses without revealing any underwear. During the Chenghua period (1465-1487) of the Ming Dynasty, women in the capital were all fond of the Mamian skirt. The Mamianqun originated in the Song Dynasty, became popular in the Ming Dynasty, stayed popular during the Qing Dynasty, and was still worn by people in the Republic of China (1912 to 1949). Wearing the traditional Chinese Mamian skirt has become a fashion craze again in recent years, especially among young people. The style of Mamianqun was comparatively simple and elegant during the Ming Dynasty. The Mamianqun gradually developed into the daily attire for women in the Qing Dynasty, and became the iconic skirt style for women of the Qing Dynasty. During this period, the Mamianqun style was more luxurious. The texture, decoration, and color of Mamianqun skirts vary significantly among different social classes. There are several theories about how the horse-face skirt got its name. One theory is that the shape of the Mamianqun looks like the mamian fortress of an ancient city wall in China. Wearing hanfu has become a trend in recent years. Another saying is that the front of the Mamianqun is similar to a long horse face. In the streets, parks, scenic spots, bookstores, and museums, such as the Palace Museum of Forbidden City, you can always see fans of Hanfu wearing this kind of Han Chinese traditional clothing, with their hair tied in a bun. Previously Hanfu was mainly used for traditional festivals and special occasions. These days, with the popularity of Hanfu and the deepening understanding of Hanfu among the public, especially the youngest, more and more people hope to wear Hanfu in their daily life. Hanfu is one of the many clothes of choice today, just like suits, cheongsam, and tunic suits.

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Lolita (ロリータ) is a Japanese fashion-based subculture inspired by girls’ and young women’s clothing styles from the Victorian and Rococo periods. It grew from young women’s desire to dress for themselves in a way that disregarded other people’s opinions and women’s fashion catered to the male gaze. The style is characterized by a distinctive silhouette, achieved from wearing petticoats underneath dresses or skirts with a specific cut. This fashion is heavily associated with certain brands specializing in Lolita and different substyles, and Lolitas must purchase their clothes through these stores and the secondhand market instead of typical fashion retailers, which would not have such clothes. Lolita is a subculture that revolves around fashion, so only people who wear the fashion are considered a part of it. Decoration associated with historical girls’ clothing, such as lace, bows, and ruffles, are a mandatory component of the fashion, but there are different substyles that utilize variations on this to create a different aesthetic. However, there may be a “lifestyle” component to Lolita, wherein some Lolitas participate in princess-like activities such as tea-drinking. Like other fashion subcultures, the emphasis is always on the clothing and the visuals not associated with the fashion are based on other aesthetics, such as Dollcore, Kawaii, or Gothic. For more information on Lolita, feel free to visit the Lolita Fashion Wiki. Participating in lifestyle elements is less popular and considered unnecessary from 2018-2020 onwards, and the fashion has always been focused on collecting garments and coordinating pieces together. Lolita as a fashion has a long history with more than a single true origin. The style in its current form came about in the 1990s, where it was photographed on the streets of Harajuku and featured in magazines like Fruits, Kera, and eventually Gothic & Lolita Bible was launched with a focus on it in 2001. The movie “Kamikaze Girls” released in 2004 resulted in a widespread knowledge of Lolita as the name of the fashion among the general public within Japan. While the sweeter side of the fashion evolved from the fans of Otome (maiden) style brands during the 80s, the darker side has its roots among Visual Kei fans that were also known as “Trance Gals” (トランスギャル) around that time. In order to differentiate from the book and to avoid adult content to show up, the fashion’s name is commonly written as “ロリィタ”, a different spelling with the same pronunciation, in Japanese instead of “ロリータ”. In addition to wearing the clothes, there is a tight-knit community with a shared history, inside jokes, a strong criticism culture, and multiple discussions that take place both in real life through local meet-ups and on social media spaces such as Discord channels, Facebook groups, the now unpopular LiveJournal, and the 4chan board /cgl/, which also includes cosplay. Before it was given a name, the fashion was generally seen as a “shoujo” style and it is assumed that Lolita was likely choosen because it sounded like a fancier word for an innocent girl. A person should also never come into Lolita spaces with the intent on sharing sexual feelings associated with DDLG and other kinks/fetishes, as the aesthetic is trying to escape sexualization and has had multiple encounters with daddy doms and sissy harassment. Much of this stems from a misconception that Lolita is related to Nymphet fashion due to the name, and that hyperfeminine presentation is equivalent to childlike presentation. Tradition and following the general guidelines of Lolita is mandatory, and low-quality garments and bad styling is highly discouraged. The goal of Lolita fashion is to dress akin to a feminine doll, not a child. Outside Japan, Lolita fashion has gained a strong foothold. Most Lolitas gather together to form communities with other Lolitas close to them. Lolita communities also have a huge online presence, allowing people in rural areas to communicate, trade, and sell. These communities gather together and wear the fashion in meetups, where they can enjoy the company of others who wear the same interests. The style is not mass-marketed outside Japan, though small stores have emerged. Baby, The Stars Shine Bright, and Angelic Pretty both operate stores in Paris and San Francisco. Numerous indie brands and resellers have popped up all over the world. The Lolita secondhand market is booming on sites like LaceMarket and Facebook Marketplace. A full Lolita outfit is called a “coord” or coordinate. The Chinese site Taobao hosts scores of Lolita retailers who are can sell their designs internationally with shopping services like Spreenow. Every outfit will include a dress or skirt to achieve the proper Lolita silhouette. Dresses are made with very full skirts to accommodate a petticoat. JSKs, or jumperskirts, are sleeveless dresses normally worn over a blouse, and OPs, or one-pieces, are worn without a blouse. Lolita dresses are categorized as either JSKs or OPs. The tops worn with JSKs or skirts are either blouses or cutsews, which are tops made of jersey fabric. Shoes known as “tea party shoes” are the most popular option for footwear, but Mary Janes, boots, low heels, and Rocking Horse Shoes are worn just as often. If the sleeves don’t reach the wrists, it’s customary to wear wrist cuffs or bracelets. Socks or tights keep the outfit balanced from head to toe. Many other accessories can be worn with the fashion- other items include bloomers, wigs, jewelry, gloves, coats, capes, parasols, or bags. Lolitas wear many different styles of headdress and hairstyles to balance out their skirts. Lolita can be divided into different substyles, notably Classic, Sweet, and Gothic, with multiple minor styles. Classic Lolita is a more mature style of Lolita that focuses on elegance rather than cuteness. A-line skirts are more popular in this style for their more demure shape. Colors and patterns used in classic Lolita are more subdued than the other styles. It is much more historically inspired than the other substyles. Popular colors are brown, wine red, sage green, cornflower blue, and ivory. This style features lots of solid colors but floral themes are popular, as well as prints of checkers, nature, tartan, and historical art. Popular headdresses include bonnets, bows, and berets, although any accessory is possible as long as it complements the coord. Bags tend to be simple, but it isn’t unheard of to see a purse shaped like a chess piece or a violin. The makeup used in Classic Lolita is often more muted and natural, highlighting the Lolita’s natural features. Shoes and accessories are less whimsical and more functional. Sweet Lolita is one of the most popular Lolita substyles. Classic Lolita brands include Juliette et Justine, Innocent World, Victorian Maiden, Triple Fortune, and Mary Magdalene. This style is characterized by lighter, brighter colors and more whimsical motifs. This style will often contain more trimmings, like lace, bows, and ruffles. Popular colors are baby pink, light blue, yellow, and white. It shares the same shape as other styles but is generally known to be “poofier”, with larger petticoats. Prints often feature fruit, flowers, lace, bows, sweet foods, candy, cute animals, and ribbons. Headdresses, bonnets, and bows are a popular hair accessory to the Sweet Lolita look. Shoes are typically tea party shoes because of their cute design. Bags and purses will often take the shape of fruits, crowns, hearts, stars, and stuffed animals. Pastel colors and subtle glitter are popular elements to balance out the decadence of the dress. Makeup for Sweet Lolita is very whimsical and pretty. From 2009-2014, sweet Lolita was all the rage and it was very popular to wear multiple hair accessories, a wig, circle lenses, fake lashes, deco nails, and wear more elaborate makeup. Examples of Sweet Lolita brands are Angelic Pretty, Baby, The Stars Shine Bright, and Metamorphose temps de fille. Gothic Lolita is characterized by its darker, Gothic inspired, aesthetic. Gothic Lolita fashion is characterized by darker colors and themes. That style is now called OTT (Over The Top) Sweet Lolita. It tends to be more experimental. Popular colors include black, grey, navy blue, dark red, purple, white, and ivory. Gothic Lolita accessories can be more experimental. It is common to see motifs of crosses, gothic architecture, bats, coffins, and chandeliers. Rectangle headdresses, bonnets, and bows are popular, but you can also see wide-brim hats, crowns, horns, or antlers. Shoes vary widely- Mary Janes, boots, and platform shoes are all acceptable. Black is popular for the eyes and lips, but there is no end to what matches a black dress. Brands that exemplify the Gothic Lolita style include Atelier-Pierrot, Atelier Boz, Alice and the pirates, and Moi-même-Moitié. Makeup for Gothic Lolita can be dark and dramatic. His brand released two lines of clothing, Elegant Gothic Lolita (EGL) and Elegant Gothic Aristocrat (EGA). EGL has still used as a label for the Lolita community and the EGA line started Aristocrat fashion. Moi-même-Moitié was the first Gothic Lolita brand, founded by Visual Kei rock musician Mana in 1999. Mana was the first figurehead of the fashion and is often jokingly referred to as a god. Punk Lolita is a sub-style of Lolita that is inspired by Western Punk and Teenpunk aesthetics. It uses similar motifs such as tartan, deconstruction, chains, studs, safety pins, asymmetrical hemlines, rips, grommets, buckles, and spikes. It is inspired by Vivienne Westwood and her influences in the UK. Unlike the Western punk style, Punk Lolita can consist of frilly skirts paired with cutsews or a more delicate blouse with a tougher skirt, and then accessorized with feminine accessories to lighten the look. Is a Lolita style inspired by the vast open countryside and Victorian farms. Print motifs are crowns, butterflies, roses, playing card suits, skulls, and grungy or slightly creepy cute characters. It is often a mix of Sweet Lolita and Classic Lolita. Sometimes the addition of straw accessories is the only defining feature between Country and Classic or Sweet Lolita. The Country Lolita style is often marked by the use of wicker or straw accessories such as basket purses or straw hats. It’s also common to see straw hats or wicker bags. Gingham and food prints are popular for this style. It is visually very different from modern Lolita, so it is often referred to as a separate sub-style. Is the old (90s, early 2000s) version of Lolita fashion. Fabrics were often solid, tartan, or gobelin. Petticoats, matching, and a full coord of Lolita pieces were unnecessary. Old School Lolita is still frequently worn in this day and age, much to the delight of nostalgic veterans. Compared to Lolita now, it was more “frumpy”. Also known as Ouji or Dandy depending on the substyle, is a Japanese street fashion which, like Aristocrat, is frequently associated with Lolita; it is not considered a Lolita style but shares many aesthetics with Lolita since it is the masculine counterpart of the style. It can feature a lot of elements such as flowers, makeup, and accessories, which are not seen as typically masculine, but can also have just as many substyles as lolita (e.g. sweet, gothic, classic, and more). These styles of Lolita are based around certain motifs that often connect to the substyles above. Despite being the male equivalent of Lolita, Boystyle can be worn by people of all genders, just as Lolita can be. They are different from substyles in that they are themed around a certain profession or persona, with a more limited color palette and coording capability in comparison to the broader substyles. Sailor Lolita is a style of Lolita that is very much inspired by Japanese sailor uniforms and nautical motifs. Hime Lolita is a style of Lolita that focuses on a princess-like appearance that is often OTT. Guro Lolita is a style of Lolita that focuses less on sweetness or elegance and more on horror. It can look very similar to Classic Lolita, but there are many decorative elements borrowed from Sweet. Blood splatters, bandages, eye patches, and fake bruises are all common themes in Guro Lolita. Outfits are usually white and splattered in fake blood. Accessories may include medical themes, such as pendants shaped like syringes. The idea of the ‘broken doll’ look is a running theme. Despite its gore and horror theme, it still retains its theme of innocence and doll-like look. Ero Lolita is a style of Lolita that focuses on outfits with a slight eroticism. It is considered a controversial style due to the fact that a lot of people who are unfamiliar with the style or Lolita fashion in general may get it wrong. Wa Lolita is a style of Lolita that is the combination with Japanese kimono. An alternative to a blood-splattered dress is to be bandaged up. It is similar to Qi Lolita, which combines traditional Chinese clothing with Lolita. Qi Lolita is a style of Lolita that is the combination with Chinese qipao. Because very few budget options exist that are well designed, and because real kimono and kimono accessories tend to be expensive, Wa Lolita is more expensive than some other substyles. It is similar to the more common Wa Lolita, which combines traditional Japanese clothing with Lolita. It is also refered to as Han Lolita when being based on hanfu. The name and style were first coined by the brand MiELette Tautou. Natural Lolita, also known as Mori Lolita, is the combination of Lolita fashion with Mori Girl which revolves around natural and vintage materials. Military Lolita is a style of Lolita that uses military themes in the Lolita fashion. Steam Lolita is the combination of Lolita fashion with Steampunk fashion which is a western-style that revolves around a futuristic victorian era. Pirate Lolita is a style popularized by the brand Alice and the Pirates. Please note that some coords resemble Nazi and fascist uniforms and using replicas of real military medals is disrespectful to real soldiers. Cyber Lolita is the combination of Lolita fashion with Cybergoth which revolves around futuristic imagery. Its visuals are often similar to Ero Lolita. Nun Lolita is a theme that uses nun-style clothes that are often sold by Gothic Lolita brands. Nurse Lolita is a style of Lolita that is very much inspired by hospital imagery and generally falls under Guro Lolita. Hijab Lolita is a term used to describe the outfits of Hijabi, women who wear the Muslim head-covering, that follow Lolita fashion. Shiro and Kuro Lolita are a Lolita outfit made entirely of either white (shiro) or black (kuro) clothing. Casual Lolita is any style of Lolita that is more toned down, while still retaining the basic Lolita elements. The wearers often pair themselves with each other in twin outfits to create an interesting contrast. It is very hard to put together a nice Casual Lolita outfit unless you have years of experience or are a natural at it. Deco Lolita, also known as OTT Lolita in the west, refers to Lolita outfits with an excessive amount of decoration. This style decorates the whole outfit from head-to-toe with a high amount of accessories, such as hair clips, ribbons, bracelets, and various other layers. Most of the works do not revolve around Lolita fashion in itself as their topic, so don’t expect any educational content on how to wear it. Kamikaze Girls by Novala Takemoto. This list contains works that either center around Lolita or heavily inspired its aesthetic. The book was later adapted into a film and manga. So Pretty/Very Rotten by Jane Mai, An Nguyen, and Novala Takemoto. The book is a series of essays, comics, and illustrations that celebrates and criticizes Lolita culture. In the subculture, there is a belief that there is a proper way of wearing the fashion, and a wrong one. When people who are new to Lolita often are not familiar with outfit-making and clothing quality post their outfits, there will be responses giving constructive criticism that would be more strict and at times intimidating than what people are used to from other fashions and hobbies. Lolita has often been criticized for being an elitist fashion with mean-spirited individuals who overly judge others. If a person refuses to accept the criticism (which often involves a large time and money investment), the community would shun the poster and might make fun of them in places dedicated specifically to discussing outfit fails. There is also criticism when it comes to buying Lolita fashion. Because of this, some people, mostly those who are new, criticize Lolita for being too expensive. The price for a full outfit is a lot higher than in conventional fashion due to the sheer number of pieces required in making it, with clothing from the core Japanese brands being valued higher than cheaper alternatives. In return, established Lolitas are often confused by such claims, highlighting that owning Lolita fashion is a luxury and not a necessity for living, while referring to secondhand sales as a cheap alternative to buying new Lolita clothes. In addition, attempts to do the fashion on a budget are often not considered “good” Lolita because clothing not intended for Lolita has a tailoring unsuitable for the fashion, and cheaper brands often have an aesthetic that is seen as unpolished in comparison to the established Lolita brands. Additionally, the online community can be actively and unjustifiably malicious. On 4chan’s /cgl/ board, there is a group of self-proclaimed Lolitas that are TERFs (female transphobes) and/or are very fatphobic. More invested Lolitas may see those who don’t invest much in their wardrobe as not being as serious as Lolitas who spend more, which increases the criticism of Lolitas favoring wealthier individuals and excluding poorer ones. Those wearing the fashion while not being cis female or slender are often called “ita” (Japanese Lolita slang for “painful”) despite wearing proper Lolita outfits. This even extends to women who are simply not conventionally attractive. Vendetta posting is also incredibly common on /cgl/. In the board, people are often called slurs, accused of being sexual predators, labeled as cringe, and made fun of in deeply personal way in the “ita thread”, which is dedicated to posting people who are deemed itas. Usually caused by interpersonal conflicts, a person would try to cyberbully a Lolita through the ita thread in an effort to get them to leave the fashion. In many cases, Lolitas have left the community due to the harassment caused by those toxic posts.

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Men hanfu is the traditional attire of Chinese men, which consists of a long flowing robe with an outer garment, a top and bottom separated by a sash, and an overall elegant appearance that is rich in cultural references. In the past, the Han ethnic group in China wore the Hanfu, which is a symbol of their ethnicity, and this is still the case today. The Men’s Hanfu is one of the most popular styles, and it comes in different types. Here are some of the different types of Men’s Hanfu. The style is characterized by a long and slim figure, and the top garment is a little bit shorter than the bottom one. Song Wei Style: The Song Wei style is a style of Hanfu that is from the Song Dynasty. This style emphasizes the slenderness of the upper body and the roundness of the lower body. The sleeves of the top garment are narrow, and the length of the sleeves reaches the wrist. The color combination is quite simple, usually in light colors, such as light blue or light green, with small patterns or no patterns at all. The bottom garment is a pleated skirt that sits on the waist and reaches the ankle. Yuan Dynasty Style: The Yuan Dynasty style of Hanfu is from the Yuan Dynasty, and this style is marked by a wide and free silhouette. The sleeves are wide, and the length of the sleeves reaches the fingertips. The top garment is longer than the bottom garment, and it covers the waist part. The bottom garment consists of loose pants that are tied at the waist with a sash. The color combination of this style is also quite simple but more colorful than the Song Wei style, with colors such as red, yellow, and purple. The sleeves of the top garment are wide, and they reach the wrist. Ming Style: The Ming style Hanfu is from the Ming Dynasty, and the style is characterized by a tall waist and wide hips. The length of the top garment is short, and it stops at the hips. The bottom garment consists of a pleated skirt that is tied at the waist with a sash. The color combination in this style is more complex, with bright colors and large patterns. Qing Dynasty Style: The Qing Dynasty style of Hanfu is known for its intricate designs and vibrant colors. The Qing style emphasizes a structured and layered appearance, with multiple garments worn together to create a cohesive look. The top garment, or changshan, is a long tunic with a straight hem and side slits, typically worn over a pair of loose-fitting trousers called “ku.” The changshan often features elaborate embroidery, symbolic patterns, and a variety of colors that indicate the wearer’s social status and rank. Modern Revival Style: In contemporary times, the modern revival style of Hanfu has gained popularity among men seeking to reconnect with their cultural heritage. This style incorporates elements from various dynasties, allowing for a personalized and eclectic representation of Hanfu. Modern Hanfu often features lightweight fabrics, vibrant colors, and a mix of traditional and contemporary patterns. Han Dynasty Style: The Han Dynasty style of Hanfu is characterized by a simple and elegant design. The top garment is a short jacket with wide sleeves, and the bottom garment is a long skirt or pants. Men may wear a combination of a long robe, a fitted shirt, and loose trousers, all adorned with Hanfu accessories such as sashes, hats, and shoes. Hanfu men’s clothing is diverse and rich, with different styles, designs, and colors for different dynasties and periods. Broadly speaking, a hanfu can be divided into five parts: the upper garment, the lower garment, the sash, the skirt, and the overlay garment. The upper garment is usually a short, loose-fitting top that reaches the waist, while the lower garment is a long, loose-fitting trouser that reaches the ankle. The color combination is usually in light colors, such as white or light yellow, with simple patterns or no patterns at all. The sash is a long, narrow strip of cloth that is wrapped around the waist, and the skirt is a long, flowing garment that reaches the ground. Fabric and Materials: Men’s Hanfu is typically crafted from a variety of fabrics, including silk, cotton, and hemp. The overlay garment is an additional layer that can be worn over the other garments and is usually a long, loose-fitting robe. Silk Hanfu is luxurious and elegant, often used for formal occasions. Cotton and hemp fabrics are more practical and comfortable for daily wear. The choice of fabric can influence the overall look and feel of the Hanfu, as well as its suitability for different seasons. Color Schemes: Color schemes in Hanfu design often carry cultural significance. For example, blue can symbolize tranquility and harmony, while red often signifies good fortune and joy. Each color can represent different virtues or themes. Patterns and Embroidery: Patterns and embroidery play a crucial role in Hanfu design. The combination of colors in a Hanfu can reflect the wearer’s personality, social status, or the occasion for which they are dressing. Traditional motifs include dragons, phoenixes, clouds, and flowers. Dragons are often associated with imperial authority and are commonly found in Hanfu worn by men of high status. Structural Components: A typical Hanfu consists of several key components: the upper garment (shen), the lower garment (qun), and the sash (yao). Embroidery techniques can vary, with some patterns being intricate and detailed, showcasing the craftsmanship involved in creating the Hanfu. The lower garment is often a pair of long trousers or a skirt. The upper garment is usually a loose-fitting top that may have long sleeves and a V-neck. The sash is used to secure the waist and is an essential part of the Hanfu ensemble. Some designs may also include an overlay garment, such as a robe or jacket. Different layers can be mixed and matched to create various looks. For example, pairing a short jacket with a longer robe can add depth and complexity to the outfit. Layering Techniques: Layering is a fundamental aspect of Hanfu styling. Layering allows for versatility, enabling men to adapt their Hanfu to different weather conditions and occasions while maintaining a cohesive aesthetic. Color coordination is essential for creating a harmonious and balanced outfit. For instance, pairing a sky-blue top with a white skirt in an everyday outfit can create a fresh and serene look. Men’s Hanfu clothing often features specific color combinations that hold cultural significance. Similarly, matching a deep red top with a black skirt can evoke a sense of power and elegance. When attending formal events, consider the colors’ meanings. By understanding and thoughtfully applying color coordination, one can enhance the overall aesthetic appeal and cultural authenticity of their Hanfu attire. For example, gold and purple combinations symbolize wealth and nobility, while pure white and light blue hues represent peace and simplicity. Layering techniques can elevate the style and functionality of Hanfu. Start with a base layer, such as a fitted shirt or tank top, to provide comfort and modesty. For cooler weather, incorporate a modern jacket or cardigan that complements the Hanfu’s colors and patterns. Wrap a scarf around the neck or drape a shawl over the shoulders for added warmth and style. Choose outerwear that respects Hanfu’s aesthetics, like a plain or subtly patterned design. Add a traditional Hanfu top, ensuring it is properly aligned and secured. By mastering these layering techniques, one can adapt Hanfu to various temperatures and occasions while maintaining a cohesive and culturally respectful look. Start with a pair of simple yet elegant jade earrings or a bracelet that complements the outfit’s color scheme. Choosing the right accessories can significantly enhance the overall look. For a more traditional look, consider wearing a cap or headband adorned with subtle patterns or motifs that reflect the Hanfu’s design. A silk scarf in a contrasting color can add a touch of sophistication and warmth during cooler weather. Remember, the key is to select accessories that enhance rather than overpower the Hanfu’s intricate design and elegance. Q1: What is Hanfu in men? Footwear should be comfortable yet stylish; consider slip-on shoes or sandals in neutral tones that blend seamlessly with the ensemble. A1: Hanfu for men is a traditional Chinese clothing that has a history of over three thousand years. Hanfu is known for its elegant design, flowing fabrics, and cultural significance, representing the attire of Han Chinese people before the Ming dynasty. Q2: When did men wear Hanfu? A2: Men wore Hanfu during various dynasties in China, starting from the Han dynasty (206 BC – 220 AD) until the Ming dynasty (1368 – 1644). Each dynasty had specific styles of Hanfu, but the fundamental elements remained consistent, emphasizing harmony, propriety, and the representation of social status. Q3: What is Hanfu style? A3: Hanfu style refers to the fashion and aesthetic associated with traditional Chinese Hanfu clothing. It consists of a long robe or tunic with loose sleeves and a sash or belt, paired with long pants or a skirt. It encompasses various elements, including the design of the garments, the choice of fabrics, colors, and patterns, as well as the accessories and hairstyles that complement the Hanfu. Q4: What do men wear under Hanfu? A4: Men typically wear a simple inner garment, such as a fitted shirt or undershirt, while wearing Hanfu. Hanfu style is characterized by its emphasis on elegance, simplicity, and cultural symbolism, reflecting the rich history and traditions of Han Chinese culture. Depending on the specific style of Hanfu, they may also wear a waist-length jacket or a tunic that is secured with a belt or sash. These inner garments are usually made of comfortable, breathable fabrics and are designed to provide modesty and comfort while wearing the outer Hanfu robes.

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Xiapei (Chinese: 霞帔; lit. Chinese clothing accessory in either the form of a long scarf, a neckband, or in the shape of waistcoat depending on the time period. It was also referred as xiapeizhui (Chinese: 霞帔坠) when it was ornamented with a peizhui (Chinese: 帔坠; pinyin: pèizhuì; lit. The xiapei appeared as early as the Qin dynasty and continues to be worn until now (although the shape of the xiapei evolved with time). Since the Song dynasty, peizhui started to be used to ornate the xiapei. In the Ming and Qing dynasties, the xiapei, along with the fengguan, became the daily clothing of queens and the formal clothing of the wives of senior officials. The xiapei was also introduced and worn in the late Goryeo and Joseon where it was called hapi; it was bestowed by the Ming dynasty along with the jeokui and many other garment items. The xiapei eventually became part of the traditional Chinese wedding attire for commoners. The xiapei appears as early as the Qin and Han dynasty and was in the shape of the long, thin-silk scarf. Wei, Jin, Northern and Southern dynasties. During the Wei, Jin, Northern and Southern dynasties, the xiapei was known as embroidered collar. In the Sui and Tang dynasties, the xiapei gained its name due to its beauty like rosy clouds (霞; xia). In the Tang dynasty, the xiapei was an embroidered scarf made of silk which was attached to a woman’s neck and shoulder that would wrap around her body. In the Song dynasty, xiapei became a component part of the formal attire; the embellishment of the xiapei in this period were determined according to the social rank of its wearer. During this period, it became increasingly popular. Peizhui (帔坠), the ornament which was used to decorate the xiapei, were among the jewelries given by wealthy families and high status families to women on their wedding. Similarly to the way it was worn in the Tang dynasty, the xiapei was still attached to the neck and shoulder of a woman, horse-faced skirt except that it was repositioned to also hang on her chest in order to display the ornament (i.e. peizhui) which was attached to the front end of the xiapei. The Ming dynasty xiapei was a form of long embroidered neckband which was trimmed with gold and lace. In the Ming dynasty, the xiapei was inherited from the one worn in the Song dynasty. It was also used as part of the ceremonial attire for titled women. Women who were given rank of 1st and rank of 2nd by the Ming emperor had to wear a xiapei which was decorated with golden cloud and pheasant patterns embroidery. It was worn by queens as daily attires and by the wives of senior official as a formal attire. Women who were given the rank of 8th and 9th had to wear a xiapei which was embroidered with branch pattern. Ming dynasty Empress Xiao yizhuang. Ming dynasty Empress Xiaoduan wearing xiapei. The xiapei eventually became part of the wedding attire for commoners. Ming dynasty noblewomen wearing a blue embroidered xiapei over her red robe. Ming dynasty noblewomen wearing a green embroidered xiapei over her red robe. Woman wearing xiapei; portrait of an official woman. In the Qing dynasty, the Ming dynasty xiapei (long scarf) evolved into the Qing dynasty xiapei which was in the form of a sleeveless waistcoat. Woman wearing xiapei in late Ming. The waistcoat-shaped xiapei was tied at the sides, reached below the knee and had a fringed pointed bottom hem. Similarly to the Ming dynasty, the waistcoat xiapei was worn by the queens as a daily form of attire while the wives of senior official as a formal attire. Throughout the Qing dynasty, Han Chinese women, following the Ming dynasty customs, would wear the xiapei on their wedding day. Coloured tassels were decorated the bottom part of the waistcoat. The xiapei was actually first worn as part of the Wedding attire and after the wedding, it would be worn for special events. Ordinary women wear allowed to wear xiapei on rare occasion, such as weddings and funerals. Chinese woman wearing xiapei, Xu Family of Guangzhou Chinese officials, Qing dynasty. Waistcoat-like xiapei, Qing dynasty. Qing dynasty lady in a red robe and xiapei over shoulders. The xiapei was called hapi in Korea; it was a long, wide piece of black silk which was worn over the shoulders. Hapi was an ornamental garment and was a ceremonial cape which was worn by the queens, crown princess, and royal women (including the consort of the crown prince, the consort of the crown prince’s son, the queen dowager, and the grand queen dowager) along with the jeokui. Women’s waistcoat-like xiapei, Qing dynasty, late 19th century. The hapi was bestowed by the Ming dynasty and was included in the set of ceremonial attire sent to the queen. Hapi (black silk band with gold ornament motifs) is worn over the shoulders. According to the Annals of Joseon, from 1403 to the first half of the 17th century the Ming Dynasty sent a letter, which confers the queen with a title, along with the hapi and many other items. Encyclopedia of Korean Folk Culture. Black hapi worn on top of jeokui. Yang, Shaorong (2004). Traditional Chinese clothing : costumes, adornments & culture (1st ed.). Lewandowski, Elizabeth J. (2011). The complete costume dictionary. Lanham, Maryland: The Scarecrow Press. San Francisco: Long River Press. Journal of the Royal Asiatic Society. KESSLER, ADAM T. (2017-08-23). “The Last Days of the Song Dynasty: Evidence of the Flight of Song Officials to Southeast Asia before the Mongol Invasions”. National Museum of Korea. San Francisco, CA: China Books & Periodicals. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Tibberts, Jennifer (2021-01-01). “Investigating How Qipao and Hanfu Dresses are Representative of China”. Mactaggart Art Collection. Edmonton: University of Alberta Press. Vollmer, John E. (2007). Dressed to rule : 18th century court attire in the Mactaggart Art Collection. Encyclopedia of Korean Folk Culture. This page was last edited on 16 January 2025, at 16:51 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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Hanfu which covers a small area of the upper part of the head instead of the entire head. 16 The guan was typically a formal form of headwear which was worn together with its corresponding court dress attire. There were various forms and types of guan. In ancient China, there were various forms of headwear, which included guan (Chinese: 冠; pinyin: guān; lit. Chinese: 帽; lit. There were sumptuary laws which regulated the wearing of guan; however, these laws were not fixed; and thus, they would differ from dynasty to dynasty. Chinese: 帻; lit. Chinese: 巾; lit. Chinese: 冕; lit. The code of wearing guan forms a crucial aspect of the Hanfu system. In ancient China, Han Chinese men had to undergo a capping ceremony called Guan Li as their coming of age ceremony where a guan was placed on their head by a respected elder. The Guan Li was eventually forcefully ended during the Qing dynasty. When worn together with fu (Chinese: 服; pinyin: fú; lit. The Guan Li started by the nobles of the Zhou dynasty and eventually spread to the civilians. Chinese: 冠服; pinyin: guānfú; lit. Chinese character pronounced guan (Chinese: 官; pinyin: guān; lit. This section needs expansion. As the character guan (Chinese: 冠; pinyin: guān; lit. In the early history of guan, sumptuary laws regulated the wearing of guan based on one’s social status; as such, the poor people with a low social status were forbidden from the wearing of guan. You can help by adding to it. As recorded in Rites of Zhou and Book of Rites, clothing became one of the principles of rites and ceremony, hence guan became a foundational item for etiquette and ritual. These laws, however, varied from dynasty to dynasty. During the Zhou dynasty, the main types of guan used were mianguan and bianguan (弁冠). 98-99 The mianguan followed strict regulations based on social hierarchy with the number of beads tassels indicating the ranks of its wearer; for example, the Emperor wore twelve beads tassels while the lowest rank officials wore only two beads tassels. 99 The bianguan was the second highest guan after the mianguan and was divided into two types: quebian and pibian. 98-99 The mianguan was the highest rank of guan and could only be worn by the rulers, the feudal lords and nobles in sacrificial ceremonies, such as the Heaven worshipping ceremony and the ancestors worshipping ceremony, and in conferring ceremony. 99 The pibian was decorated with 12 beams of white deer-skin, had an arched top, wide edges, and was decorated with many colourful jades in its seams. 99 The quebian was red and black in colour. During the Warring States period, King Wuling of Zhao adopted the hufuqishe policy and a hufu-style guan, which looks similar to the conical hat of the Scythians, was adopted. The King of Qin later give the hufu-style guan of King Wuling to his servant as an insult to King Wuling after the latter had destroyed the regime of the Zhao state. King Wuling’s hufu-style guan was less pointy than the actual Scythian hat and he decorated his hat with a marten tail to denote his noble status. King Huiwen of Zhao later wore the same hufu-style guan as his father, King Wuling; and therefore this type of guan was named zhaohuiwenguan (Chinese: 趙惠文冠; pinyin: zhàohuìwénguān; lit. Many years later, the zhaohuiwenguan evolved into the military cap called wuguan (Chinese: 武冠; pinyin: wǔguān; lit. A wuguan decorated with pheasant feathers became known as heguan (Chinese: 鶡冠; pinyin: héguān; lit. Zhao to distinguish military officers during the Warring States period. 293 The heguan was possibly derived from the hufu-style guan adopted by King Wuling through hufuqishe policy. In the Qin dynasty, the heguan continued to be worn to distinguish military officers; by that time onward, the use of heguan had spread throughout the whole empire. In the Han dynasty, only people from distinguished background were allowed to wear guan. The snow pheasant (Chinese: 鶡; pinyin: hé) was a symbolism of martial valour and courage due to its association with the snow pheasant which would fight its opponent until death. 16 The heguan was decorated with two pheasant feathers on either sides and was worn by specialized member of the Han dynasty military. 16 During this period, there were many forms of guan, such as tongtianguan worn by the Emperor, yuanyouguan worn by dukes and princes; jinxianguan worn by the civil officials, and wuguan (武冠) worn by the military officials. 132 It was under Emperor Yangdi that more reforms took place in accordance with the ancient traditions and that the appearance of the ritual headwear were reformed. The mianguan continued to be worn by the Emperor Yangdi. Emperor Wendi of Sui established a new attire system by basing himself on the system of the Cao Wei, Western Jin, and Northern Qi dynasties; however the Sui dynasty system was incomplete. 134 He also wore another kind of guan called wubian (武弁), which was lighter and simpler in terms of designs when compared to the mianguan. 133 He also wore bianguan (弁冠) which was distinguished by a gold mountain-symbol called boshan (博山). 133 The wubian became the favourite guan of the Emperor Yangdi when he went on cuttings; such as hunting trips, military expeditions, and other related ceremonies. 133 He also allowed his ministers and the other government officials (military and civil officials) to wear the wubian. The jinxianguan (進賢冠) was worn by the civil officials at the court. 134 The court censors wore the quefeiguan (卻非冠) under the reign of Emperor Wendi as their official headgear, but it was later replaced by the xiezhiguan (獬豸冠) by Emperor Yangdi which would distinguish its wearer’s rank through the use of various materials. 133 The wubian was traditionally worn by the military officials, and it was derived from the bianguan which was worn by the court officials. In the Tang dynasty, the guan was replaced by the futou in the official clothing system. 91 The guan was worn by the literati which continued the long tradition. In the Song dynasty, the Emperor wore the tongtianguan while the crown prince wore yuanyouguan (遠遊冠). 8 It was also generally worn by the junzi and those who were dedicated to adhere to the ancient courtesies and etiquette. 8-9 Some literati would also wear the xiaoguan (Chinese: 小冠; lit. In the Ming dynasty, the guan was only reserved to the Emperor and the members of the royal family; they were only suitable on formal occasions. 8-9 Under the reign of Emperor Huizong, all Confucian temples were ordered to upgrade their images of Confucius by adding a mianguan with 12 beaded-tassels on its depictions. Diaochanguan (貂蟬冠) / longjin (Chinese: 笼巾; lit. 18 The emperor wore yishanguan (翼善冠). Heguan (鶡冠) – a military guan decorated with pheasant feathers. Wuguan (Chinese: 武冠; pinyin: wǔguān; lit. Quefeiguan (Chinese: 卻非冠; lit. Xiezhiguan (Chinese: 獬豸冠; lit. Xiaoguan (Chinese: 小冠; lit. 134/ faguan (Chinese: 法冠; lit. Materials which were used to make the Sui dynasty’s xiezhiguan were gold or rhinoceros horns or antelope horn. Jia, Jinhua (2018). Gender, Power, and Talent: the Journey of Daoist Priestesses in Tang China. English language literature and sources. La Vergne: Columbia University Press. Feng, Ge (2015). Traditional Chinese rites and rituals. Zhengming Du. Newcastle upon Tyne: Cambridge Scholars Publishing. Zhu, Ruixi; 朱瑞熙; et al. 2016). A social history of middle-period China: the Song, Liao, Western Xia and Jin dynasties (Updated ed.). London: Routledge & Kegan Paul. Eberhard, Wolfram (1986). A dictionary of Chinese symbols: hidden symbols in Chinese life and thought. US: American Academic Press. Rui, Chuanming (2021). On the ancient history of the Silk Road. Wallace, Leslie (2020). “Does a feather in your hat a barbarian make? Headgear and hairstyles in Han dynasty tomb murals in the Ordos”. In Sheri Lullo; Leslie V. Wallace (eds.). Gu, Weilie (2022). A GENERAL INTRODUCTION TO CHINESE CULTURE. The art and archaeology of bodily adornment: studies from Central and East Asian mortuary contexts. Abingdon, Oxon: Routledge. pp. Cua, A. S. (2013). Encyclopedia of Chinese Philosophy. Xiong, Victor Cunrui (2006). Emperor Yang of the Sui dynasty: his life, times, and legacy. Hoboken: Taylor and Francis. Fang, Alex Chengyu; François Thierry, eds. Albany: State University of New York Press. 2016). The Language and Iconography of Chinese Charms: Deciphering a Past Belief System. 2015). Modern Chinese Religion. John Lagerwey; Pierre Marsone, eds. This page was last edited on 26 February 2025, at 02:45 (UTC). Vol. I: Song-Liao-Jin-Yuan (960-1368 AD). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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The Qing official headwear or Qingdai guanmao (Chinese: 清代官帽; pinyin: qīngdài guānmào; lit. Chinese: 官帽; pinyin: guānmào; lit. Qing dynasty in China. The Qing official headwear typically forms of part of the qizhuang system as opposed to the hanfu system and were completely different from the types of guanmao used in the previous dynasties. Emperor to his officials who had accomplished meritorious services and the greatest number of peacock eyes represents the highest honour bestowed. Xiaomao (Chinese: 小帽, “little cap”) was a type of daily hat worn by the officials of the Qing dynasty; however, it actually dated from the late Ming dynasty and was popular from the late Ming to the end of the Republic of China period. 13 When worn by common people, it was known as the guapimao or melon rind cap. 13 The inside of the hat however was red in colour; there was a knot on the top of the hat which was typically made of red threads. The knot was black except when there was a funeral, cheongsam modern in which case the knot was white. Qing dynasty during the winter seasons. Nuanmao (Chinese: 暖帽; lit. Qing dynasty during the summer seasons; it was a typical form of Manchu headwear items in qizhuang. Liangmao (Chinese: 涼帽; lit. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. The button or knob would become a finial during formal court ceremonies held by the Emperor. Officials would have to change their tops on the hat, for non-formal ceremonies or daily businesses. Red silk tassels extended down from the finial to cover the hat, and a large peacock feather (with one to three “eyes”) could be attached to the back of the hat, should the merit of wearing it have been granted by the emperor. The royalty and nobility used various numbers of pearls. An officer of the first grade wore a translucent red ball (originally ruby); second grade, solid red ball (originally coral); third grade, translucent blue ball (originally sapphire); fourth grade, solid blue ball; fifth grade, translucent white ball (originally crystal); sixth grade, solid white ball (originally mother of pearl). It consisted of a black velvet cap in winter, or a hat woven in rattan or similar materials in summer, both with a button on the top. Officers of the seventh to ninth grade wore gold or clear amber balls of varied designs. Yang, Shaorong (2004). Traditional Chinese Clothing Costumes, Adornments & Culture. San Francisco: Long River Press. Wang, Guojun (2020). Staging Personhood : Costuming in Early Qing Drama. Welt museum Wien (2017-10-30). “Weltmuseum Wien: Winter hat for a civil servant”. This page was last edited on 17 September 2024, at 03:03 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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A yuanlingshan (Chinese: 圓領衫; pinyin: yuánlǐngshān; lit. Wuhu, including the Xianbei people, during the Six Dynasties period. The yuanlingpao is an article of formal attire primarily worn by men, although in certain dynasties, such as the Tang dynasty, it was also fashionable for women to wear. 185-186 Such garments were typically worn by government officials. In the Tang dynasty, the yuanlingpao could be transformed into the fanlingpao using buttons. The yuanlingpao and yuanlingshan were both common forms of clothing for the Hu people. When a yuanlingpao or yuanlingshan is decorated with Chinese dragons called long (simplified Chinese: 龙; traditional Chinese: 龍) or decorated with mang (蟒; ‘python’) decorations, including roundels or square rank badges, the generic term longpao or mangfu is applied respectively depending on the number of dragon-claws used and the time period. In this period, the yuanlingpao was primarily used as an undergarment. During the Eastern Han dynasty, some forms of Hanfu started to be influenced by the Hufu of the Hu people, leading to the emergence of garments with round collars, or yuanling. The collars of the Han dynasty yuanlingpao were not turned on both sides and their edges were similar to the styles worn in the Sui and Tang dynasties. Wuhu, who founded the minority nationalities regime in the Wei and Jin dynasties. It is also during the Six Dynasties period that the yuanlingpao started to be worn as formal clothing. Hence, these ethnic minorities played a significant role in laying the foundation for the popularity of the yuanlingpao in the subsequent dynasties. It was also during the early years of the Han dynasty that the shape of the yuanlingpao worn in the later dynasties, such as in the Ming dynasties, started to develop. When the Wuhu migrated to the Central Plains, their dressing culture influenced the clothing culture of the Han people in the region. These northern nomads, including the Xianbei, also introduced new clothing styles, including the quekua (缺胯), a type of crotch-length long jacket. The quekua had either a round or snug (plunged) collar, tight sleeves, and less overlap than the traditional Hanfu, which allowed for greater freedom of movement, especially for horse riding, and strongly impacted Chinese fashion. The Xianbei ruling elites adopted Chinese clothing and Chinese customs, while the Han Chinese started to integrate some of the Xianbei’s nomadic style clothing, including high boots and narrow-sleeved yuanlingpao and yuanlingshan into Han clothing. The Northern Wei dynasty was marked by cultural integration between the Xianbei and the Han Chinese. Since the Northern Wei dynasty, the shapes of the Han Chinese’s paofu also started to be influenced by the yuanlingpao-style robe, which originated in Western Asia and was then spread to the East through the Sogdians of Central Asia. In the Northern and Southern dynasties, the yuanlingpao of the Xianbei was localized by the Han Chinese, resulting in a loss of its association with Hufu and developed into a new form of Hanfu, called panling lanshan. This evolution was achieved through the addition of a new seam structure called lan (襕; lán), which aligned with the traditional Hanfu style and followed the Han Chinese’s shenyi robe. 183,185-186 In this period, the yuanlingpao worn by unearthed terracotta warriors were closed in the zuoren-style instead of youren-style, reflecting its Hufu characteristics. The Sogdians and their descendants, mostly from the merchant class, who lived in China during this period also wore a form of knee-length, yuanling-style kaftan that retained their own ethnic characteristics but also showed some influences from East Asia, including Chinese and early Turkic influences. Their kaftan would often be buttoned up to the neck, forming a round collar. Due to the influence and the demands of the Chinese population, most Sogdian attire in China had to be closed to the right in the youren-style. Chinese: 翻领袍; pinyin: fānlǐngpáo; lit. In the Tang dynasty, the descendants of the Xianbei and the other non-Chinese people who ruled northern China from 304 – 581 AD lost their ethnic identity and became Chinese; the term Han referred to all people of the Tang dynasty instead of describing the population ruled by the Xianbei elites during the Northern dynasties. This dressing custom of wearing fanlingpao-style robes was later inherited and developed into the yuanlingpao of the subsequent Tang and Sui dynasties. Tang dynasty, as it was fashionable for women to dress like men in this period. Both the yuanlingpao and yuanlingshan of this period had a long, straight back and front with a border at the collar. The front and back of the garments each had a piece of fabric attached for tying the clothing around the waist. Both garments became the main form of clothing for men as well. Trousers were worn under the yuanlingpao. Some women also wore banbi under their yuanlingpao. One distinctive feature of men’s clothing during the Tang dynasty was a horizontal band, which could also be attached to the lower region of the yuanlingpao. The sleeves could be tight or loose, with tight sleeves designed to facilitate ease of movements. 81 Tang dynasty scholars and government officials wore long, red panling lanshan with long sleeves, accompanied by headwear called futou. In 630 during the 4th year of Zhen Guan, colour regulations for the panling lanshan of the officials were decreed: purple for the 3rd and 4th rank officials; bright red for the 5th rank officials; green for the 6th and 7th rank officials; and blue for the 8th and 9th officials. 81In the Kaiyuan era (713 – 741 AD), slaves and the common soldiers also started to wear the scholar’s panling lanshan. In the Tang dynasty, it was also popular for people to use fabrics, including brocade, to decorate the collars, sleeves and front of the yuanlingpao; this practice of clothing decoration is known as “partial decorations of gowns” and was influenced by the Sogdians of Central Asia, who had entered China since the Northern and Southern dynasties period. A Tang dynasty man (middle) wearing a panling lanshan, notice the large horizontal band at the bottom of the robe. It was also popular to wear Hufu. Central Asian roundels which would run down at the center of the robe as a form of partial decoration. Almost all figurines and mural paintings depicting female court attendants dressed in men’s clothing are wearing Hufu. During this period, the yuanlingpao could be turned into a fanlingpao under the influence of Hufu by unbuttoning the robes, while the fanlingpao could be also be turned back into a yuanlingpao when buttoned. Robes with double overturned lapels and tight-fitting sleeves were known as kuapao, which originated from Central Asia. After the High Tang dynasty period, the influences of Hufu progressively started to fade and the clothing started to become increasingly loose. In some unearthed pottery figures wearing fanlingpao dating from the Tang dynasty, it was found that the yuanlingpao had three buttons on the collar. During the Song dynasty, the official attire worn by Song court officials was the yuanlingpao with long, loose and broad sleeves. 3 The colours of the yuanlingpao were also regulated based on the official’s ranks. 3and a long line which divided the front part of the gown. 275 Kerchief (typically futou), leather belt, and yudai (Chinese: 魚袋; lit. Khitan-style yuanlingpao had both back and side slits, with the side slits located in the lower region of the robes. Khitan men wore the Khitan-style yuanlingpao with a belt at their waist and trousers tucked into felt boots. The back slits facilitated horse-riding and protected wearers’ legs from the cold. A Khitan guard wearing tight-sleeved yuanlingpao, Liao dynasty. After the establishment of the Ming dynasty, the emperor restored the old system of the Tang and Song dynasties. During the Ming dynasty, the yuanlingpao and yuanlingshan were also the most common form of attire for all genders, including officials and nobles. The yuanlingpao and/or yuanlingshan were not typically worn alone; a sleeveless vest called dahu and an inner robe (either the tieli or zhishen) was commonly worn underneath. 64) and the fabric materials used. Some of them had no slits. This set was known as Qingsufu (Chinese: 青素服). The Ming dynasty yuanlingpao and yuanlingshan were typically characterized by the “cross-plane structure”, with the back and front being bounded by the middle seam of the sleeves. During an Imperial Funeral, Ming officers wore a grey-blue yuanlingshan without a Mandarin square, wujiaodai (Chinese: 烏角帶; pinyin: wūjiǎodài; lit. The front and back were symmetrical and the left and right were also largely symmetrical; there is a central line acting as the axis of this symmetry. It also has side slits on the right and left side. It has a round collar without a high-standing collar which is secured with a button; it overlaps on the front side and closes at the right side in the youren-style, which follows the traditional Hanfu system. Men’s yuanlingpao and yuanlingshan also have side panels called anbai (Chinese: 暗擺; pinyin: ànbǎi; lit. These side panels are also referred to as “side ears” which are unique to the Ming dynasty’s yuanlingpao; this specific structure reflects the combination of Hanfu and attire of the Mongols, the ethnic minority. The sleeves of the yuanlingshan are mostly in a style called pipaxiu (Chinese: 琵琶袖; pinyin: pípáxiù; lit. The “side ear” also allows for greater ease of movement and can increase the looseness of the robe. Ming Emperor wearing round-collar robes decorated with dragon roundels. This form of dress is called the longpao (i.e., the dragon robes). Among the exempted people were the Han Chinese women, who were allowed to continue wearing the Ming-style Hanfu, qipao chinese traditional dress and on-stage theatre performers. While qizhuang was worn in the dominant sphere of society – ritual and official locations, Hanfu continued to be worn in the subordinate societal sphere, such as in women’s quarters and theatres. During the Qing dynasty, the Manchu rulers enforced the tifayifu policy along with 10 exemptions. A woman’s wedding yuanlingshan, also known as mangao, closes with buttons on the right side. It was typically worn together with a skirt known as mangchu. The groom wears a type of headwear known as wushamao and a yuanlingpao of a 9th-rank official. The yuanlingpao of officials and nobles also served as a form of wedding attire for commoners. During the rule of Queen Jindeok of Silla, Kim Chunchu personally travelled to the Tang dynasty to request for clothing and belts and voluntarily accepted the official uniform system of the Tang dynasty, which included the dallyeong among many other clothing items. Since then, the dallyeong continued to be worn until the end of Joseon. In the late Goryeo period, under the reign of King U, the dallyeong was adopted as an official gwanbok when the official uniform system of the Ming dynasty was imported. The bride wears a type of headwear known as fengguan and a red yuanlingpao or yuanlingshan with a xiapei of a noblewoman. The initial shape of the wonsam worn by women from the 15th to 16th century was similar to the dallyeong and included the use of a collar which was similar to the dallyeong-style collar. In Japan, the formal court attire for men and women was established by the start of the 8th century and was based on the court attire of the Tang dynasty. According to the Ming dynasty’s Government letter against Toyotomi Hideyoshi, the Ming Government bestowed on him a set of changfu (Chinese: 常服羅) containing a red yuanlingpao with qilin mandarin square (Chinese: 大紅織金胷背麒麟圓領), a dark blue dahu (Chinese: 青褡護), and a green tieli (Chinese: 綠貼裏). However, this fashion gradually faded away from their daily lives due to the clothing reforms decreed by the Nguyen lords. From ancient times to the Song dynasty, Chinese dragons were typically depicted with 3 claws. A Chinese dragon can be found with 3, 4 or 5 claws. From the Ming dynasty, a Chinese dragon was defined as having 5 claws while the 4-clawed dragon was referred to as mang (python). There is a clear difference between the Dragon robe and mangfu. See page Mangfu, Dragon robe, Japanese dragon for more details. Zuoren refers to having the garment closing on the left side while youren refers to having the garments closing on the right side. The ordinary civilians however wore coarse clothing made of cotton and linen. In the Ming dynasty, officials were silk or leno silk. According to the Ming dynasty regulations officials ranking from the 1st to 4th grades wore red; the 5th to 7th wore green, and the 8th to 9th also wore green. Cambridge, United Kingdom: Cambridge University Press. Wang, Xinyi; Colbert, François; Legoux, Renaud (2020). “From Niche Interest to Fashion Trend: Hanfu Clothing as a Rising Industry in China”. Hua, traditional chinese men’s clothing Mei (2011). Chinese clothing (Updated ed.). 유혜영 (1992). 돈황석굴벽화에 보이는 일반복식의 연구 (Doctoral Thesis). Wang, Fang (2018). “Study on Structure and Craft of Traditional Costumes of Edge” (PDF). Proceedings of the 2nd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2018). Atlantis Press. International Journal of Arts Management. Zhao, Qiwang (2020). “Western Cultural Factors in Robes of Wei, Jin, Southern and Northern Dynasties as Well as Sui and Tang Dynasties” (PDF). Guobin Xu; Yanhui Chen; Lianhua Xu; et al., eds. Michael Dillon, ed. (1998). China : a historical and cultural dictionary. Yang, Shuran; Yue, Li; Wang, Xiaogang (2021-08-01). “Study on the structure and virtual model of “xiezhi” gown in Ming dynasty”. 2018). Introduction to Chinese culture : cultural history, arts, festivals and rituals. 1986 (1): 012116. Bibcode:2021JPhCS1986a2116Y. Journal of Physics: Conference Series. New Haven, Conn.: Yale University Press. Dien, Albert E. (2007). Six dynasties civilization. Ulbe Bosma; Kh Kessler; Leo Lucassen, eds. 2013). Migration and membership regimes in global and historical perspective : an introduction. Yatsenko, Sergey A. (2012). “Sogdian Costume in Chinese and Sogdian Art of the 6th-8th centuries”. Serica – Da Qin, Studies in Archaeology, Philology and History on Sino-Western Relations. G. Malinowski, A. Paron, B. Szmoniewski, Wroclaw (1 ed.). Holcombe, Charles (2018). A history of East Asia : from the origins of civilization to the twenty-first century. Cambridge University Press. pp. 李竹润., 王德华., 顾映晨. Chen, Bu Yun (2013). Dressing for the Times: Fashion in Tang Dynasty China (618-907) (Thesis). Beijing: Wu zhou chuan bo chu ban she. San Francisco, CA: China Books & Periodicals. Xun Zhou; Chunming Gao (1987). 5000 years of Chinese costumes. Transactions of the Burgon Society. Ka Shing, Charles Ko (2014-01-01). “The Development of Academic Dress in China”. Yang, Shao-yun (2017). Chen, BuYun (ed.). Zhao, Qiwang (2019). “The Origin of Partial Decorations in Gowns of the Northern Qi and Tang Dynasties”. James C. Y. Watt, ed. New York: Metropolitan Museum of Art. Zhang, Qizhi (2015). An introduction to Chinese history and culture. 2004). China : dawn of a golden age, 200-750 AD. Zhu, Ruixin; Bangwei Zhang; Fusheng Liu; Chongbang Cai; Zengyu Wang (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties (Updated ed.). Tackett, Nicolas (2017). The origins of the Chinese nation : Song China and the forging of an East Asian world order. Cambridge, United Kingdom: Cambridge University Press. Cambridge, United Kingdom: Cambridge University Press. Harvard Journal of Asiatic Studies. Wang, Guojun (2019). “Absent Presence: Costuming and Identity in the Qing Drama A Ten-Thousand Li Reunion”. Su, Wenhao (2019). “Study on the Inheritance and Cultural Creation of Manchu Qipao Culture”. 79 (1): 97-130. doi:10.1353/jas.2019.0005. Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Advances in Social Science, Education and Humanities Research. Vol. 368. Atlantis Press. Kyunghee Pyun; Aida Yuen Wong, eds. Cham, Switzerland: Springer. p. 2018). Fashion, identity, and power in modern Asia. Journal of the Korean Society of Clothing and Textiles. Ju-Ri, Yu; Jeong-Mee, Kim (2006). “A Study on Costume Culture Interchange Resulting from Political Factors”. Encyclopedia of Korean Folk Culture. Choi, Eunsoo. “Dallyeong (團領)”. Journal of the Korean Society of Costume. Lim, Hyunjoo; Cho, Hyosook (2013). “A Study on the Periodic Characteristics of Wonsam in the Joseon Dynasty”. Yarwood, Doreen (2011). Illustrated encyclopedia of world costume. Haruo Shirane, ed. (2012). Traditional Japanese literature: an anthology, beginnings to 1600 (Abridged ed.). Mineola, N.Y.: Dover Publications, Inc. p. New York: Columbia University Press. Nguyen, Hannah (2020-06-14). “Weaving a Realm: Bilingual book introduces Vietnam’s costumes from the 15th century”. This page was last edited on 16 February 2025, at 10:57 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

The Mooskappe is an old, traditional miners head covering. The term is German and this type of hat was worn especially in the Harz Mountains of Germany. It was intended to protect miners when working underground from the impact of small rockfalls and from hitting their heads against the gallery roof (Firste). It is known that the Mooskappe was definitely used in the Harz and Barsinghausen mining regions. It appears in steel engravings from about 1850, for example by Wilhelm Ripe, as an important item of safety gear. The Mooskappe was usually made of a hard, green felt, but there were also “crocheted” (gehäkelte) designs. In 1824 Heinrich Heine visited the Caroline and Dorothea mines at Clausthal, writing about these visits in various works. Liessmann, Wilfried (2010), “Kupfer, Eisen und Schwerspat – Die Schätze des Südwestharzes”, Historischer Bergbau im Harz, Berlin, Heidelberg: Springer Berlin Heidelberg, pp. The shape is either clearly cylindrical but it can also be dome-shaped. François, Étienne (February 1988). “Walter Achilles, Die Lage der hannoverschen Landbevölkerung im späten 18. Jahrhundert, Hildesheim, Verlag August Lax (Veröffentlichungen der Historischen Kommission für Niedersachsen und Bremen 34, Quellen und Untersuchungen zur Wirtschafts- und Sozialgeschichte Niedersachsens in der Neuzeit, vol. 9), 1982, purple hanfu 156 p.” Annales. Annalen des Historischen Vereins für den Niederrhein. 204 (jg): 344-346. doi:10.7788/annalen-2001-jg58. The American Historical Review. This clothing-related article is a stub. Hoffmann, Paul (2001-12-01). “ULRIKE VON LESZCZYNSKI: Am Rand der großen Industrie: Die Bürgermeisterei Jüchen 1845 bis 1914. (Geschichte der Gemeinde Jüchen 5). Horb am Neckar: Geiger-Verlag 1999. 230 S. mit 30 Abb. u. zahlr. Tab”. You can help Wikipedia by expanding it. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 16 January 2025, at 22:39 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

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It has been adopted as the head dress of Irish regiments of Commonwealth armies. The name caubeen dates from late 18th century Irish, and literally means “old hat”. It is derived from the Irish word cáibín, meaning “little cape”, which itself is a diminutive form of cába, meaning “cape”. In 1916, the Irish Guards established a pipe band. In the British Army, the caubeen is officially known as the “bonnet, Irish, green”. The khaki bonnet was named “caubeen” by the Guards pipers, and was similar to an oversized beret. The pipers’ uniform was a mix of standard service dress and bandsman dress, and also included a khaki bonnet, saffron-coloured kilts and green hose. The two had different quartermaster codes, meaning that the caubeen was not simply a tam o’ shanter with the toorie cut off, but a purpose-made article in its own right. Some sources have stated the caubeen’s similarity to the Scottish tam o’ shanter, but the two are different in appearance: the tam o’ shanter retaining much more of a ‘dinner-plate’ effect on the wearer’s head, red qipao while the caubeen resembles an oversized beret. Each regiment was distinguished by the feather hackle in their caps: the Royal Inniskilling Fusiliers wore their traditional grey hackles, the Royal Irish Fusiliers wore their traditional green hackles, the Irish Guards and London Irish Rifles were granted blue hackles, and the Liverpool Irish wore a blue-and-red hackle. In World War II, a number of British army regiments adopted both khaki and rifle-green caubeens as their headdress, replacing the GS cap. In 1937, the London Irish Rifles extended the caubeen’s wear to the entire regiment. In World War II, they were the only soldiers to wear the caubeen until 1944, when the 2nd Battalion of the London Irish were serving with the Irish Brigade in Italy. The 2nd Battalion of the Inniskilling Regiment started wearing caubeens made from Italian soldiers’ greatcoats in January 1944, and the 6th Battalion of their regiment soon copied them. In February 1944, the British Army fortuitously made the “general service” cap (a sort of oversized beret made from serge wool) the new standard undress cap. The caubeen passed muster, as the exact form of the GS cap had not been formalized at the time, and their retailoring of the stocks of GS caps went largely unnoticed by the ACI. In 1947, the wearing of the caubeen was later extended to all of the infantry regiments in the post-war North Irish Brigade, with the Royal Ulster Rifles receiving a black hackle. The Royal Irish Rangers (formed in 1968 by the amalgamation of the remaining regiments in the North Irish Brigade, The Royal Inniskilling Fusiliers, The Royal Ulster Rifles and The Royal Irish Fusiliers) were granted the wearing of the caubeen with the Irish Fusiliers’ green hackle. WOs and SNCOs wore an anodised metal Royal Signals cap badge, while officers wore an embroidered cap badge. The caubeen was retained by 69 (North Irish Horse) Signal Squadron on resubordination to 32 Signal Regiment. A navy blue caubeen, with hackle of three vertical stripes in colours matching the Royal Signals stable belt, was worn by officers, warrant officers and senior non-commissioned officers of the now disbanded 40 (Ulster) Signal Regiment. The modern caubeen is worn very high on the off-side (usually the left), which makes it resemble a tilted rimless Balmoral bonnet. The squadron was subsequently retitled 40 (North Irish Horse) Signal Squadron. It is traditionally rifle green in colour, and typically worn with a unit insignia (sometimes worn with a short colored plume called a hackle, qipao sexy indicating regimental association) pinned on the off side of the cap. The caubeen remains the headdress for the 2nd Battalion, the Irish Regiment of Canada. It is a Primary Reserve light infantry regiment of the Canadian Army. The regiment was formed in Toronto in 1915 as the 110th Irish Regiment. It is often made with narrow black tapes that are worn tied neatly in the back; the Canadian version is made with wide tapes. The caubeen is worn with a green hackle, but not to designate it as a fusilier regiment as in the British Army sense; it was a gift from a commanding officer of the London Irish to the Irish Regiment of Canada during the Battle of Coriano, Italy. In the late 1990s and early 2000s, the regimental dress was in slow decline, but more recently, the regiment has been re-issuing regimental dress at a steady pace. The regiment also wear an O’Saffron tartan kilt and scarlets. The caubeen has been worn by members of the South African Irish Regiment, a Reserve Infantry battalion within the South African National Defence Force. The caubeen is also worn by the honour guard of the Division One, Orange County, California branch of the Ancient Order of Hibernians, an Irish Catholic fraternal organization. On their website they remark: “And we wear the green caubeen and carry the pike, the distinctive headgear and weapon of the Irish warriors of old”. In response a ladies’-hat factory in Galway declared that, when Dillon next visited the city, they would present him with a suitable “Galway caubeen”. In 1938 the Tánaiste, James Dillon, complained about a tax on imported ladies’ hats, remarking that Irish ladies would be forced to wear “Connacht caubeens”. The caubeen receives mention in the Irish song “The Wearing of the Green”, of which the best-known version was written by Dion Boucicault for his 1864 play Arragh na Pogue, or the Wicklow Wedding, set in County Wicklow during the 1798 rebellion. Caubeens are also sold as a women’s woolen winter hat by an Irish hat retailer. An old song, still popular in Ireland, is “The Golden Jubilee” (or “Fifty Years Ago”), in which a wife exhorts her husband to take off his hat and put on his “ould caubeen”, which he had worn fifty years previously. To wearing of the green. Terence Patrick Dolan: A Dictionary of Hiberno-English. Gill and MacMillan, Dublin. It was recorded by Connie Foley and Dorothy McManus in the 1940s and later by Sean Dunphy. Carleton, William (1856) Willy Reilly and his dear Colleen Bawn Chap. Murphy, David (2007). Irish Regiments in the World Wars.

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The trend is being driven by the popularity of athleisure-inspired clothing. As we all know, linen is the most timeless material on earth. If you’re looking for an easy way to update your closet with some new, stylish hanfu pieces that are practical and timeless, linen dresses are a great place to start. They look amazing on anyone at any age. Pair them with some cute sandals, and a simple hanfu bag, and you’ve got yourself a certified fresh summer fit. Retro style linen hanfu is a great look for any occasion, and you’ll never get tired of wearing it. In ancient China, linen has a long history. It’s that are guaranteed to keep you effortlessly cool and transport you to your summer fantasy world. Before the Han dynasty, linen has become a popular choice for making clothes. Because it was light and easy to wash, it was also popular for making sheets, pillowcases, tablecloths, curtains, and bedding. The Chinese people loved the softness and lightness of the material. Linen fabric has the tendency to breathe, which means that it has a very soft hand feel, is very durable, and retains its shape well. And while linen hanfu is often associated with classic design, linen is a versatile fabric that goes well with both modern and traditional styles. A simple hanfu shirt and dress can be transformed into a stylish, professional look with just a few accessories. There’s no denying the romance of linen that has us dreaming of warm nights by the fire. In summer, the crisp linen, lightweight feel, and modern design are sure to take you effortlessly from the beach to the boardroom. When you’re searching for the first linen dress, you have to decide whether you want something casual or formal. If you’re looking for something casual, go for a ruqun hanfu; they’re easy to wear and look good with a skirt, and other casual hanfu pants, red qipao and work well for most occasions. The perfect linen hanfu should be versatile enough to wear in various situations and should last long enough to get you through the day. The right linen hanfu can be found at a reasonable price in most of the hanfu online stores. Just look for the fabric, weave, and other factors that will make a difference in the way it feels and looks. If you’re looking for a formal dress, go for a Ming dynasty robe and mamianqun, this style is super elegant and luxurious. Some woven patterns feel soft, some stiffer. Linen is incredibly versatile and can go with just about everything, like jeans, which are one of the most versatile items in your closet. And it has a natural sheen and crisp texture that gives it a clean, modern look. Some fabrics tend to make a shirt heavier and some lighter. Of course, you don’t have to stop at the traditional style. This season, hanfu designers have reimagined the summer standby into fun, colorful iterations and even more exciting embroidery elements and silhouettes. Don’t forget the right size; linen is an extremely soft and delicate fabric, so it’s important to purchase a shirt that fits properly. There are a few pieces that evoke summer quite like the linen dress: You likely already have a linen shirt and dress in your rotation, but on truly swampy days when you barely want anything touching your body, a linen hanfu outfit is the obvious answer. Linen actually pulls away from sweaty skin rather than sticking to it – a unique fabric when it comes to summer apparel. In conclusion, Linen is a popular choice for casual dress and home decor because of its rich appearance and soft feel. Not only does linen have an upscale, elegant look, but it’s also durable and resilient, which makes it ideal for every day.

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