after the horse-faced skirt, what will be the next “new chinese style” hit?
2024-09-12
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"the clouds are like clothes and the flowers are like faces", outlining the chinese hanfu dream, the long wind clears the dust, and the new look of the horse face welcomes the new life. a horse face, dancing on the skirt, carved with colorful clouds, embellishing the beauty of the mountains and rivers, showing the heroic posture of china. among the green mountains and green waters, a horse face reflects the unique aesthetic charm of china; at the fashion show, a horse face shows the unique body aesthetics of the children of china; at the entrance ceremony, the horse face shows the heroic demeanor of chinese students; on the summer campus, the horse face hairpins flowers, paving the way for the students' bright future. the skirt is stacked, like a bundle, but actually released, and one stitch and one thread, weaving gold and embroidering, painting the glory of the horse face skirt. according to data from an e-commerce platform, the market size of the horse face skirt will reach 14.47 billion yuan in 2023.
it can be said that the reason why the horse-faced skirt has become a hit in the "new chinese style" hanfu is undoubtedly the general recognition of the chinese people for the long-standing, profound traditional culture and chinese aesthetics. however, chinese traditional clothing is not only the horse-faced skirt. kong yingda's "zuo zhuan zhengyi" said: "china has great etiquette, so it is called xia; it has beautiful clothes, so it is called hua." the prototype of the huangdi skirt was established; the pre-qin deep clothing was pure and profound; the han dynasty inherited the qin system, and the skirt and clothes coexisted, which was ancient and profound, and the beauty was endless; the six dynasties had large sleeves, elegant and romantic, generous and unrestrained, and open and honest; the tang dynasty was extravagant, and incorporated both hu rong, and the skirt was gold-threaded, and the chest was exposed and unrestrained; the song dynasty was elegant, thin and narrow sleeves, and delicate and weak; the ming dynasty was luxurious, the horse-faced skirt was graceful, the standing collar was dignified, and the gold-woven embroidery was talked about for thousands of years.
so we can't help but ask, after the horse-faced skirt, what will be the next "new chinese style" hit? the author tries to throw out some ideas to attract more "chinese style beauty" from the vast sea of traditional chinese clothing.
first of all, taking the popularity of the horse-faced skirt as an opportunity, the new chinese-style sun-protective clothing with a jacket as the basic style is likely to be popular.
"beizi" is also called "beizi". sima guang's leipian says: "beizi is a kind of kimono." beizi is a slim-fitting, narrow-sleeved, and open-hipped underarm garment. it was a common dress in the song dynasty. "song history: yufuzhi" records: "women in the house wear a crown and a back, while concubines wear a false bun and a back." in the song dynasty, everyone from the empress to the common people, regardless of gender, even the emperor, wore a beizi. there is a related record of song huizong wearing a jacket in "xuanhe yishi": "huizong was overjoyed when he heard the words, and immediately changed his clothes, took off his dragon robe, and put on a black collar." the jackets of the song dynasty were elegant in color, slender, beautiful, lively and elegant, just as zhang mi said in "jiangchengzi": "narrow silk shirt and thin silk skirt, small waist, new evening makeup. every time the flowers bloom, it is not suitable for spring. i have no strength early on, and i am even more sorry for wearing it." the jacket is generally made of light fabrics and is suitable as casual summer wear. it can make up for the shortcomings of the heavy and stuffy hanfu, meet the urgent need for sun protection, and become a new change of hanfu.
furthermore, the new chinese-style suspenders inspired by song dynasty style may also become a new favorite.
"song mo", also known as "mo xiong", is said to be made by yang guifei, and it is believed that the mo xiong originated from the hezi. according to records, "the imperial concubine played with an lushan every day. one day, she was drunk and danced. he was particularly rude. he scratched the concubine's breasts. the concubine cried and said: i am your fault. fearing that the emperor would see the mark, he covered it with a hezi made of gold. all the harems followed suit." mo xiong was also seen in the poems of li yu, the last emperor of the southern tang dynasty - "the two braids were untidy and haggard, and the tears stained the red mo xiong." in the song dynasty, mo xiong gradually developed into outerwear and was widely loved by concubines, women, prostitutes and actresses. hong mai wrote in "yijianzhi": "when walking on the road, there were crowds of onlookers. two girls stood side by side with their buns, and they were quite beautiful. ren guzhi said: "young lady, be steady, let's look inside." the two girls bowed and thanked him. he looked at him again and said: "lift up your lan skirt." lan skirt refers to the mo xiong in fujian dialect, and "lift" is a joke." it can be seen that mo xiong was more common in the lives of song people. today, the new chinese style suspenders based on song dynasty style are cool to wear, simple to make, low in price, and have great market potential.
in addition, new chinese-style dresses inspired by ruqun may also be popular.
xu shen's "shuowen jiezi" says: "ru is a short coat; skirt is a skirt." the tradition of ru skirt has a long history, dating back to the warring states period and the late ming dynasty. although the years are long, the reputation can be traced. in "moshangsang", luofu wears "yellow silk as the lower skirt and purple silk as the upper ru"; in "the peacock flies southeast", lanzhi says "i have an embroidered waist ru, which is luxuriant and shining"; bai juyi also wrote in "liaoling": "weave it into the line of autumn geese outside the clouds, and dye it into the color of spring water in the south of the yangtze river. widely cut shirts with long sleeves and long skirts, ironed with gold and cut with knife patterns." looking at its origins, the tang dynasty was at its peak. the tang dynasty was prosperous, the country was prosperous, and the culture was inclusive, just as wang wei said: "the nine-day gates opened the palace, and people from all countries bowed to the crown." in the prosperous era, the people were confident and flamboyant, and preferred bright and gorgeous colors and exaggerated and complicated patterns. contemporary china is also prosperous, with a growing confidence and sense of identity in national culture. chinese people particularly prefer elegant, bright, colorful and distinctive national costumes. the gorgeous skirt reproduces the atmosphere of the tang dynasty, which is just in line with the aesthetic taste of chinese people. the light gauze fabric is like the fluttering sleeves of a fairy and the colorful dance music. at the same time, tang hanfu was deeply influenced by the hu rong, as yuan zhen said in "faqu": "since the hu cavalry rose up in the smoke and dust, the hair and fur filled the xianluo. women learn hu makeup to become hu women, and performers learn hu music to perform hu music." the narrower cuffs of the skirt are more convenient for daily activities and are also in line with the current fast-paced life. in addition, the skirt is generally printed with bright colors, gorgeous and elegant, and has a very chinese aesthetic.
in addition, the new chinese style step-shaking hairpin can also take advantage of this spring breeze and become a prairie fire.
hanfu is a clothing system composed of multiple elements such as clothes, headwear, and footwear. buyao, as a traditional headwear, is indispensable in the national clothing system. "explanation of names and jewelry" says: "buyao has hanging beads on it, and it shakes when you walk." buyao, also known as buyao flower, was extremely popular in the central plains and the southern dynasties during the han, wei and six dynasties, and then gradually spread throughout the country. shen manyan, a liang dynasty man in the southern dynasties, once wrote "ode to buyao flower": "pearls are entangled with jade, and golden jade is between precious leaves. the cut lotus is not made, but the flower is like it grows naturally. the low branches brush the embroidered collar, and the light steps move the jade. just let the cloud bun be inserted, and the eyebrows are easy to form." it can be seen that the shape of buyao is extremely gorgeous and complicated, with a sense of brilliance and brilliance. the production of the new chinese buyao, combined with contemporary velvet flowers, alloys and other craft elements, greatly reduces the production cost and realizes the consumer ideal of high quality and low price.
the new chinese-style clothing represented by the horse-faced skirt has brought a cultural feast, depicting the image of a cultural power with a prosperous cultural heritage and a flourishing cultural fortune. in the craze of the new chinese-style hanfu, the chinese nation's thousand-year-old historical heritage and enduring cultural identity are linked, engraving the aesthetic genes of the descendants of yan and huang.
if you keep improving, you will improve every day. from "in ancient times, leather clothing was clothing, and clothes and skirts were not distinguished", to "huangdi, yao, and shun wore clothes and the world was governed", to "long skirts with belts and wide sleeves", to the fluttering skirts of horse-faced clothes and carved clouds, the sons and daughters of china have inherited the clothing tradition of their predecessors and opened a new trend in the world. with the new chinese hanfu as its wings, the excellent traditional chinese culture has rolled up clusters of waves in the creative transformation of the new era and bloomed brightly in innovative development.
ma tongru wrote in his poem “ode to chinese clothes” that “the streets and alleys of various countries are filled with dancing silk”. the new chinese hanfu draws on the essence of chinese civilization, carries the profound cultural heritage of the chinese nation, builds a stage for inclusive and multicultural exchanges, and sends a beautiful vision to the world that “each country has its own beauty, each country appreciates the beauty of others, and all countries share the beauty”.
