Today's Edition
In the heart of Xi'an, capital of Shaanxi province, Wu Junqiang, a 25-year-old artistic director at the Hanfu Research Institute of Xi'an Polytechnic University, is at the forefront of a cultural revival. The institute's mission is to breathe life into hanfu, the traditional attire of the Han ethnic group.
"Hanfu is more than just clothing. It represents a lifestyle and a symbol of our cultural heritage," Wu said.
The institute in Xi'an is focusing on conducting a detailed study and recreating these garments from the past.
Established in 2023, the institute leverages the university's strengths in textiles, clothing and art design to focus on the dressing style during the Han (206 BC-220 AD) and Tang (618-907) dynasties and restore those traditions.
"Han dynasty clothing is elegant and dignified, and popular among international audiences. Tang Dynasty attire is inclusive, suitable for all body types, and offers a great experience. If you visit places such as Xianyang and Lintong in Shaanxi, Qin Dynasty (221-206 BC) clothing will be more appropriate,"Wu said.
One of the most iconic costumes the team created is inspired by female figurines from the Shaanxi Tang Tricolor Pottery Art Museum. Using the figurine art as a foundation, Wu and his team developed color schemes and restored a Tang Dynasty chest-high ruqun, a traditional Chinese garment consisting of a short top and a long wraparound skirt.
One of the most difficult tasks in their reconstruction process was getting the colour right. They consulted numerous ancient texts because modern colours differ in brightness and combination from those used during the Tang Dynasty. They researched everyday items from the dynasty to understand their colour sources.
"Traditionally, colours were extracted from the natural world. We got the pigments from flowers and plants, so our garments feature colours that are akin to those used during the Tang Dynasty," Wu said.
Wang Yiting, the designer in the team, said the use of natural dyes is a process that requires patience and skill.
"Natural dyes come from plants like gardenia and mulberry. Sometimes, we collect fresh leaves, steam them, and use them for dyeing. For rust dyeing, I've experimented by soaking rusty nails in vinegar for a month before using the solution to dye the fabric," she said.
Another representative piece of art the team created is a replica of the Tang Dynasty tricolour music and dance figurines set, consisting of clothing worn by eight female figurines of musicians and dancers.
The dancers wore bird crowns, originally crafted from the feathers of various rare but now protected animals.
For the restoration, capturing rare birds was not feasible, Wu said. So they used feathers from domestically raised birds with visually appealing feathers, such as peacocks.
Dyeing these feathers to get the specific colours of the endangered species, they created four bird crowns.
Before designing their clothing, they sought inspiration from historical sources, carefully studying the patterns found in ancient murals and figurines.
Wang, the designer, blended historical patterns with modern appeal in the hanfu. The 24-year-old fashion design graduate received a national design patent in 2022 for her patterns and motif designs.
Before she starts designing, Wang does thorough research on the historical patterns and motifs.
"We often draw inspiration from artifacts belonging to different dynasties. For the Qin and Han dynasties, we examine bronze ware. For the Tang Dynasty, we focus on silk textiles. For the Song Dynasty (960-1279), there are more historical materials available, offering a richer foundation for our designs," she said.
Such research allows Wang to create designs that are both authentic and innovative.
"When aiming for a modern twist, we extract these patterns, reconstruct and reorganise them, and then apply new colour schemes," she said.
"Our focus is on aesthetics and harmony. The original artifacts often provide only a broad sense of colour, as intricate patterns have faded over time. We might look at the ceramics for inspiration, using their colour palettes as a guide for our redesigns."
Wang acknowledges the balance between innovation and restoration. "There are two main schools of thought: innovation and restoration. While some purists aim to replicate historical garments exactly, it's important to recognise the differences between ancient and modern aesthetics. To bring hanfu into the mainstream, we need to align it with contemporary tastes," she said.
Despite the challenges, Wang sees a bright future for hanfu. "Many garments today are Western-style, and people find hanfu impractical for daily wear.
However, integrating hanfu into everyday life holds great potential," she said, adding she wants to invite people to experience the beauty and elegance of traditional Chinese culture in the modern world. To further this vision, the team attended international hanfu events.
In June, Wu dressed as the historical figure Li Bai, a poet from the Tang Dynasty, and traveled to Astana, capital of Kazakhstan, to attend the China-Central Asia Cooperation Development Forum.
"We were there to participate in an event called 'The Most Beautiful Chang'an Night'. Wearing the hanfu and performing Tang Dynasty rituals, I engaged with overseas participants who showed great interest in my attire," he said.
"When we wear traditional Chinese garments abroad, people are often surprised and impressed, finding them both beautiful and sophisticated."
In 2024, the team participated in a traditional Chinese-style fashion show in Paris, France. At the 2023 Euro-Asia Economic Forum held in Xi'an, they wore elaborate historical costumes to welcome guests to a gala dinner.
The team was also involved in events honouring China's legendary ancestor Huangdi, attended by compatriots from across the Taiwan Strait, and cultural exchange events for international students in Shaanxi.
Wu said that wearing hanfu for promotional purposes fills him with cultural confidence and pride.
"We focus on promoting and revitalising traditional culture, with hanfu serving as a gateway to a full experience of that heritage," he said.
"In Xi'an, you can take a stroll on the streets wearing a hanfu without worrying about what others think. You can confidently wear hanfu, enjoy tea, go shopping and take photos. It represents a lifestyle that encourages one to slow down and savour the moment."
Xi'an, where China's hanfu economy booms, intertwines the cultural trend with its rich historical heritage, creating a unique atmosphere. In every corner of the city, people of all ages can be seen going around wearing hanfu.
In 2024, Xi'an had 1,814 hanfu-related enterprises, making it the leading city in the country for hanfu experiences. Shaanxi province has 2,053 such enterprises, accounting for over 25 percent of the national total, the Xi'an Daily reported.
"We believe that wearing hanfu means embracing culture, which involves research and understanding. For example, when we invite influencers or actors, we assign them roles like Li Bai or Du Fu, poets from the Tang Dynasty. They need to study these historical figures, understand their attire and lifestyle, and then choose suitable costumes for their performances," Wu said.
"The overall aesthetic sense in the country is improving. Since the rise of hanfu, many people have inquired about hanfu costume shops. From a professional perspective, the styles in these shops are often inaccurate.
"Immediate perfection isn't the goal. The first step is to spark interest in hanfu among the public. The proliferation of costume shops has helped achieve this by introducing hanfu to people. Once people are familiar with hanfu, we can educate them about high-quality styling and the correct forms," he added.
A survey released by market consultancy iiMedia Research in 2025 showed that about 57 percent of hanfu consumers in China have a good understanding of its styles, about 20 percent can only identify hanfu. About 16 percent are very knowledgeable about its styles.
"Our mission is to serve the public and revitalise traditional culture. Rather than merely teaching the forms and styles of hanfu, we demonstrate the authentic styles, enabling people to truly appreciate them," Wu said, adding that aesthetic appreciation is a quality that evolves over time.
Courtesy of China Daily
