Nowadays, the number of people who love Hanfu is increasing. What was once a niche cultural circle in China has gradually expanded its influence worldwide. At some Hanfu cultural festivals, there are even quite a few foreigners. Looking back on the development of Hanfu, in this era of the Hanfu craze, apart from meeting our aesthetic needs, what other needs does Hanfu satisfy?

Ⅰ. The Past of Hanfu

When it comes to Hanfu, there is one person that can’t be overlooked. On November 22, 2003, on the streets of Zhengzhou, a man dressed “strangely” walked calmly through the alleys and among the crowds. This man “wasn’t a fashion model. Instead, he was an ordinary citizen, Wang Letian (王乐天), a 34 – year – old power worker.” The report in Lianhe Zaobao (《联合早报》) attracted widespread attention from domestic and foreign media. Wang Letian thus became the first person in modern China to be publicly reported for wearing Hanfu in public.

Strictly speaking, Wang Letian can’t really be called “the first person to wear Hanfu.” However, his efforts to promote Hanfu have enabled more people to get to know and understand this traditional attire, eventually leading to the Hanfu craze. For this, Wang Letian deserves to be known by more people.

According to reports, the Hanfu Wang Letian wore at that time “consisted of a thin flannel shenyi (深衣) and a tussah silk outer garment.” Judging from the photos published back then, the style of this Hanfu was rather simple and even ill – fitting. In fact, this piece of clothing was sewn stitch by stitch by Wang Letian and his friends. They set up a studio, studied historical documents, and searched for the proper patterns. A group of “tough guys” took up needlework. Their love for Hanfu was truly profound. 🥰

Twenty years have passed in a flash, and people’s attitudes towards Hanfu have undergone a complete 180 – degree turn. Unlike the situation back then when Wang Letian was ridiculed and even criticized for walking around the streets in what was seen as “bizarre clothing,” it’s now quite common to see people “parading” in Hanfu in public.

Additionally, it also Took 21 Years for Hanfu to Go from the Streets to the CCTV Spring Festival Gala. In 2003, Hanfu, which had been out of circulation for 300 years, reappeared on the streets. These Hanfu were handmade by Hanfu revivalists. By 2024, Hanfu of various dynasties with correct forms and styles graced the stage of the CCTV Spring Festival Gala. It took a full 21 years for Hanfu to make this journey.

Subsequently, the day Wang Letian traveled in Hanfu was designated as “Global Hanfu Outing Day” by Hanfu enthusiasts. Every November 22nd, Hanfu associations across the country and Hanfu clubs at universities organize Hanfu – wearing outings. They refer to each other as “fellow robes (同袍).” Wherever they go, an air of ancient Han – style charm prevails.

Ⅱ. Clothing and Headgear

There is the Han – style with loose robes and wide sashes, the Chu – style featuring “fluttering ribbons and flowing hemlines among fine silk”, the Tang – dynasty women’s “radiant makeup and gorgeous dresses outshining the spring sunlight”, and the Song – dynasty women’s preference for “beizi (褙子)”. In the early Ming dynasty, “commoners initially wore four – strap scarves, and later changed to the square – flattened scarves”… Hanfu has never been simple.

As stated in “The Book of Rites” : ”In ancient times, the shenyi (deep robe) was designed with ritual principles that aligned with five symbolic measures: the compass (for moral integrity), the square (for righteousness), the plumb line (for justice), the weight (for adaptability), and the balance (for harmony). ” “The foundation of propriety and righteousness begins with rectifying one’s demeanor, regulating one’s expression, and using proper language.” “Put your clothes and headgear in order first, and then you can understand the principles of things.” These sayings clearly demonstrate how much the ancients emphasized “clothing and headgear.”

Since the Xia and Shang dynasties, clothing has been closely linked to political systems, ideological concepts, social customs, and aesthetic tastes. As stipulated in “The Rites of Zhou,” during sacrificial ceremonies, the headwear and clothing of everyone from the king to the nobles and officials had to follow strict regulations. 

“Getting dressed” is not merely a social phenomenon; it is a cultural act deeply ingrained in the realm of “rites.” The sages formulated rites and music with the aim of “establishing human relationships, rectifying human nature, and regulating all affairs. (立人伦，正情性，节万事)” In modern terms, this means finding one’s proper place, organizing social order, and clarifying public rules.

Those seemingly abstract “rites” are intertwined with people’s daily lives through clothing, utensils, architecture, and more. Day after day, they subtly shape our behaviors, characters, temperaments, and mental outlooks, much like the gentle nourishment of rain on all things.

Ⅲ. National Trend

Today’s Hanfu enthusiasts, of course, don’t have to worry about the heavy burden of so – called “rites,” let alone the “niceties” such as the style, color, and occasion – appropriateness of the clothing.

The term “wearing” is often used together with “dressing up,” which directly reflects an important function of clothes – aesthetics.

“Aesthetics” is also a crucial factor triggering the “Hanfu craze.”

There was a time when the sense of fashion superiority and the discourse power over aesthetics were long – dominated by other cultures. Now, the younger generation of Chinese people, who view the world on an equal footing, embrace Hanfu with enthusiasm and also embrace the aesthetics of their “ancestors.” To some extent, this is a way of re – understanding and re – defining the beauty of dressing.

Of course, the rise of Hanfu doesn’t mean rejecting foreign cultures. Chinese people’s pursuit of “beauty” has always been characterized by an inclusive attitude, appreciating the beauty of each culture and promoting the co – existence of diverse beauties.

Behind the “Hanfu craze” lies the surging national trend.

The newly released “2024 Observation Report on Young National Trend Brands and the Strengthening of the Country (《2024年度青年国潮品牌强国观察报告》)” shows that nearly 80% of the young people surveyed are more likely to buy products if they incorporate elements of the national trend. Supporting domestic Chinese products, high cost – effectiveness, and a focus on cultural connotations are important reasons why the surveyed young people are willing to purchase national – trend products. At the same time, the firm inheritance and promotion of outstanding traditional Chinese culture is a crucial source of the vitality of the national trend.

Young people are not only consumers and experiencers of national – trend products but also “trend – seekers” and disseminators.

Chinese girls in horse – face skirts play the erhu on the streets of Milan, and overseas students in gorgeous Hanfu play the guzheng on the streets of London… These diverse forms of “cultural exports” seem to be a silent response to the poem from three thousand years ago –

“Who claims our garb is torn and thin?

My brother’s cloak shall wrap us in.” (岂曰无衣，与子同袍)