The 2024 Spring Festival Gala saw a surge in Hanfu designs, with a significant increase compared to previous years. Among them, the Henan TV and CCTV broadcasts stood out, showcasing an abundance of Hanfu elements, providing viewers worldwide with a stunning visual experience. It’s similar to how bamboo spends years gathering energy underground, growing just a few centimeters, but once it breaks through the soil, it shoots up several centimeters a day. After 20 years of long and winding development, Hanfu revival finally exploded at the 2024 Spring Festival Gala during the Year of the Dragon, no longer seen as odd or out of place. Today, let’s take a closer look at these unique Hanfu outfits worn by stars during the gala.

Ⅰ. Hanfu at the Henan Spring Festival Gala  

1. Mid to Late Tang Dynasty Style

This chest-length top and skirt design is inspired by a painting from the Tang Dynasty, A Palace Concert. The orange-yellow top and blue-green skirt create a subtle color contrast, while the slightly brighter red scarf and ties add a touch of vibrancy without being overwhelming.

The orange-yellow top and blue-green skirt create a subtle color contrast, while the slightly brighter red scarf and ties add a touch of vibrancy without being overwhelming.  

This Hanfu set is on the pricier side, with most items costing over a thousand RMB. The higher price is due to two main factors: first, the high level of restoration accuracy in both the patterns and the design; and second, the quality of the materials used, which are mostly mulberry silk.

2. Song Dynasty Ceremonial Robe  

The large-sleeve robe worn by Yang Mi is believed to be inspired by a piece from the Huang Sheng Tomb (黄昇墓) or De’an Zhou Family Tomb (德安周氏墓), both of which feature large-sleeve garments. The embroidered ribbon draped over her shoulders is a modern version of the “Xia Pei” (霞帔)  from the Phoenix Crown and Xia Pei outfit, which evolved from the pibo (披帛) found in Tang Dynasty Hanfu. Unlike the Tang version, the Xia Pei is stiffer and often adorned with decorative pendants at the ends. It is typically worn as formal attire during significant ceremonies or occasions.

2. Late Ming Dynasty Clothing

The round-collar, front-opening long coat worn by Yang Mi is inspired by a painting from the Wanli period, titled “The Portrait of the Empress Dowager Cisheng with Three Generations of Donors from Buddhist, Taoist, Confucian, and Merchant Sects (《慈圣皇太后款往古僧道儒流三代施主士农工商像轴》)”—quite a mouthful!

Yang Mi’s version of this outfit is the same as the one worn by the central female figure in the painting, but in a different color.

Yang Mi’s version of this outfit is the same as the one worn by the central female figure in the painting, but in a different color.

Ⅱ. Hanfu at the CCTV Spring Festival Gala

1. Eastern Han Dynasty Clothing

Inspired by the artifact: Wise and Benevolent WomenWise and Benevolent Women (《列女仁智图》).

Liu Tao is wearing a style from the Eastern Han Dynasty, with corydalis and cloud patterns subtly visible under the sheer fabric. The wide sash and cross-collar design align with the typical first impression many have of Hanfu.

Since many Hanfu on the Spring Festival Gala, including this one, are custom-made with specially woven fabrics, there are currently no retailers selling the exact same style. Additionally, due to the limited reference materials, there aren’t many shops specializing in Eastern Han-style restoration garments. However, here’s a similar Eastern Han straight-cut robe:

If you’re interested in this type of one-piece robe, you might also want to check out the curved-hem robes inspired by artifacts from the Western Han Mawangdui Tomb No. 1 (西汉马王堆一号墓), or the Warring States Shenyi (深衣) based on findings from the Mushan Chu Tomb (马山楚墓).

A quick tip: if you’re looking for Hanfu that’s practical for everyday wear, I wouldn’t recommend starting with these types of robes. The sleeves are very wide, and the length can drag on the ground, making them impractical for modern life.  

It’s not just about the clothing—lifestyles in earlier dynasties were also very different from today. For example, before the Eastern Han, the common sitting posture was “跽坐“, which involves kneeling with your bottom resting on your heels. One reason for this was that clothing at the time wasn’t as complete, and without crotch pants, it was more elegant to kneel rather than sit with legs spread out. However, prolonged kneeling could cause numbness and lead to bow legs, so people used to “支踵” (placing weight on the heels) to relieve pressure and support their hips.

Later, the northern nomadic tribes introduced more comfortable seating, similar to a small stool called the “Hu Zhuang (胡床).” These low seats gradually became obsolete in the mid-to-late Tang Dynasty and were replaced by high tables, large chairs, and stools. This shift also changed sitting posture, from kneeling to sitting with feet flat on the ground in a high, formal position.

2. Late Tang Dynasty Clothing

When designing costumes for the Tang Dynasty, the production team initially leaned towards choosing the Wu Zetian style—the style shown by the model in the stage background.

However, considering the public’s impression of Tang Dynasty clothing as being extravagant and grand, the team eventually decided to go with a late Tang style based on the Dunhuang offering figures as the reference.

3. Southern Song Dynasty Clothing

Li Qin’s outfit in the Song-style is fresh and elegant. The design is inspired by the long gown from the Huangsheng Tomb (黄昇墓), and the patterns are based on the “Peony and Laurel Pattern” from the Changzhou (常州) Museum. During that time, intricate floral patterns with intertwined branches were very popular.

The Song style is the closest to modern aesthetics, likely because life for small merchants and common folk in the Song Dynasty was generally quite comfortable. Some tombs from that period belong to people who were not officials, but rather civilians or merchants, yet their burial goods were still rich and exquisite. This is why the Song-style Hanfu, in terms of shape and color, seamlessly blends into modern daily life. In fact, I’ve noticed that many of my friends, when first trying Hanfu, naturally gravitate toward the Song style.

4. Early to Mid-Ming Dynasty

Guan Xiaotong’s Ming-style outfit is different from the dazzling, embroidered, and intricate clothing of the typical Ming Dynasty noblewomen that many people imagine. Instead, it’s understated, everyday, and meaningful. The base patterns and woven designs feature blessings for good fortune, including “Five Lakes (gourd) /五湖（葫芦）”,  “Four Seas (sea shell) /四海（海螺）”, and “A bountiful harvest of five grains (五谷丰登) “symbolizing prosperity, good luck and happiness. The pipa sleeves (琵琶袖, the shape of the sleeve’s front end resembles the form of the Chinese musical instrument, the pipa) and straight-collared tunic are inspired by the Wang Luo (王洛) family tomb in Changzhou (常州), and the Ma Mian skirt doesn’t need much explanation—it’s common in places like the Kong family’s mansion.

Because of its proximity in time and the high level of cultural development, there are many existing artifacts to reference for Ming-style Hanfu, and with the popularity of the Ma Mian skirt last year, there has been an increase in the number of shops offering Ming-style Hanfu (which ultimately benefits us, the consumers). However, because Ming-style Hanfu tends to be more loose-fitting, it requires a lot of fabric, making it slightly more expensive.

Summary  

Perhaps some of you have noticed that whenever we mention a specific Hanfu design, we can always find corresponding artifacts to back it up. We do this because our rich culture has always been rooted in evidence and authenticity—it’s not something fabricated, imagined out of arrogance, or appropriated. Its brilliance and depth have a clear origin, and it will continue to thrive, deeply rooted in this land for generations to come.