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Reframing Hanfu: Contemporary Design Practice at the Intersection of Heritage, Aesthetics, and Identity
Abstract
This paper explores how traditional Hanfu can be reinterpreted as a design language for cultural identity in a contemporary context. It focuses on two award-winning works from the 2013 Global Hanfu Revival Design Competition—one inspired by Song Dynasty menswear and the other by Tang Dynasty womenswear. These designs embody the contrasting aesthetics of Neo-Confucian restraint and Tang-era opulence, using clothing as a medium to negotiate history, gender, and cultural symbolism.
The Song-style menswear emphasizes composure and symmetry, reflecting intellectual order through straight lines and balanced proportions. Its restrained color palette and subtle woven patterns convey refinement, while updated materials and craftsmanship enhance modern wearability and cultural continuity.
The Tang-style womenswear centers on curvilinear grace and ornamental richness. A high-waisted skirt, wide sleeves, and translucent shawls create a dynamic, layered silhouette. The use of jacquard silk and lightweight yangliu silk, with colors and patterns referencing historical imagery, evokes a sense of seasonal vitality and visual depth. Handcrafted fabric flowers and intricate beadwork add poetic and ceremonial detail, articulating a Tang-inspired aesthetic language.
Developed through a practice-led methodology, both designs integrate historical inquiry with contemporary aesthetics and embodied making. Hanfu is proposed not as a static relic, but as a living language—capable of preserving heritage while generating new expressions of identity and cultural presence.
1. Introduction
In recent years, the resurgence of Hanfu—the traditional attire of the Han ethnic majority—has sparked growing interest across fashion, cultural studies, and identity politics. More than a nostalgic return to historical aesthetics, this revival reflects a broader search for cultural continuity and self-definition in a rapidly modernizing world. For many practitioners and designers, Hanfu is not merely a costume, but a medium for reclaiming intangible heritage through material form.
This paper investigates how Hanfu can be reimagined through contemporary design practice, using a practice-led methodology to explore the dialogue between tradition and innovation. The research centers on two award-winning Hanfu designs—one inspired by the Tang dynasty, the other by the Song—created by the author for the 2013 Global Hanfu Revival Design Competition in New York. These works engage with historical silhouette, craftsmanship, and symbolism, while reinterpreting them through the lens of modern aesthetics and personal resonance.
Rather than aiming for exact historical reproduction, the creative process seeks to embody cultural values embedded in traditional dress—such as modesty, harmony, and refinement—while addressing the challenges of construction, presentation, and audience perception in a contemporary context. This design-led inquiry draws from historical sources, embodied knowledge, and iterative making to demonstrate how Hanfu can act as a living language of cultural expression, bridging past and present.
2. Background and Problem
In recent years, Hanfu has experienced a notable revival, evolving from niche subculture to a broader cultural movement. While this resurgence highlights a growing public interest in reconnecting with Chinese heritage, it also raises complex questions about authenticity, interpretation, and relevance in modern life. Designers are often caught between the desire to preserve historical accuracy and the need to adapt traditional forms to contemporary aesthetics, materials, and social functions.
This research arises from the tension between historical fidelity and creative reinvention. Rather than viewing the Tang and Song dynasties as distinct stylistic categories, the designer approaches them as complementary forces inspired by the cosmology of yin and yang. In this reading, the Tang-inspired women’s ensemble channels yin—grace, receptivity, and inner richness—while the Song-inspired men’s ensemble embodies yang—structure, clarity, and restraint. Both garments are situated within the seasonal metaphor of spring, a time of renewal that reflects the convergence of opposites into dynamic harmony.
The problem lies not in reviving Hanfu as a nostalgic costume, but in reimagining it as a living vessel of cultural values and embodied aesthetics. For contemporary designers, the challenge is how to maintain symbolic depth and historical resonance without reducing the garment to a static replica. This study proposes that by reinterpreting Hanfu through practice-led inquiry, it is possible to bridge tradition and modernity in a way that remains faithful to both cultural meaning and personal expression.
3. Aim and Objectives
This research aims to explore how traditional Hanfu can be reimagined through contemporary design practice as a living expression of cultural identity, rather than as a static historical costume. By engaging directly with materials, forms, and embodied methods of making, the study seeks to uncover how heritage-based clothing can carry forward philosophical values and aesthetic principles into present-day contexts.
The specific objectives of this study are:
1. To reinterpret traditional Hanfu design elements—including silhouette, layering, proportion, and ornamentation—within a contemporary aesthetic framework.
2. To investigate the symbolic and emotional meanings embedded in historical Hanfu materials, colors, and construction techniques.
3. To examine the embodied experience of wearing Hanfu, and how bodily interaction contributes to cultural awareness and behavioral transformation.
4. To evaluate audience reception and cross-cultural resonance of Hanfu designs presented in international contexts, particularly through media responses and personal testimonies.
5. To demonstrate the role of practice-led design research in bridging intangible heritage and modern identity through material experimentation and personal reflection.
By addressing these objectives, the study offers a model of how traditional garments can be revitalized not only through visual reinterpretation but also through experiential, performative, and emotional engagement.
4. Research Questions and Hypothesis
Research Questions
1. How can Hanfu be reimagined as a contemporary medium for cultural expression rather than a static historical replica?
2. In what ways can practice-led design processes reinterpret historical aesthetics and symbolic values embedded in traditional garments?
3. How does the embodied experience of wearing Hanfu influence the perception of its cultural value and relevance?
4. What tensions or expectations arise in contemporary audiences when encountering Hanfu in modern design contexts?
5. Can design practice serve as an effective means to revitalize and transmit traditional craftsmanship in the absence of complete historical documentation?
Hypothesis
This study assumes that traditional Hanfu, when reinterpreted through a practice-led design methodology, can act as a living medium that bridges past and present—preserving cultural meaning while responding to contemporary aesthetics, identity concerns, and performative needs. The hypothesis also proposes that the bodily engagement with such garments enhances cultural awareness, fosters emotional resonance, and facilitates the ongoing relevance of traditional craftsmanship in modern contexts.
5. Methodology
This research adopts a practice-led methodology, where design is not only the object of study but also the primary mode of inquiry. Rather than relying on external historical reconstructions, the study engages directly with material, form, and embodied making to generate insights from within the creative process.
Historical paintings, mural references, and extant artifacts from the Tang and Song dynasties served as visual anchors. These sources were not copied literally but analyzed for their underlying principles of silhouette, proportion, symbolism, and philosophical intent. These findings were then abstracted and translated into contemporary design language.
The act of making—cutting, layering, sewing, and assembling—was central to the research. By engaging with traditional methods and modern adaptations simultaneously, the process revealed challenges in structure, scale, and movement, particularly in achieving both historical resonance and contemporary wearability.
A key dimension of the methodology lies in embodied knowledge. The designer relied not only on visual analysis but on the intelligence of the hand and body. Through repeated iterations and physical interaction with the garments, decisions were guided by intuition, muscle memory, and tactile feedback, enabling the designer to internalize craft knowledge beyond theoretical comprehension.
Beyond the studio and the moment of creation, the designer engaged in a prolonged period of wearing Hanfu daily—approximately six months—as an extended form of experiential research. Through this immersive process, theoretical knowledge drawn from historical texts began to manifest as lived understanding. The designer came to viscerally grasp how certain structural elements, proportions, and layering systems in traditional Hanfu were not only aesthetically intentional but also emotionally and behaviorally transformative.
Clothing, in this view, is not a passive container of the body but an active influence on mood and demeanor. Just as playful garments can invite a lighthearted state of mind, Hanfu—through its dignified form and flowing silhouette—encourages composure, calmness, and attentiveness. Over time, the designer found that posture, movement, and even internal emotional states were subtly shaped by the garments themselves, reinforcing the hypothesis that traditional clothing embodies and transmits cultural values not only symbolically, but somatically.
Through this multi-layered approach—visual research, hands-on experimentation, bodily intuition, and performative testing—the study frames design as an active site of cultural exploration. It does not aim to recreate the past but to enter into dialogue with it, generating meaning through material and movement.
6. Case Study: Hanfu Design as Cultural Reinscription
6.1 Design Concept and Cultural Root
This section examines two Hanfu designs created by the author for the 2013 Global Hanfu Revival Design Competition, which received both the Gold Award and the Excellence Award. The conceptual foundation of these works is rooted in the aesthetic and cultural spirit of the Tang and Song dynasties, reinterpreted through a contemporary design lens.
The Tang dynasty is often regarded as one of the most prosperous periods in Chinese history—especially during the enlightened reign of Emperor Taizong and the flourishing Zhenguan era. Women in this period expressed vibrancy and confidence, and their clothing reflected a richly ornamented and full-bodied femininity. Inspired by this cultural context, the author created a piece titled Ode to Spring, incorporating high waistlines, softly flared sleeves, and lightweight draped fabrics to convey grace, fluidity, and a youthful silhouette. The garment’s motifs draw from mural paintings and floral imagery of the era, while three-dimensional blossoms and bead embroidery enhance its decorative and ceremonial presence—capturing the Tang dynasty’s spirit of opulence and spring-like vitality.
In contrast, the Song dynasty’s design centers on introspection and refined restraint. Following the cultural bloom of Tang, the Song era emphasized intellectual cultivation, Confucian values, and a quieter form of aesthetic order. The men's ensemble evokes this sensibility through understated colors, clear lines, and precise proportions. Made of jacquard silk and double-sided woven fabrics, each layer—from inner robe to outer garment and accessories—emphasizes structural clarity and minimalist elegance. This design reflects the Song philosophy of simplicity without austerity, aligning with ideals of self-discipline and moral refinement.
The decision to focus on these two dynasties was not based solely on aesthetic contrast, but on the personal resonance they hold for the designer. The exuberance of Tang and the contemplative clarity of Song mirror different phases of the author’s life—the creative bloom of youth and the distilled insight of maturity. This deep connection between personal experience and historical imagination becomes the spiritual root of the designs, transforming Hanfu from visual reference into a process of cultural and self-construction.
6.2 Materiality and Symbolism
This section examines the author’s material selection, structural layering, and decorative techniques used in two Hanfu designs, highlighting how these choices carry symbolic meaning and emotional resonance.
In traditional Chinese dress systems, ceremonial garments (lǐfú) and everyday wear (chángfú) differ in both material and craftsmanship. As both ensembles were created for a design competition with ceremonial and performative intent, the author chose historically evocative materials such as silk fabric, jacquard, brocade, and double-faced woven textiles.
The Tang-inspired women's outfit features a layered color scheme of pale pink, deep rose, and light green. The upper garment consists of two layers: a sheer inner layer in light green and an outer layer in pale pink silk. This transparent layering creates a subtle interplay of tones, as the pale pink fabric allows the green underneath to softly emerge, producing a luminous effect that changes with movement. The high-waisted skirt echoes this design language, with a light green base and an overlayer of pale pink jacquard silk fabric. This jacquard, selected from a range of existing materials, features floral patterns that resonate with the Tang dynasty’s decorative aesthetics and convey the energy of spring.
Deep rose silk is used on the cuffs, collar, and waistband to reinforce the silhouette and bridge the visual rhythm between the layered tones. Three-dimensional fabric flowers and delicate beadwork are applied to the neckline, cuffs, and hem, expressing feminine grace and ceremonial richness. These embellishments enhance the garment’s sculptural quality while reflecting a poetic sensibility rooted in Tang culture.
The Song-inspired men’s ensemble is structured in three layers. The innermost robe is made of dark green silk, symbolizing cultivation and the quiet renewal of spring. The middle layer is a pale gold robe featuring subtle jacquard patterns of longevity medallions (shòu characters), representing dignity, restraint, and philosophical order. The outermost elements—including the belt, collar, and headpiece—are made from red-and-green double-faced brocade featuring a repeating “huiwen” (回紋) or thunder pattern, composed of continuous squared spirals. These motifs are not merely decorative; they carry deep cultural and philosophical symbolism. The shòu medallions are traditionally associated with blessings and moral virtue, while the huiwen motif—present since the era of Chinese bronzeware—evokes cosmological order, the balance of yin and yang, and the cyclical rhythms of the Five Elements. In traditional contexts, such motifs were also believed to ward off evil and invite auspicious energy. The deliberate arrangement of these patterns and colors reflects the scholarly temperament of the Song dynasty, emphasizing balance, humility, and intellectual grace.
The author views fabric not merely as a visual medium, but as a vessel of perception and memory. Through texture, weight, color, and light, each material element contributes to the storytelling process. The garments become more than clothing—they act as spatial, tactile, and emotional dialogues between body and culture, past and present. Through layered construction and ornamental detail, the designer transforms material into meaning.
6.3 Silhouette, Construction, and Technical Logic
This section explores the structural principles, construction methods, and craftsmanship embedded in the two Hanfu ensembles. While the silhouettes may appear minimal at first glance, they reflect a highly sophisticated understanding of movement, ritual posture, and symbolic alignment between the body and cultural ideals.
The Tang-style womenswear adopts the qixiong ruqun system, characterized by a high-waisted skirt rising to the chest and a voluminous, sweeping silhouette. This system amplifies feminine fluidity and poetic grace. The wide sleeves and sheer pibo shawl complement the silhouette, allowing the garment to move organically with the wearer. Each gesture is mirrored by the sway of soft silk fabrics, which are further animated by hand-stitched floral embellishments and beadwork placed along the collar, cuffs, and hem. The hemline is adorned with seven shades of 2mm Japanese glass beads, delicately layered to evoke the vitality and abundance of spring.
The Song-style menswear follows a three-layer configuration rooted in the principle of nei wai you bie (distinction between inner cultivation and outer form). The innermost robe is in dark green, overlaid by a pale gold outer robe made of jacquard silk featuring circular longevity motifs (shòu wén), and finished with accessories crafted from red-green double-faced brocade. The layering produces a visual rhythm in trims and edges, symbolizing the dynamic balance of yin and yang, and visually expressing restraint and composure. The proportions and silhouettes of this ensemble are closely based on Song literati attire, with long sleeves and straight-cut robes designed to emphasize clarity of line and moral posture.
Technically, the production of Hanfu demands precision and patience. The wide panels must be cut from flat-laid fabric to prevent warping or distortion, and directional grainlines must be strictly observed. Trim sections, often cut on the bias, require the addition of interfacing to maintain shape and uniform seam allowances. Embellishments—such as sculpted fabric flowers and layered beadwork—require meticulous handwork, each element consuming hours of focused labor.
Unlike modern garments that rely on fasteners such as zippers or buttons, Hanfu relies on fabric ties and sashes. This design allows garments to wrap naturally around the body, forming an adaptive structure that responds to breath and movement. The collars provide upright support and modest framing of the face, while long hems and flowing sleeves create graceful motion and ceremonial rhythm. These features are not merely aesthetic—they embody a philosophy of embodiment: clothing not only adorns but also disciplines and guides the wearer’s state of being.
Through these technical choices, the garments serve as active participants in shaping both movement and mood. They do not merely represent tradition—they enact it, allowing the body to inhabit historical rhythms and cultural presence.
6.4 Media Reception and Cultural Legitimacy
When Hanfu steps onto the international stage, it carries not only the formal aesthetics of ethnic dress but also a process of cultural translation. As a form of cultural practice, design is not solely defined by the creator’s intentions—it is continuously reshaped through interaction with audiences, media, and the cultural industry. In a global fashion context, responses from leading figures in the design world reflect more than individual taste; they contribute to the formation of cultural legitimacy.
In 2013, the Global Han Couture Design Competition, held during New York Fashion Week, brought traditional Chinese dress into a contemporary and international venue.³ The author’s designs garnered the attention of Oscar-winning costume designer Ann Roth.⁴ Roth, who had previously developed an interest in Hanfu through online imagery, attended the event as an honorary guest and remarked: “A balance of opulence and serenity—something I have never seen before. The models were exceptional, the fabrics used were ethereal. I would love to see the garments taken apart piece by piece—each ensemble was richly layered, noble, and magical.”
Roth further expressed that these garments should be published in a book or displayed in a museum, allowing more people to understand their craftsmanship and cultural value. Her desire to “understand more” and “see a book on Hanfu” reflects not only curiosity, but a recognition of Hanfu’s aesthetic sophistication and cultural depth. Such validation from a respected design authority affirms Hanfu not as folkloric nostalgia but as a meaningful and innovative cultural narrative.
Other attendees echoed similar sentiments. Project Runway model Millana Snow described the showcase as more than a visual performance—it was an educational experience.⁵ “I learned things I never knew before,” she said, expressing a wish to wear Hanfu herself and experience its elegance. She emphasized that, although rooted in antiquity, the garments moved fluidly with the modern body, creating a dynamic interplay between form and gesture.
Artist and PopImpressKA magazine founder Olga Papkovitch observed that the show brought a gentle, organic presence to New York’s fast-paced visual culture.⁶ She praised the harmonious color palette and layered styling, calling the entire showcase “a visual and spiritual cleansing.” For her, Hanfu transcended static historical reference and became a new mode of cultural experience—entering the realm of contemporary expressive design.
These cross-cultural responses—from designers, artists, and media professionals—demonstrate Hanfu’s potential to resonate across aesthetic boundaries. Their reactions go beyond admiring beauty; they affirm Hanfu’s relevance as a living design language capable of bridging past and present. When craft, body, and visual storytelling intersect, tradition becomes more than memory—it becomes momentum. This is the true power of cultural design.
7. Discussion
7.1 Cultural Resonance and Viewer Response
The Hanfu designs presented in the 2013 Global Hanfu Revival Design Competition evoked strong emotional responses from audiences across diverse cultural backgrounds. Many viewers, even those unfamiliar with traditional Chinese clothing, described a sense of tranquility, dignity, and beauty as the models walked gracefully across the stage. These reactions suggest that the garments conveyed more than aesthetic appeal—they embodied rhythm, restraint, and historical gravitas.
International viewers shared that even without fully understanding the symbolic or historical references, they could still perceive moral values and spiritual qualities embedded in the structure, materials, and movement of the clothing. Some remarked that the garments offered “a serenity rarely found in contemporary fashion,” while others described the layered ensembles as “poetry breathing through time.” Academy Award-winning costume designer Ann Roth, who presented the Gold Award, praised the collection for its “perfect balance of opulence and serenity.”⁷
Notably, media coverage emphasized the cross-cultural accessibility of the designs. Camille, a model of French and Irish heritage, shared in an interview that she had read extensively about Hanfu and Chinese culture to better understand the values expressed through embroidery and garment structure. She noted, “That’s the most beautiful thing about Hanfu.”⁸ Chinese model Li Feifei reflected that simply touching the garments—even before changing into them—caused her movements to slow down and become more composed, revealing how clothing could shape one's bodily rhythm and emotional state.⁹
In addition, Professor Dario A. Cortes of the University of California, Berkeley, stated that the competition showcased not just garments, but the revitalization of cultural spirit. He described the works as “carrying both educational value and historical cultural echoes,” offering modern audiences a renewed way to perceive beauty and virtue.¹⁰
These viewer and participant responses illustrate the power of design as a medium for cultural transmission and emotional connection. The Hanfu designs not only revive historical aesthetics but also reanimate postures, attitudes, and values that resonate across time and culture. They stand not as static cultural artifacts, but as living expressions of ethical beauty.
7.2 Embodied Knowledge and the Logic of Making
A defining feature of the design process in this study is the role of embodied knowledge—learning and insight derived not from theoretical planning, but from tactile engagement and bodily memory. The designer’s decisions emerged through continuous material interaction, where the hand’s response to fabric tension, stitch direction, or layering became a form of non-verbal thinking.
For example, during the making of Ode to Spring, a shortage of fabric necessitated a spontaneous solution: using material from the outer garment to splice the hem of the inner robe. This adjustment, far from being a compromise, created a layered rhythm that enriched the visual dialogue between the garments’ inner and outer dimensions. Such improvisations reflect a deeper mode of design intelligence—what might be called “making as thinking.”
In this light, Hanfu design becomes a convergence of muscle memory, cultural literacy, and sensorial intuition. The resulting garments are not only aesthetic objects, but repositories of lived experience, craft knowledge, and reflexive awareness—each decision carrying traces of hand, body, and cultural perception.
7.3 Cross-Cultural Resonance and the Power of Presence
The cultural legitimacy of Hanfu in a contemporary context is not determined solely by its fidelity to tradition, but by its ability to evoke emotional and ethical responses across cultures. Audience reactions to the author’s Hanfu designs during the 2013 Global Hanfu Revival Design Competition affirm the garments’ power to transcend aesthetic boundaries. International viewers described the pieces as serene, noble, and “poetic in motion,” even without full knowledge of their cultural origins.
Prominent voices echoed this sentiment. Ann Roth, an Academy Award-winning costume designer, praised the collection’s “perfect balance of opulence and serenity,” noting its museum-worthy significance.⁷ French-Irish model Camille emphasized the moral clarity embedded in the garments’ structure and embroidery, calling it “the most beautiful thing about Hanfu.”⁸ A Chinese model reported that simply touching the garments induced slower, more composed gestures—suggesting that the clothing itself could shape bodily rhythm and emotional tone.⁹
In addition, UC Berkeley professor Dario A. Cortes noted that the garments “carried both educational value and historical cultural echoes,” highlighting their potential as tools for cultural revitalization and ethical reflection.¹⁰
These responses underscore the potency of design not merely as artifact, but as affective and ethical medium. The garments revive not only forms, but also postures, values, and gestures—making history physically present through the contemporary body. In this sense, Hanfu design becomes a platform of cultural transmission, inviting new audiences to participate in a living heritage through touch, movement, and gaze.
8. Conclusion
This study set out to investigate how traditional Hanfu could be reinterpreted through contemporary design practice. By using a practice-led methodology rooted in material engagement, embodied experience, and historical reflection, the research revealed how heritage-based clothing can serve not only as aesthetic revival but as a living, transformative language of identity and meaning.
Through the process of making—cutting, sewing, layering—and through lived experience of wearing Hanfu, the research illuminated how cultural values are encoded in silhouette, proportion, and structure. These design decisions, rather than being arbitrary, reflect deep-rooted philosophical systems such as balance, restraint, and moral cultivation. Moreover, the work demonstrated how a designer’s intuition, bodily memory, and personal emotional resonance can infuse material artifacts with a sense of authenticity that transcends time.
By reimagining Hanfu through contemporary craftsmanship, this study does not seek to replicate the past, but rather to enter into an ongoing dialogue with it. The garments produced become more than historical references—they become tactile expressions of cultural continuity, creative autonomy, and aesthetic reinterpretation.
In the end, every piece I create is not just a design—it is a conversation, a reflection, a presence of myself made tangible.
Appendix A. Project Links and Media Sources
This appendix includes official sources, competition reports, and media coverage related to the author's award-winning Hanfu designs at the 2013 Global Han Couture Design Competition, as well as a dedicated Behance project page.
1. Gold Award Feature
“金獎男裝報導” — Feature article on the Gold Award-winning menswear design
https://www.epochtimes.com/b5/13/9/9/n3959774.htm
2. Excellence Award Feature
“優秀獎女裝報導” — Feature article on the Excellence Award-winning womenswear design
https://www.epochtimes.com/b5/13/9/9/n3960308.htm
3. Couture Fashion Week Blog
“第四屆全球漢服回歸設計大賽｜官方公告與活動報導” — Official announcement and coverage of the 4th Global Han Couture Design Competition
https://couturefashionweek.wordpress.com/2013/05/28/cfw-to-host-ntd-tvs-4th-global-han-couture-design-competition-and-awards/
4. NTDTV Media Reports
新唐人電視台媒體報導：影片與文章記錄得獎作品與觀眾反饋
4.1 “恬靜柔美 奧斯卡服裝設計師讚漢服” — Grace and Poise: Oscar-Winning Costume Designer Praises Hanfu
https://www.ntdtv.com/b5/2013/09/09/a963782.html
4.2 “羨慕漢服優雅 紐約名模躍躍欲試” — Models Admire the Elegance of Hanfu and Express Desire to Wear It
https://www.ntdtv.com/b5/2013/09/10/a964383.html
4.3 “漢服再現 久遠文化傾倒觀眾” — Hanfu Revival Moves Audiences with Ancient Cultural Beauty
https://www.ntdtv.com/b5/2013/09/11/a964963.html
5. Behance Project Pages
“Hanfu Revival Design｜媒體紀錄與得獎時刻” — Hanfu Revival Design: Media Recognition & Award Moments
This project page archives award-winning Hanfu designs from the 2013 Global Han Couture Competition, with comprehensive documentation of media coverage, event photos, and public recognition.
https://www.behance.net/gallery/223347781/hanfu-revival-design-media-recognition
“Reframing Hanfu：春與傳統” — Reframing Hanfu: Spring & Tradition
This page presents the complete conceptual and visual development of a contemporary Hanfu project, including symbolic layering, material techniques, runway photographs, and philosophical reflections.
https://www.behance.net/gallery/229146293/Reframing-Hanfu-Spring-Tradition
Appendix B. Award Ceremony & Runway Video Highlights
This appendix provides time-stamped documentation of video footage from the 2013 Global Han Couture Design Competition, highlighting award recognition and runway presentations of the author’s Hanfu designs.
1. Gold Award Ceremony
“金獎頒獎影片” — Award presentation for the Song Dynasty menswear design
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 50:00 – 52:20
2. Excellence Award Ceremony
“優秀獎頒獎影片” — Recognition of the Tang Dynasty womenswear design
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 43:17 – 44:43
3. Song Dynasty Runway Presentation
“金獎宋朝男裝走秀” — Runway presentation of the Gold Award-winning menswear
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 20:37 – 21:35
4. Tang Dynasty Runway Presentation
“優秀獎唐朝女裝走秀” — Runway presentation of the Excellence Award-winning womenswear
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 16:14 – 17:00
Footnotes
¹ “漢服大賽頒獎 世界名模走秀掀高潮” [Hanfu Competition Award Ceremony: Global Models Shine]. The Epoch Times, September 9, 2013.
https://www.epochtimes.com/b5/13/9/9/n3959774.htm
² “漢服設計再現盛唐美學 女裝獲優秀獎” [Hanfu Design Revives Tang Aesthetics: Women's Design Wins Excellence Award]. The Epoch Times, September 9, 2013.
https://www.epochtimes.com/b5/13/9/9/n3960308.htm
³ “CFW to Host NTDTV’s 4th Global Han Couture Design Competition and Awards.” Couture Fashion Week Blog, May 28, 2013.
https://couturefashionweek.wordpress.com/2013/05/28/cfw-to-host-ntd-tvs-4th-global-han-couture-design-competition-and-awards/
⁴ “漢服大賽頒獎 世界名模走秀掀高潮” [Hanfu Competition Award Ceremony: Global Models Shine]. NTD Television, September 9, 2013.
https://www.ntdtv.com/b5/2013/09/09/a963782.html
⁵ “羨慕漢服優雅 紐約名模躍躍欲試” [Admiring the Elegance of Hanfu: New York Models Eager to Try]. NTD Television, September 10, 2013.
https://www.ntdtv.com/b5/2013/09/10/a964383.html
⁶ “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html
⁷ Ann Roth, Oscar-winning costume designer, quoted in “漢服大賽頒獎 世界名模走秀掀高潮” [Hanfu Competition Award Ceremony: Global Models Shine]. NTD Television, September 9, 2013.
https://www.ntdtv.com/b5/2013/09/09/a963782.html
⁸ Camille, French-Irish model, quoted in “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html
⁹ Li Feifei, Chinese model, quoted in “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html
¹⁰ Dario A. Cortes, Professor at University of California, Berkeley, quoted in “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html
Abstract
This paper explores how traditional Hanfu can be reinterpreted as a design language for cultural identity in a contemporary context. It focuses on two award-winning works from the 2013 Global Hanfu Revival Design Competition—one inspired by Song Dynasty menswear and the other by Tang Dynasty womenswear. These designs embody the contrasting aesthetics of Neo-Confucian restraint and Tang-era opulence, using clothing as a medium to negotiate history, gender, and cultural symbolism.
The Song-style menswear emphasizes composure and symmetry, reflecting intellectual order through straight lines and balanced proportions. Its restrained color palette and subtle woven patterns convey refinement, while updated materials and craftsmanship enhance modern wearability and cultural continuity.
The Tang-style womenswear centers on curvilinear grace and ornamental richness. A high-waisted skirt, wide sleeves, and translucent shawls create a dynamic, layered silhouette. The use of jacquard silk and lightweight yangliu silk, with colors and patterns referencing historical imagery, evokes a sense of seasonal vitality and visual depth. Handcrafted fabric flowers and intricate beadwork add poetic and ceremonial detail, articulating a Tang-inspired aesthetic language.
Developed through a practice-led methodology, both designs integrate historical inquiry with contemporary aesthetics and embodied making. Hanfu is proposed not as a static relic, but as a living language—capable of preserving heritage while generating new expressions of identity and cultural presence.
1. Introduction
In recent years, the resurgence of Hanfu—the traditional attire of the Han ethnic majority—has sparked growing interest across fashion, cultural studies, and identity politics. More than a nostalgic return to historical aesthetics, this revival reflects a broader search for cultural continuity and self-definition in a rapidly modernizing world. For many practitioners and designers, Hanfu is not merely a costume, but a medium for reclaiming intangible heritage through material form.
This paper investigates how Hanfu can be reimagined through contemporary design practice, using a practice-led methodology to explore the dialogue between tradition and innovation. The research centers on two award-winning Hanfu designs—one inspired by the Tang dynasty, the other by the Song—created by the author for the 2013 Global Hanfu Revival Design Competition in New York. These works engage with historical silhouette, craftsmanship, and symbolism, while reinterpreting them through the lens of modern aesthetics and personal resonance.
Rather than aiming for exact historical reproduction, the creative process seeks to embody cultural values embedded in traditional dress—such as modesty, harmony, and refinement—while addressing the challenges of construction, presentation, and audience perception in a contemporary context. This design-led inquiry draws from historical sources, embodied knowledge, and iterative making to demonstrate how Hanfu can act as a living language of cultural expression, bridging past and present.
2. Background and Problem
In recent years, Hanfu has experienced a notable revival, evolving from niche subculture to a broader cultural movement. While this resurgence highlights a growing public interest in reconnecting with Chinese heritage, it also raises complex questions about authenticity, interpretation, and relevance in modern life. Designers are often caught between the desire to preserve historical accuracy and the need to adapt traditional forms to contemporary aesthetics, materials, and social functions.
This research arises from the tension between historical fidelity and creative reinvention. Rather than viewing the Tang and Song dynasties as distinct stylistic categories, the designer approaches them as complementary forces inspired by the cosmology of yin and yang. In this reading, the Tang-inspired women’s ensemble channels yin—grace, receptivity, and inner richness—while the Song-inspired men’s ensemble embodies yang—structure, clarity, and restraint. Both garments are situated within the seasonal metaphor of spring, a time of renewal that reflects the convergence of opposites into dynamic harmony.
The problem lies not in reviving Hanfu as a nostalgic costume, but in reimagining it as a living vessel of cultural values and embodied aesthetics. For contemporary designers, the challenge is how to maintain symbolic depth and historical resonance without reducing the garment to a static replica. This study proposes that by reinterpreting Hanfu through practice-led inquiry, it is possible to bridge tradition and modernity in a way that remains faithful to both cultural meaning and personal expression.
3. Aim and Objectives
This research aims to explore how traditional Hanfu can be reimagined through contemporary design practice as a living expression of cultural identity, rather than as a static historical costume. By engaging directly with materials, forms, and embodied methods of making, the study seeks to uncover how heritage-based clothing can carry forward philosophical values and aesthetic principles into present-day contexts.
The specific objectives of this study are:
1. To reinterpret traditional Hanfu design elements—including silhouette, layering, proportion, and ornamentation—within a contemporary aesthetic framework.
2. To investigate the symbolic and emotional meanings embedded in historical Hanfu materials, colors, and construction techniques.
3. To examine the embodied experience of wearing Hanfu, and how bodily interaction contributes to cultural awareness and behavioral transformation.
4. To evaluate audience reception and cross-cultural resonance of Hanfu designs presented in international contexts, particularly through media responses and personal testimonies.
5. To demonstrate the role of practice-led design research in bridging intangible heritage and modern identity through material experimentation and personal reflection.
By addressing these objectives, the study offers a model of how traditional garments can be revitalized not only through visual reinterpretation but also through experiential, performative, and emotional engagement.
4. Research Questions and Hypothesis
Research Questions
1. How can Hanfu be reimagined as a contemporary medium for cultural expression rather than a static historical replica?
2. In what ways can practice-led design processes reinterpret historical aesthetics and symbolic values embedded in traditional garments?
3. How does the embodied experience of wearing Hanfu influence the perception of its cultural value and relevance?
4. What tensions or expectations arise in contemporary audiences when encountering Hanfu in modern design contexts?
5. Can design practice serve as an effective means to revitalize and transmit traditional craftsmanship in the absence of complete historical documentation?
Hypothesis
This study assumes that traditional Hanfu, when reinterpreted through a practice-led design methodology, can act as a living medium that bridges past and present—preserving cultural meaning while responding to contemporary aesthetics, identity concerns, and performative needs. The hypothesis also proposes that the bodily engagement with such garments enhances cultural awareness, fosters emotional resonance, and facilitates the ongoing relevance of traditional craftsmanship in modern contexts.
5. Methodology
This research adopts a practice-led methodology, where design is not only the object of study but also the primary mode of inquiry. Rather than relying on external historical reconstructions, the study engages directly with material, form, and embodied making to generate insights from within the creative process.
Historical paintings, mural references, and extant artifacts from the Tang and Song dynasties served as visual anchors. These sources were not copied literally but analyzed for their underlying principles of silhouette, proportion, symbolism, and philosophical intent. These findings were then abstracted and translated into contemporary design language.
The act of making—cutting, layering, sewing, and assembling—was central to the research. By engaging with traditional methods and modern adaptations simultaneously, the process revealed challenges in structure, scale, and movement, particularly in achieving both historical resonance and contemporary wearability.
A key dimension of the methodology lies in embodied knowledge. The designer relied not only on visual analysis but on the intelligence of the hand and body. Through repeated iterations and physical interaction with the garments, decisions were guided by intuition, muscle memory, and tactile feedback, enabling the designer to internalize craft knowledge beyond theoretical comprehension.
Beyond the studio and the moment of creation, the designer engaged in a prolonged period of wearing Hanfu daily—approximately six months—as an extended form of experiential research. Through this immersive process, theoretical knowledge drawn from historical texts began to manifest as lived understanding. The designer came to viscerally grasp how certain structural elements, proportions, and layering systems in traditional Hanfu were not only aesthetically intentional but also emotionally and behaviorally transformative.
Clothing, in this view, is not a passive container of the body but an active influence on mood and demeanor. Just as playful garments can invite a lighthearted state of mind, Hanfu—through its dignified form and flowing silhouette—encourages composure, calmness, and attentiveness. Over time, the designer found that posture, movement, and even internal emotional states were subtly shaped by the garments themselves, reinforcing the hypothesis that traditional clothing embodies and transmits cultural values not only symbolically, but somatically.
Through this multi-layered approach—visual research, hands-on experimentation, bodily intuition, and performative testing—the study frames design as an active site of cultural exploration. It does not aim to recreate the past but to enter into dialogue with it, generating meaning through material and movement.
6. Case Study: Hanfu Design as Cultural Reinscription
6.1 Design Concept and Cultural Root
This section examines two Hanfu designs created by the author for the 2013 Global Hanfu Revival Design Competition, which received both the Gold Award and the Excellence Award. The conceptual foundation of these works is rooted in the aesthetic and cultural spirit of the Tang and Song dynasties, reinterpreted through a contemporary design lens.
The Tang dynasty is often regarded as one of the most prosperous periods in Chinese history—especially during the enlightened reign of Emperor Taizong and the flourishing Zhenguan era. Women in this period expressed vibrancy and confidence, and their clothing reflected a richly ornamented and full-bodied femininity. Inspired by this cultural context, the author created a piece titled Ode to Spring, incorporating high waistlines, softly flared sleeves, and lightweight draped fabrics to convey grace, fluidity, and a youthful silhouette. The garment’s motifs draw from mural paintings and floral imagery of the era, while three-dimensional blossoms and bead embroidery enhance its decorative and ceremonial presence—capturing the Tang dynasty’s spirit of opulence and spring-like vitality.
In contrast, the Song dynasty’s design centers on introspection and refined restraint. Following the cultural bloom of Tang, the Song era emphasized intellectual cultivation, Confucian values, and a quieter form of aesthetic order. The men's ensemble evokes this sensibility through understated colors, clear lines, and precise proportions. Made of jacquard silk and double-sided woven fabrics, each layer—from inner robe to outer garment and accessories—emphasizes structural clarity and minimalist elegance. This design reflects the Song philosophy of simplicity without austerity, aligning with ideals of self-discipline and moral refinement.
The decision to focus on these two dynasties was not based solely on aesthetic contrast, but on the personal resonance they hold for the designer. The exuberance of Tang and the contemplative clarity of Song mirror different phases of the author’s life—the creative bloom of youth and the distilled insight of maturity. This deep connection between personal experience and historical imagination becomes the spiritual root of the designs, transforming Hanfu from visual reference into a process of cultural and self-construction.
6.2 Materiality and Symbolism
This section examines the author’s material selection, structural layering, and decorative techniques used in two Hanfu designs, highlighting how these choices carry symbolic meaning and emotional resonance.
In traditional Chinese dress systems, ceremonial garments (lǐfú) and everyday wear (chángfú) differ in both material and craftsmanship. As both ensembles were created for a design competition with ceremonial and performative intent, the author chose historically evocative materials such as silk fabric, jacquard, brocade, and double-faced woven textiles.
The Tang-inspired women's outfit features a layered color scheme of pale pink, deep rose, and light green. The upper garment consists of two layers: a sheer inner layer in light green and an outer layer in pale pink silk. This transparent layering creates a subtle interplay of tones, as the pale pink fabric allows the green underneath to softly emerge, producing a luminous effect that changes with movement. The high-waisted skirt echoes this design language, with a light green base and an overlayer of pale pink jacquard silk fabric. This jacquard, selected from a range of existing materials, features floral patterns that resonate with the Tang dynasty’s decorative aesthetics and convey the energy of spring.
Deep rose silk is used on the cuffs, collar, and waistband to reinforce the silhouette and bridge the visual rhythm between the layered tones. Three-dimensional fabric flowers and delicate beadwork are applied to the neckline, cuffs, and hem, expressing feminine grace and ceremonial richness. These embellishments enhance the garment’s sculptural quality while reflecting a poetic sensibility rooted in Tang culture.
The Song-inspired men’s ensemble is structured in three layers. The innermost robe is made of dark green silk, symbolizing cultivation and the quiet renewal of spring. The middle layer is a pale gold robe featuring subtle jacquard patterns of longevity medallions (shòu characters), representing dignity, restraint, and philosophical order. The outermost elements—including the belt, collar, and headpiece—are made from red-and-green double-faced brocade featuring a repeating “huiwen” (回紋) or thunder pattern, composed of continuous squared spirals. These motifs are not merely decorative; they carry deep cultural and philosophical symbolism. The shòu medallions are traditionally associated with blessings and moral virtue, while the huiwen motif—present since the era of Chinese bronzeware—evokes cosmological order, the balance of yin and yang, and the cyclical rhythms of the Five Elements. In traditional contexts, such motifs were also believed to ward off evil and invite auspicious energy. The deliberate arrangement of these patterns and colors reflects the scholarly temperament of the Song dynasty, emphasizing balance, humility, and intellectual grace.
The author views fabric not merely as a visual medium, but as a vessel of perception and memory. Through texture, weight, color, and light, each material element contributes to the storytelling process. The garments become more than clothing—they act as spatial, tactile, and emotional dialogues between body and culture, past and present. Through layered construction and ornamental detail, the designer transforms material into meaning.
6.3 Silhouette, Construction, and Technical Logic
This section explores the structural principles, construction methods, and craftsmanship embedded in the two Hanfu ensembles. While the silhouettes may appear minimal at first glance, they reflect a highly sophisticated understanding of movement, ritual posture, and symbolic alignment between the body and cultural ideals.
The Tang-style womenswear adopts the qixiong ruqun system, characterized by a high-waisted skirt rising to the chest and a voluminous, sweeping silhouette. This system amplifies feminine fluidity and poetic grace. The wide sleeves and sheer pibo shawl complement the silhouette, allowing the garment to move organically with the wearer. Each gesture is mirrored by the sway of soft silk fabrics, which are further animated by hand-stitched floral embellishments and beadwork placed along the collar, cuffs, and hem. The hemline is adorned with seven shades of 2mm Japanese glass beads, delicately layered to evoke the vitality and abundance of spring.
The Song-style menswear follows a three-layer configuration rooted in the principle of nei wai you bie (distinction between inner cultivation and outer form). The innermost robe is in dark green, overlaid by a pale gold outer robe made of jacquard silk featuring circular longevity motifs (shòu wén), and finished with accessories crafted from red-green double-faced brocade. The layering produces a visual rhythm in trims and edges, symbolizing the dynamic balance of yin and yang, and visually expressing restraint and composure. The proportions and silhouettes of this ensemble are closely based on Song literati attire, with long sleeves and straight-cut robes designed to emphasize clarity of line and moral posture.
Technically, the production of Hanfu demands precision and patience. The wide panels must be cut from flat-laid fabric to prevent warping or distortion, and directional grainlines must be strictly observed. Trim sections, often cut on the bias, require the addition of interfacing to maintain shape and uniform seam allowances. Embellishments—such as sculpted fabric flowers and layered beadwork—require meticulous handwork, each element consuming hours of focused labor.
Unlike modern garments that rely on fasteners such as zippers or buttons, Hanfu relies on fabric ties and sashes. This design allows garments to wrap naturally around the body, forming an adaptive structure that responds to breath and movement. The collars provide upright support and modest framing of the face, while long hems and flowing sleeves create graceful motion and ceremonial rhythm. These features are not merely aesthetic—they embody a philosophy of embodiment: clothing not only adorns but also disciplines and guides the wearer’s state of being.
Through these technical choices, the garments serve as active participants in shaping both movement and mood. They do not merely represent tradition—they enact it, allowing the body to inhabit historical rhythms and cultural presence.
6.4 Media Reception and Cultural Legitimacy
When Hanfu steps onto the international stage, it carries not only the formal aesthetics of ethnic dress but also a process of cultural translation. As a form of cultural practice, design is not solely defined by the creator’s intentions—it is continuously reshaped through interaction with audiences, media, and the cultural industry. In a global fashion context, responses from leading figures in the design world reflect more than individual taste; they contribute to the formation of cultural legitimacy.
In 2013, the Global Han Couture Design Competition, held during New York Fashion Week, brought traditional Chinese dress into a contemporary and international venue.³ The author’s designs garnered the attention of Oscar-winning costume designer Ann Roth.⁴ Roth, who had previously developed an interest in Hanfu through online imagery, attended the event as an honorary guest and remarked: “A balance of opulence and serenity—something I have never seen before. The models were exceptional, the fabrics used were ethereal. I would love to see the garments taken apart piece by piece—each ensemble was richly layered, noble, and magical.”
Roth further expressed that these garments should be published in a book or displayed in a museum, allowing more people to understand their craftsmanship and cultural value. Her desire to “understand more” and “see a book on Hanfu” reflects not only curiosity, but a recognition of Hanfu’s aesthetic sophistication and cultural depth. Such validation from a respected design authority affirms Hanfu not as folkloric nostalgia but as a meaningful and innovative cultural narrative.
Other attendees echoed similar sentiments. Project Runway model Millana Snow described the showcase as more than a visual performance—it was an educational experience.⁵ “I learned things I never knew before,” she said, expressing a wish to wear Hanfu herself and experience its elegance. She emphasized that, although rooted in antiquity, the garments moved fluidly with the modern body, creating a dynamic interplay between form and gesture.
Artist and PopImpressKA magazine founder Olga Papkovitch observed that the show brought a gentle, organic presence to New York’s fast-paced visual culture.⁶ She praised the harmonious color palette and layered styling, calling the entire showcase “a visual and spiritual cleansing.” For her, Hanfu transcended static historical reference and became a new mode of cultural experience—entering the realm of contemporary expressive design.
These cross-cultural responses—from designers, artists, and media professionals—demonstrate Hanfu’s potential to resonate across aesthetic boundaries. Their reactions go beyond admiring beauty; they affirm Hanfu’s relevance as a living design language capable of bridging past and present. When craft, body, and visual storytelling intersect, tradition becomes more than memory—it becomes momentum. This is the true power of cultural design.
7. Discussion
7.1 Cultural Resonance and Viewer Response
The Hanfu designs presented in the 2013 Global Hanfu Revival Design Competition evoked strong emotional responses from audiences across diverse cultural backgrounds. Many viewers, even those unfamiliar with traditional Chinese clothing, described a sense of tranquility, dignity, and beauty as the models walked gracefully across the stage. These reactions suggest that the garments conveyed more than aesthetic appeal—they embodied rhythm, restraint, and historical gravitas.
International viewers shared that even without fully understanding the symbolic or historical references, they could still perceive moral values and spiritual qualities embedded in the structure, materials, and movement of the clothing. Some remarked that the garments offered “a serenity rarely found in contemporary fashion,” while others described the layered ensembles as “poetry breathing through time.” Academy Award-winning costume designer Ann Roth, who presented the Gold Award, praised the collection for its “perfect balance of opulence and serenity.”⁷
Notably, media coverage emphasized the cross-cultural accessibility of the designs. Camille, a model of French and Irish heritage, shared in an interview that she had read extensively about Hanfu and Chinese culture to better understand the values expressed through embroidery and garment structure. She noted, “That’s the most beautiful thing about Hanfu.”⁸ Chinese model Li Feifei reflected that simply touching the garments—even before changing into them—caused her movements to slow down and become more composed, revealing how clothing could shape one's bodily rhythm and emotional state.⁹
In addition, Professor Dario A. Cortes of the University of California, Berkeley, stated that the competition showcased not just garments, but the revitalization of cultural spirit. He described the works as “carrying both educational value and historical cultural echoes,” offering modern audiences a renewed way to perceive beauty and virtue.¹⁰
These viewer and participant responses illustrate the power of design as a medium for cultural transmission and emotional connection. The Hanfu designs not only revive historical aesthetics but also reanimate postures, attitudes, and values that resonate across time and culture. They stand not as static cultural artifacts, but as living expressions of ethical beauty.
7.2 Embodied Knowledge and the Logic of Making
A defining feature of the design process in this study is the role of embodied knowledge—learning and insight derived not from theoretical planning, but from tactile engagement and bodily memory. The designer’s decisions emerged through continuous material interaction, where the hand’s response to fabric tension, stitch direction, or layering became a form of non-verbal thinking.
For example, during the making of Ode to Spring, a shortage of fabric necessitated a spontaneous solution: using material from the outer garment to splice the hem of the inner robe. This adjustment, far from being a compromise, created a layered rhythm that enriched the visual dialogue between the garments’ inner and outer dimensions. Such improvisations reflect a deeper mode of design intelligence—what might be called “making as thinking.”
In this light, Hanfu design becomes a convergence of muscle memory, cultural literacy, and sensorial intuition. The resulting garments are not only aesthetic objects, but repositories of lived experience, craft knowledge, and reflexive awareness—each decision carrying traces of hand, body, and cultural perception.
7.3 Cross-Cultural Resonance and the Power of Presence
The cultural legitimacy of Hanfu in a contemporary context is not determined solely by its fidelity to tradition, but by its ability to evoke emotional and ethical responses across cultures. Audience reactions to the author’s Hanfu designs during the 2013 Global Hanfu Revival Design Competition affirm the garments’ power to transcend aesthetic boundaries. International viewers described the pieces as serene, noble, and “poetic in motion,” even without full knowledge of their cultural origins.
Prominent voices echoed this sentiment. Ann Roth, an Academy Award-winning costume designer, praised the collection’s “perfect balance of opulence and serenity,” noting its museum-worthy significance.⁷ French-Irish model Camille emphasized the moral clarity embedded in the garments’ structure and embroidery, calling it “the most beautiful thing about Hanfu.”⁸ A Chinese model reported that simply touching the garments induced slower, more composed gestures—suggesting that the clothing itself could shape bodily rhythm and emotional tone.⁹
In addition, UC Berkeley professor Dario A. Cortes noted that the garments “carried both educational value and historical cultural echoes,” highlighting their potential as tools for cultural revitalization and ethical reflection.¹⁰
These responses underscore the potency of design not merely as artifact, but as affective and ethical medium. The garments revive not only forms, but also postures, values, and gestures—making history physically present through the contemporary body. In this sense, Hanfu design becomes a platform of cultural transmission, inviting new audiences to participate in a living heritage through touch, movement, and gaze.
8. Conclusion
This study set out to investigate how traditional Hanfu could be reinterpreted through contemporary design practice. By using a practice-led methodology rooted in material engagement, embodied experience, and historical reflection, the research revealed how heritage-based clothing can serve not only as aesthetic revival but as a living, transformative language of identity and meaning.
Through the process of making—cutting, sewing, layering—and through lived experience of wearing Hanfu, the research illuminated how cultural values are encoded in silhouette, proportion, and structure. These design decisions, rather than being arbitrary, reflect deep-rooted philosophical systems such as balance, restraint, and moral cultivation. Moreover, the work demonstrated how a designer’s intuition, bodily memory, and personal emotional resonance can infuse material artifacts with a sense of authenticity that transcends time.
By reimagining Hanfu through contemporary craftsmanship, this study does not seek to replicate the past, but rather to enter into an ongoing dialogue with it. The garments produced become more than historical references—they become tactile expressions of cultural continuity, creative autonomy, and aesthetic reinterpretation.
In the end, every piece I create is not just a design—it is a conversation, a reflection, a presence of myself made tangible.
Appendix A. Project Links and Media Sources
This appendix includes official sources, competition reports, and media coverage related to the author's award-winning Hanfu designs at the 2013 Global Han Couture Design Competition, as well as a dedicated Behance project page.
1. Gold Award Feature
“金獎男裝報導” — Feature article on the Gold Award-winning menswear design
https://www.epochtimes.com/b5/13/9/9/n3959774.htm
2. Excellence Award Feature
“優秀獎女裝報導” — Feature article on the Excellence Award-winning womenswear design
https://www.epochtimes.com/b5/13/9/9/n3960308.htm
3. Couture Fashion Week Blog
“第四屆全球漢服回歸設計大賽｜官方公告與活動報導” — Official announcement and coverage of the 4th Global Han Couture Design Competition
https://couturefashionweek.wordpress.com/2013/05/28/cfw-to-host-ntd-tvs-4th-global-han-couture-design-competition-and-awards/
4. NTDTV Media Reports
新唐人電視台媒體報導：影片與文章記錄得獎作品與觀眾反饋
4.1 “恬靜柔美 奧斯卡服裝設計師讚漢服” — Grace and Poise: Oscar-Winning Costume Designer Praises Hanfu
https://www.ntdtv.com/b5/2013/09/09/a963782.html
4.2 “羨慕漢服優雅 紐約名模躍躍欲試” — Models Admire the Elegance of Hanfu and Express Desire to Wear It
https://www.ntdtv.com/b5/2013/09/10/a964383.html
4.3 “漢服再現 久遠文化傾倒觀眾” — Hanfu Revival Moves Audiences with Ancient Cultural Beauty
https://www.ntdtv.com/b5/2013/09/11/a964963.html
5. Behance Project Pages
“Hanfu Revival Design｜媒體紀錄與得獎時刻” — Hanfu Revival Design: Media Recognition & Award Moments
This project page archives award-winning Hanfu designs from the 2013 Global Han Couture Competition, with comprehensive documentation of media coverage, event photos, and public recognition.
https://www.behance.net/gallery/223347781/hanfu-revival-design-media-recognition
“Reframing Hanfu：春與傳統” — Reframing Hanfu: Spring & Tradition
This page presents the complete conceptual and visual development of a contemporary Hanfu project, including symbolic layering, material techniques, runway photographs, and philosophical reflections.
https://www.behance.net/gallery/229146293/Reframing-Hanfu-Spring-Tradition
Appendix B. Award Ceremony & Runway Video Highlights
This appendix provides time-stamped documentation of video footage from the 2013 Global Han Couture Design Competition, highlighting award recognition and runway presentations of the author’s Hanfu designs.
1. Gold Award Ceremony
“金獎頒獎影片” — Award presentation for the Song Dynasty menswear design
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 50:00 – 52:20
2. Excellence Award Ceremony
“優秀獎頒獎影片” — Recognition of the Tang Dynasty womenswear design
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 43:17 – 44:43
3. Song Dynasty Runway Presentation
“金獎宋朝男裝走秀” — Runway presentation of the Gold Award-winning menswear
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 20:37 – 21:35
4. Tang Dynasty Runway Presentation
“優秀獎唐朝女裝走秀” — Runway presentation of the Excellence Award-winning womenswear
https://www.ntdtv.com/b5/2013/09/21/a970743.html
Timestamp: 16:14 – 17:00
Footnotes
¹ “漢服大賽頒獎 世界名模走秀掀高潮” [Hanfu Competition Award Ceremony: Global Models Shine]. The Epoch Times, September 9, 2013.
https://www.epochtimes.com/b5/13/9/9/n3959774.htm
² “漢服設計再現盛唐美學 女裝獲優秀獎” [Hanfu Design Revives Tang Aesthetics: Women's Design Wins Excellence Award]. The Epoch Times, September 9, 2013.
https://www.epochtimes.com/b5/13/9/9/n3960308.htm
³ “CFW to Host NTDTV’s 4th Global Han Couture Design Competition and Awards.” Couture Fashion Week Blog, May 28, 2013.
https://couturefashionweek.wordpress.com/2013/05/28/cfw-to-host-ntd-tvs-4th-global-han-couture-design-competition-and-awards/
⁴ “漢服大賽頒獎 世界名模走秀掀高潮” [Hanfu Competition Award Ceremony: Global Models Shine]. NTD Television, September 9, 2013.
https://www.ntdtv.com/b5/2013/09/09/a963782.html
⁵ “羨慕漢服優雅 紐約名模躍躍欲試” [Admiring the Elegance of Hanfu: New York Models Eager to Try]. NTD Television, September 10, 2013.
https://www.ntdtv.com/b5/2013/09/10/a964383.html
⁶ “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html
⁷ Ann Roth, Oscar-winning costume designer, quoted in “漢服大賽頒獎 世界名模走秀掀高潮” [Hanfu Competition Award Ceremony: Global Models Shine]. NTD Television, September 9, 2013.
https://www.ntdtv.com/b5/2013/09/09/a963782.html
⁸ Camille, French-Irish model, quoted in “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html
⁹ Li Feifei, Chinese model, quoted in “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html
¹⁰ Dario A. Cortes, Professor at University of California, Berkeley, quoted in “漢服再現 久遠文化傾倒觀眾” [Hanfu Revived: Ancient Culture Moves the Audience]. NTD Television, September 11, 2013.
https://www.ntdtv.com/b5/2013/09/11/a964963.html