In addition to these class-oriented developments, the Hanfu became looser, with the introduction of wide sleeves and jade decorations hung from the sash which served to keep the yi closed. Additionally, wearers may carry a long jade gui (圭) or wooden hu (笏) tablet (used when greeting royalty). For footwear, white socks and black cloth shoes (with white soles) are the norm, but in the past, shoes may have a front face panel attached to the tip of the shoes. The men accompany their hanfu garments with cloth or leather shoes. A variety of headwear was worn throughout the Tang Dynasty, but by the most popular was the Futou 幞头, a black rectangular cloth tied to the front and back of your head over a rounded hair cage. Although it still continues the clothing of its predecessors such as Han and Sui dynasties, fashion during the Tang was also influenced by its cosmopolitan culture and arts. Han-Chinese clothing had changed and evolved with the fashion of the days since its commonly assumed beginnings in the Shang dynasty.

One of the common clothing style for the woman in Song Dynasty is Beizi(褙子), which were usually regard as shirt or jacket and could be matched with Ru or Ku. By the Korea Empire, the ihwa motif was revised and became one of the primary emblem of the Korean empire. There are two size of Beizi: short one is crown rump length and long one means the length cover to knees. From clothing to accessories, there are a wide variety of pink items available for sale. Some features of Tang Clothing carried into the Song Dynasty Such as court customs. Han defectors to the Qing like Li Chengdong and Liu Liangzuo and their Han troops carried out the queue order to force it on the general population. Late Ming/early Qing painting showing two fashionable women. And the Taoist version of Daopao is called De Luo (得罗), and Buddhist version is called Hai Qing (海青). The xuanduan is basically a simplified version of full court dress of the officials and the nobility. Court dress is similar to the xuanduan in components but have additional adornments and elaborate headwear. The most distinct feature is the headwear which has ‘wings’ attached.

The typical types of male headwear are called jin (巾) for soft caps, mao (帽) for stiff hats and guan (冠) for formal headdress. Song court customs often use red color for their garments with black leather shoe and hats. On top of the garments, hats (for men) or hairpieces (for women) may be worn. Clothing for women usually accentuates the body’s natural curves through wrapping of upper garment lapels or binding with sashes at the waist. The yi was essentially wrapped over, in a style known as jiaoling youren, or wrapping the right side over before the left, because of the initially greater challenge to the right-handed wearer (people of Zhongyuan discouraged left-handedness like many other historical cultures, considering it unnatural, barbarian, uncivilized and unfortunate). In addition to informal and semi-formal wear, there is a form of dress that is worn only at confucian rituals (like important sacrifices or religious activities) or by special people who are entitled to wear them (such as officials and emperors).

Generally, this form of wear is suitable for meeting guests or going to meetings and other special cultural days. It is now increasingly rare for someone to wear traditional clothing as everyday clothes, and over time, traditional clothes within Japan have garnered an association with being difficult to wear and expensive. One can often tell the profession or social rank of someone by what they wear on their heads. It can be a wedding dress, a reception dress, a party dress, a prom dress, a cocktail dress, traditional chinese clothing hanfu or a birthday party dress. There are various versions of court dress that are worn for certain occasions. Those in academia or officialdom have distinctive gowns (known as changfu 常服 in court dress terms). The practical use of court dress is now obsolete in the modern age since there is no reigning monarch in China anymore. You can experiment with modern fabrics, patterns, or even add elements like pockets for a more functional twist. Thus the ‘disheveled hair’, a common but erring depiction of ancient Chinese male figures seen in most modern Chinese period dramas or movies with hair (excluding facial hair) hanging down from both sides and/or in the back are historically inaccurate.