New York, Paris, Milan, London, Tokyo, Hong Kong, Beijing, Shanghai … In the global village, as soon as a fashion trend takes root, it pops up everywhere. Now Chinese characters, calligraphy, dragons, Buddha, and all manner of auspicious symbols and traditional patterns are being drawn upon as stylistic elements by prestigious fashion designers.

But what can traditional East Asian culture offer in addition to these touches of the exotic? Does unique and individual fashion really have to rely on challenging such tradition? Or are there any timeless, classical themes that can still inspire us? And does East Asian tradition then have the potential to renew the spirit of modern fashion?  The Global Han Couture Design Competition by New Tang Dynasty Television aims to provoke thought and discussion on each of these questions.

Chinese paintings are based on drawings of lines on a plane, employing scattered perspective and, rather than techniques, placing much of their focus on the allure and deeper meaning of a work.  The foundation of Chinese couture, meanwhile, lies in the two basic styles of the “two-piece set” and the “one-piece robe.”  These two styles are similar to Chinese paintings – pure combinations of line and plane.  Large areas of the torso, skirt, and sleeves are folded from plain cloth, yet with their straight or curved edges are altered to embody the values of both beauty and practicality. This attire includes elegant lines and decoration, all while conforming to the natural beauty of the human body.

“Han Couture” refers to the clothing of the Chinese Han nationality, from the most ancient times to the end of Ming Dynasty in the mid-17th century.  The main characteristics of Han Couture are in the style of its collars with the right-sided lapel, in its long, wide sleeves, and in the use of the sash in place of buttons.  To dress in Han Couture is to look reserved, yet wise, refined and noble.  The styles of Han Couture leave room for countless variations, and vast differences within the essential pattern of collar, sash and sleeves.

Han Couture reached its peak during the Sui and Tang Dynasties, as the arts of dyeing, silk and weaving were advanced dramatically.  At the same, the Silk Road and China’s opening to the outside world enabled vibrant cultural exchanges with India, Vietnam, the Byzantine Empire and other fascinating regions.  Han Couture during the Tang Dynasty was able to incorporate the beautiful features of many other cultures while retaining its traditional Chinese essence, with striking and unique results.

China’s colorful Dun Huang murals were created during the Tang dynasty, and the subjects of many of these murals are the Buddhist heavenly paradises.  The Buddhas and female divine beings within these worlds are portrayed vibrantly and vividly, by artists of both great skill and great religious devotion.  It’s no surprise that the Han Couture of the Tang Dynasty would be very similar to the clothing of these celestial beings in their Buddhist paradises.  This period also saw the spread of traditional Chinese culture throughout the Asian region, influencing many other nations. The Japanese kimono and Korean hanbok still to this day retain the basic features of Tang Dynasty dress.

All of the clothing and accessories of Han Couture are inseparable from the profoundly spiritual, “semi-divine culture” of China.  In perfect alignment with the principles of Buddhism and Taoism, the hats, accessories, shoes and so on all reflect the diverse elements of this semi-divine culture, in which the belief in harmony between Heaven and mankind was reflected in clothing and style.

For example, ancient Chinese people spoke of “the five jade virtues” : benevolence, righteousness, courteousness, wisdom and loyalty.  At other times, they spoke of “the seven virtues,” adding to those five the two additions of virtue itself, and of the Dao. Jade accessories were considered embodiments of all these virtues, and indicators of a noble personality. Thus ancient Chinese people would say, “without a reason, a true gentleman will not remove his jade.”  Similarly, noblemen would carry swords to signify the importance of proper behavior and personal cultivation.

The Global Han Couture Design Competition is one in a series of international arts and culture events sponsored by New Tang Dynasty Television (NTDTV). Its purpose is to spread classical Chinese sartorial culture around the world and to promote this attire that expresses the values of purity, kindness and beauty.

Yet rather than directly copying ancient Chinese attire, Han Couture Design instead borrows from the styles of the Tang, Song and Ming dynasties in order to design contemporary garments. These garments combine the essence of traditional Chinese culture with today’s fashion in unique, creative and exciting ways.

Demonstrate the beauty of Han Couture in the world’s Style Capital, New York City.  Experience the living essence of that classical spirit as it rejuvenates modern fashion.  New Tang Dynasty Television cordially invites you to take part in this great event.

Semi-finals, Final & Award Ceremony:
October 19, 2008.
The Prince George Ballroom
15 East 27th Street, New York City, NY 10016, USA

Reference:  http://en.wikipedia.org/wiki/Hanfu