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Culture and Art
Reference:

Youth "Hanfu culture" in the context of the subcultural perspective of the development of Chinese street fashion

Van Wenshan

Postgraduate student, Department of History and Theory of Arts St. Petersburg State University of Industrial Technologies and Design, 191186, St. Petersburg, Bolshaya Morskaya, 18

191186, Russia, Saint Petersburg, Bolshaya Morskaya str., 18

mento@mail.ru

DOI:

10.7256/2454-0625.2024.3.70086

EDN:

JBKUQI

Received:

08-03-2024


Published:

15-03-2024


Abstract: The development of the Hanfu Culture youth movement in China has been going on for more than ten years. The purpose of this study is to clarify the importance of the historical influence of ancient fashion on modern Hanfu costume and its perception by the youth of the country. The object of the study is social relations. An empirical survey using the example of young residents of Chengdu showed that fans of the "Hanfu culture" make up the absolute majority, and these are mainly women of a wide age range and Han youth with a higher cultural level with a good education. The author proves that the main goals of the Hanfu youth movement are: inheritance, dissemination and popularization of Hanfu culture; development and innovation of Hanfu culture. Based on the conducted surveys and tests, the author concludes that the rise of the youth "Hanfu culture" is mainly due to the following reasons: the awakening of national identity, inspired by the ongoing development of globalization; the increase in national consciousness caused by the emphasis on historical consciousness in domestic policy towards ethnic minorities.   The following methods and methodology were used in the research process: Analysis of historical sources: historical documents, images, artifacts and literature; Questionnaires: among various population groups; Personal survey; Comparative analysis. The methodology included a comprehensive approach to the study of the historical context and its impact on modern fashion. The presented article explores the historical influence of ancient fashion on modern street fashion, taking into account questionnaires, personal survey and analysis of historical time periods and forms of Chinese Hanfu costume. The main conclusions of the study are to identify the significant influence of ancient fashion on modern street fashion trends, as well as to understand the importance of preserving historical heritage in modern fashion. A special contribution of the author to the research of the topic is an integrated approach to the analysis of historical data and opinions of various groups of society, which allowed us to get a more complete picture of the influence of ancient fashion on modern culture. The novelty of the research lies in the use of a combination of questionnaire methods, personal survey and analysis of historical forms to study this topic, which allowed us to obtain unique results and a deep understanding of the evolution of fashion.


Keywords:

Hanfu Culture, Hanfu movement, youth subculture, historical costume, Chengdu, innovation, research, questionnaire, dynasty, clothing

This article is automatically translated.

In March 2013, Chinese Scientific News published a special article entitled "Ten Years of the Hanfu Movement", which reviewed the historical development of the Hanfu movement in China, as well as explored and highlighted the main directions of its activities. Over these ten years, the evolution of the Hanfu Culture movement has gone from focusing on national cultural representation to penetrating the core of traditional culture, from the activities of a niche group to a well-known social movement.

The significance of this phenomenon of youth subculture, appealing to the revival of traditional values as an important local material for subcultural research, is extremely disproportionate to its absence in the field of youth research. However, some scientists have conducted research on this phenomenon based on the perspectives of fashion design, aesthetics and ethnology, either focusing on the aesthetic value of Hanfu itself, or imposing nationalistic judgments on it in the absence of certain empirical experience as support, which requires further research, analysis and judgment on our part.

The study was based on one of the cities – the capital of Sichuan province in the southwestern part of China, Chengdu, with a population of almost 15 million people. Taking into account the specifics and representativeness of Chengdu youth mass culture, in order to conduct an in-depth study of the youth "Hanfu Culture", and based on theoretical methods of studying youth subculture, the author and a group of enthusiasts used empirical methods such as questionnaires and in-depth interviews to conduct the most complete study of the Hanfu movement in Chengdu and the Hanfu culture of knowledge of various segments of the population. A group of enthusiastic Hanfu youth, at the request of the author, helped in conducting research in order to understand and restore the historical context, that is, the construction and practical logic of this cultural revival movement with distinctive features peculiar only to it, features of the youth subculture. Since the absolute value of the sample number itself is small, we used a random sample to distribute questionnaires to Hanfu culture enthusiasts in Chengdu. We sent out 300 questionnaires and received 270 completed questionnaires in response with an effective coefficient of 92%. At the same time, in-depth interviews with members and the head of the Hanfu organization were conducted during this study.

In a broad sense, Hanfu is a general term for the traditional ethnic costumes of the Han people from the "Yellow Emperor who hung up his clothes to rule the world" to the era of the Qing Dynasty [1, p.87]. It includes a clothing system consisting of a number of distinctive styles. According to our intuitive understanding, Hanfu in a narrow sense is the national costume of the Chinese nation (Han nation) during the Han Dynasty. Being an important part of the traditional cultural system of the Chinese nation, Hanfu has undergone changes in different eras, from ancient times to the present day, forming a diverse style, a certain niche of clothing and an appropriate etiquette and cultural system.

 The distinctive features of the Hanfu costume are "an upper and lower skirt, a crossed collar and hem, drawstring ties with hidden buttons, wide sleeves and wide belts, and as an addition, hair tied in a bun on top of the head," which gives people the impression of freedom and elegance. "Hanfu Culture", as well as the "Hanfu Renaissance Movement", refers to a typical youth subculture, where youth is the main part that realizes the revival of Chinese national culture by creating traditional costumes and popularizing the traditional etiquette of the Han people[2, p. 25].

The Hanfu style reflects the cultural traditions, social thought and ethical concept of Chinese civilization, which contributes to the diversity of modern Hanfu [3, p. 18].  For example, the Chengdu Hanfu Association states in its charter that the organization is a non-profit, academic, professional, social group created spontaneously by propagandists of traditional Han costumes. Chengdu is an important force in promoting the great traditional history of the country and culture, where a course is taken to build a social and spiritual civilization.

In fact, since the leaders of various countries appeared in public in Tang costumes at the APEC Summit meeting in Shanghai in 2001, there has been a wave of attention and discussion about traditional Chinese costumes, and at the same time the concept of "Hanfu Revival" was proposed, which originated in the discursive system of revival of traditional culture. At that time, the practice of Hanfu existed on an individual level and was mainly concentrated in discussions in online communities. Therefore, it is also called the Hanfu Internet period, and it has not yet entered the real world, has not acquired great social significance.

 Hanfu appeared in public for the first time in many decades and attracted some attention only in 2002. Then a university lecturer named Li Guangwei from Lianyungang posted photos of himself on the Internet in traditional Han costumes and playing the guqin, which attracted a lot of attention from netizens.

Representatives of the Hanfu movement, as a rule, are more inclined to believe that the landmark event that launched the Hanfu movement was Wang Letian (whose online name on the Internet of the Chinese segment "Top Gun"), an employee of the Zhengzhou electric power company, strolling through the city of Zhengzhou in 2003 in a dark embroidered robe with a deep skirt and belt.

Hanfu's charm was thus demonstrated to the general public right on the street. Wang Letyan's colleagues believe that Han national costumes returned to the streets after disappearing for 360 years, when the Shunzhi Emperor of the Qing Dynasty ordered the enactment of the treatise "Everything in Clothes" in 1645. In the eyes of the townspeople, this was a real feat, as the first person to bring Hanfu to the streets since the days of the "shaving hair" policy changed clothes in accordance with the rules of wearing clothes of this dynasty. Over the past 10 years, the Hanfu movement has gone through a stage of ascent (2003-2005), a stage of development (2006-2008) and a stage of deepening (from 2009 to the present). At the current stage, Hanfu enthusiasts can be divided into a "school of textual research" (focusing on the study of the Hanfu clothing system); a "reform school" (focusing on Hanfu innovations and the integration of Han elements into the clothing system at the present time); a "visual school" (focusing on the Hanfu costume system); demonstrating and exploring aesthetic value); "radical" (a group with extreme views and harsh rhetoric) and other schools.

According to the age structure, the main part of the Hanfu cultural movement in Chengdu consists of people born in the late 1980s and 1990s of the twentieth century. Statistics show that young people under the age of 30 make up 92.8% of the respondents. Among them, the defining role of this movement is played by students of colleges and universities, secondary schools and technical schools. Schoolchildren and young employees who have just joined the ranks of the workers form the main force of this movement. The professional composition of the Chengdu Hanfu enthusiasts who took part in the questionnaire survey is as follows: college and university students (29.7%), employees of non-governmental enterprises and institutions (23.6%), primary and secondary school students (20.6%). Hanfu enthusiasts from Chengdu have been involved in the Hanfu movement for more than 10 years (4.4%), 6-9 years (11.0%), 2-5 years (55.8%) and for 1 year (28.9%). It can be seen that over the past 10 years, the Hanfu movement has initially developed its own sustainable development strategy so that it can constantly draw new strength for its further development in the new present era.

Considering the gender composition among the Hanfu enthusiasts in Chengdu, 67% are women and about 33% are men. This gender ratio is mostly consistent with the findings of surveys of Hanfu enthusiasts across the country. Wearing certain styles of clothing has become an important way for subcultural groups to attract attention. The majority of participants in the youth clothing subculture are mainly young women. The Hanfu movement is no exception. On the one hand, this is due to the special preference of women for the aesthetics of clothing. On the other hand, this is also due to the fact that women's clothing in the traditional Hanfu system has richer and more beautiful shapes, which have an obvious intuitive effect on people. Therefore, the hot topic discussed by Hanfu enthusiasts is which style and which dynasty of Hanfu menswear is more aesthetic. The value of discussing this topic is to involve men in the Hanfu cultural movement as effectively as possible.

Regarding the educational level of Hanfu adherents, the survey showed that in Chengdu 1.9% have higher education, 38.2% have a bachelor's degree, 27.1% have higher professional or incomplete higher education, 28.8% have higher or secondary technical education, and all together make up 96.0%, This proportion is consistent with the data of the national survey, taking into account that that this survey was conducted in 2023 (the results of the Baidu Hanfu Bar survey show that persons with higher education or higher make up 3.2%, those with a bachelor's degree make up 42.1%, those with higher professional or higher education made up 13.9%, and those with secondary technical education made up 23.2%, a total of 82.4%), which indicates that most fans of historical Hanfu costume have a certain degree of professional knowledge based on fundamental traditional cultural knowledge, as well as a certain understanding and recognition of traditional national culture.

An analysis of the ethnic composition of the respondents shows that Han youth and representatives of ethnic minorities living in various districts of Chengdu play a key role in the Hanfu cultural movement. This suggests that during the development of the Hanfu movement, its extreme nationalist elements could never take over the leadership of this youth subcultural movement. On the contrary, this subcultural trend, based on common interests and culture, is inclusive. The diverse content of the movement continues to grow, gradually gaining support from Hanfu enthusiasts. In their eyes, the Hanfu movement is not a narrow ethnic group. In their opinion, the Hanfu movement is not so much a farce of nationalism among Han youth as a youth movement for the protection and inheritance of traditional culture, which is a group of subcultural youth formations with common interests, hobbies, ideals and beliefs. Thus, this phenomenon of youth culture is not a simple value judgment such as racial nationalism, extreme nationalism or networked cultural nationalism, as some scientists imagined when talking about the trends of its development at the beginning of the Hanfu movement.

Currently, Hanfu production is mainly manual and is based on small private sewing workshops. Therefore, most Hanfu enthusiasts invest their own funds in production, including the purchase of materials and sewing equipment for making Hanfu, the purchase (manufacture) of accessories, the purchase of books and materials for Hanfu advertising, participation in the expenses of the club, etc.

According to the survey, about 54% of Hanfu enthusiasts will control their annual Hanfu activity expenses within 500 yuan, about 29.2% will control them within 501-1000 yuan, and 15.1% will spend 1001 - 3000 yuan.

 74.3% of Hanfu enthusiasts have a monthly family income of less than 7,000 yuan. 71.0% of hanfu enthusiasts prefer to buy hanfu on the Hanfu website, 24.8% prefer to buy it from local Hanfu convenience stores, and 27% make hanfu themselves. In terms of family support, 55.2% of family members are indifferent to Hanfu enthusiasts involved in the popularization of Hanfu, and 22.9% of family members have always supported or moved from the group of opponents of Hanfu enthusiasts to support historical costume enthusiasts involved in the development of Hanfu.

Considering the goals and objectives of the Hanfu Culture youth movement and the basic requirements of the practice of the Chengdu youth cultural movement, they can be divided into three progressive levels, namely: inheritance, dissemination and popularization of Hanfu culture; development and innovation of Hanfu culture; and the development of traditional Han culture related to Hanfu.

Currently, the issue of popularization of Hanfu culture, its advertising and introduction into the mass consciousness of the importance of knowing the history of their people is becoming important. The lack of information about the traditional costumes of the Han nationality is an incentive for young researchers and promotes the history of Hanfu.

In the survey, we found that as many as 94.8% of Hanfu enthusiasts in Chengdu fully agree or partially agree that the purpose of the Hanfu movement is to "study the clothing system and popularize Hanfu knowledge among the public."

Since Hanfu is being revived already in the XXI century, it becomes necessary to use the latest methods of information dissemination. Young Hanfu enthusiasts are very interested in innovation, in the design and demonstration of Hanfu itself, such as Hanfu design, the design of appropriate Hanfu accessories, as well as the production of Hanfu cartoons, filming films using Hanfu costume. Even the design of the Hanfu-style academic uniform was included in the list of compulsory wear in junior and secondary schools. An important reason for the innovation of Hanfu culture is that there is a very strict and serious, deep cultural tradition in clothing.

During the survey, we found that most Hanfu enthusiasts are aware of this and have adopted a learning strategy aimed at assimilating the essence and introducing innovations into the heritage of Hanfu culture. The adoption of Chinese elements and their integration into Hanfu design innovations is an important prerequisite.

 During the development and rise of the culture of wearing Hanfu, the traditional culture of the Han nationality associated with costume was also inherited and deepened at three levels: the promotion of Hanfu as a specific ceremonial garment in the form of an academic uniform; the promotion of Hanfu as casual clothing; the promotion of the restoration of traditional festival etiquette [4, p. 23].

The most important reason for the emergence and further development of the "Hanfu Culture" is the awakening of national identity, inspired by the ongoing development of globalization.

At first glance, it seems that globalization allows different countries to freely participate in economic and cultural exchange, but its essence lies rather in unilateral cultural penetration and spread by culturally strong, that is, cultural hegemons, to countries with a lower economic and cultural level [5, p.135].

                In the context of globalization, various countries and regions apply various mechanisms and methods to preserve and transmit their cultural traditions and national characteristics.

 From the point of view of Hanfu enthusiasts, the lack of national costumes that can reflect the characteristics, heritage and character of the nation is a problem. Speaking about the Hanfu movement, a professor at the Faculty of History at Fudan University said: "Clothes are a person's second skin. People use the clothing system to improve their understanding of national culture, their identity and self-confidence." The stronger economic globalization is, the more national identity and differentiation are required.

In the era of globalization, the national character and its features are still well preserved, while the national characteristics of the Han people as the dominant nation have gradually disappeared and blurred. This objectively stimulates reflections on the identity and national identity of the Han people [6, p. 140].

In modern Chinese society, clothing, as an intuitive symbol of youth subculture, is becoming the vanguard of youth fashion and pop culture. Youth, clothing and the nation are closely linked. Clothes are the bearer of fashion, and young people are the promoters and consumers of fashion. Clothes carry the ideas of young people, value requirements and life ideals. Whether it's Western punks, modernists, hippies or the practice of youth fashion in different periods in China, we see that clothing is an important visual symbol and cultural symbol of the youth subculture [7, p.22], it is intuitive and easy to use in the cultural industry, which has become popular against the background of large-scale distribution. Clothing is also a dominant feature of the external characteristics of national culture, reflecting production and lifestyle, habitat, standard of living, values, aesthetic consciousness, religious beliefs, as well as the degree of contact and interaction between different ethnic groups of a multinational society, the accumulation of life experience, common history and creativity.

 After the emergence of the Hanfu movement, which was dominated by Chinese youth, the traditional trend of cultural revival and the social movement since the beginning of reforms and the policy of openness in China really got rid of the situation of the "high-minded and restrained", thereby realizing the vital need for a development-oriented civil society and the implementation of a reasonable youth policy.

 It can be considered that the Hanfu movement, as a subculture of clothing, has objectively become a carrier of heritage and dissemination of national traditional culture for young people [8, p.83].

The author's proposals regarding the promotion of Hanfu culture in Chinese society are becoming most relevant in the context of protecting the rights of participants in the multimillion-dollar movement without violating the rights of national minorities. Obviously, there is a question of exposing to the legal plane the rights and demands of all ethnic groups to inherit their culture, which should be equally protected

It is necessary to scientifically analyze the various demands of the youth groups of the Hanfu movement so that they enjoy the same legitimate, justified rights to inherit traditional national culture as all ethnic minorities.

It is necessary to ensure equal protection and create conditions through political leadership and the dissemination of materials about Hanfu in the media to help societies of fans of national costume and Hanfu enthusiasts, as well as self-organizations of various ethnic minorities, in educating young people of all ethnic groups. At the same time, each ethnic group should show tolerance for the different cultures of other ethnic groups, recognizing each other [9, p. 2].

The practice of building the cultural identity of the Hanfu movement has a certain educational significance for our attempts to use the perspective of "multiculturalism" instead of the perspective of "politicization" to analyze, study and manage ethnic relations in order to achieve political ethnic equality in the group and at the individual level [10].

Thus, this study has proved the need for the development of historical heritage in Chinese society in the form of traditional Hanfu national costume, which in recent years has become an important source of inspiration for a significant part of the country's young population in popularizing ancient traditions in modern street fashion. The interest in studying historical roots among young representatives of various ethnic groups is becoming more evident and is confirmed in the results of the study, and the revival of Hanfu culture is beginning to receive support at the state level.

References
1. Zhang, Jiao. (2016). National cultural heritage and the application of modern Hanfu style clothing design. Beijing: Technology of coloring and finishing, 11, 87-88.
2. Liu, Da. (2019). The influence and penetration of Manchu culture on the innovative design of modern models. Beijing: «Technology of woolen textiles», 1, 24-28.
3. Wang, V., & Khoroshilova, O.A. (2022). Hanfu national costume as a factor in the historical development of the Chinese style of clothing and its integration into modern fashion. Bulletin of the St. Petersburg State University of Technology and Design, 2, 16-21. doi:10.46418/2079-8202_2022_2_3
4. Zhang, Qiqi. (2019). A look at the development of cultural confidence from the point of view of the "Hanfu hobby". Beijing: Comparative Study of Cultural Innovations, 3, 21-24.
5. Hu, Jiangfeng. (2013). A study of the theory of youth subculture in Birmingham schools. Beijing: China Social Sciences Press, 2, 250.
6. Li, Caijiao. (2007). The study of the relationship between youth and the phenomenon of clothing. Modern fashion. Beijing: A Study of Chinese Youth, 21-26.
7. Wang, Jun. (2022). Internet nationalism and Chinese diplomacy. China Social Sciences Press, 4, 82-96.
8. Ma, Rong. (2024). Ethnosociology – the study of ethnic relations in sociology. Beijing University Press, 1, 1-5.
9. Zhao, Yavei. (2015). A study on the choice of values in the context of cultural diversity: Publishing House of Uan University (Yanshan University), 131-154.
10. Zhang, Yaong. (2022). A study of the way of communication and industrial development of Hanfu culture against the background of "One Belt and one Road". Beijing: Scientific and Technical Information, 16, 20.

First Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The subject of the research in the article submitted for publication in the journal Culture and Art, as the author described in detail in the title ("Youth Hanfu culture in the context of the subcultural perspective of the development of Chinese street fashion"), is the "Hanfu culture" of Chinese youth that has developed in recent decades. The author carefully correlates the subject of the study with the object, the youth subculture, since the youth subculture, as a rule, has a protest character in relation to the dominant culture in society (defining the basic norms of public relations). At the same time, having identified the value origins of the "Hanfu culture" in the aesthetics of costume and etiquette of traditional Han culture, the author quite reasonably pointed out the object of protest of the Hanfu youth subculture, which is the project of a certain "global culture" devoid of traditional foundations. The reviewer notes that neotraditionalism (E. A. Tyugashev, Yu. V. Popkov, etc.), manifested, among other things, in the youth fashion for traditional costume or its elements, is characteristic of many peoples of the world in conditions of widespread imposition by individual transnational actors of a unified project of "global culture", the distinctive feature of which is the lack of connection with ethics and aesthetics traditional cultures that have shaped modern nations and civilizations over many millennia. This global project is a serious obstacle to the formation of national identity among young people and is aimed at undermining the intergenerational bond on which national unity is built. In this sense, the project of "global culture" is clearly ANTI-national, ANTI-civilizational and ANTI-cultural in nature, i.e. it is aimed against society and man in their civilizational unity. Hence the understandable desire of peoples to preserve their unity through the revival of traditions. The phenomenon of "Hanfu culture", as described by the author based on the collected empirical data, according to the reviewer, is just an example of neotrationalism in Chinese youth culture – the transfer of elements of ethics and aesthetics of traditional culture (etiquette, costume, hairstyle, etc.) into modern practices (youth fashion). The author finds that "Hanfu cultures" as a fashion for hobby unites representatives of various ethnic minorities of China, which refutes some opinions about this phenomenon as a manifestation of nationalism. The reviewer shares the author's position, noting that there are significant differences between neotraditionalism, built on respect for the traditional culture of one's own and other peoples, and nationalism, built on the assertion of the exclusivity of a people and rejection of the value of traditions of other peoples. Thus, the subject of the study was disclosed by the author at a good theoretical level and the article is worthy of publication in a scientific journal. The research methodology is based on the harmonious unity of the analysis of empirical data collected by the author and theoretical criticism of scientific literature. A comparison of statistics from various sources allowed the author to reveal a completely objective situation related to the development of youth fashion for the "Hanfu culture" in Chengdu. The author's final conclusions are based on credible arguments, and the research program stated by the author is quite logically implemented. The author explains the relevance of the chosen topic by saying that "the significance of this phenomenon of youth subculture [Hanfu culture], appealing to the revival of traditional values as an important local material for subcultural research, is extremely disproportionate to its absence in the field of youth research." At the same time, as the reviewer notes, the author touches on a more significant aspect — the productive reaction of the youth subculture, expressed in countering the devaluation of the values of traditional culture. The scientific novelty of the research, expressed in the explication of new empirical data into theoretical discourse, their analysis and comparison with previously published studies, is beyond doubt. The style of the text is generally scientific, although literary proofreading and editing could improve the style of the author's speech. In particular, some judgments that require mandatory proofreading indicate this ("Assessing the national composition of the respondents, it is obvious that Han youth is the main force of the Hanfu movement, and many young people from ethnic minorities living scattered and mixed in Chengdu are also important participants in the Hanfu cultural movement", "Lack of knowledge about traditional costumes The Han nationality is upsetting, but objectively it becomes an important driving force for young people to further promote and inherit the history of Hanfu", "The prospect of further striving of young people to study their origins in historical terms is obvious and already has its confirmation in the presented results of this study and, importantly, begins to receive support at the state level"). In addition, the use of a quote requires a mandatory reference to the source (Speaking about the Hanfu movement, a professor at the Faculty of History at Fudan University said: "Clothes are the second skin of a person. People use the clothing system to improve their understanding of national culture, their identity and self-confidence.") The structure of the article corresponds to the logic of presenting the results of scientific research. The bibliography as a whole reveals the problematic area of research, but individual elements of the description of sources require adjustments taking into account the requirements of the editorial board and GOST. The appeal to the opponents is correct and sufficient; the author reasonably participates in the relevant theoretical discussion. The article is certainly of interest to the readership of the magazine "Culture and Art", but needs a little revision.

Second Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The subject of the article "Hanfu youth culture in the context of the subcultural perspective of the development of Chinese street fashion" is the development of the so-called "Hanfu culture" in the context of the development of Chinese street fashion. As the author accurately notes, "some scientists have conducted research on this phenomenon based on the perspectives of fashion design, aesthetics and ethnology, either focusing on the aesthetic value of Hanfu itself, or imposing nationalistic judgments on it in the absence of certain empirical experience as support, which requires further research, analysis and judgment on our part." This proves the importance of this research for the modern scientific community, especially in light of the increased interest of the modern scientific community in the history and culture of the East. Thus, the relevance of the article is extremely high. The scientific novelty of the work is also beyond doubt, as well as its practical benefits. We have before us a worthy scientific study in which the style, structure and content fully meet the requirements for articles of this kind. It is characterized by an abundance of useful information and important conclusions. The article is clearly and logically structured, based on modern research methods and includes comparative historical, analytical, descriptive, etc. methods. It also relies on a solid body of theoretical and scientific-practical knowledge. The article contains important information about the Hanfu culture: "In a broad sense, Hanfu is a general term for the traditional ethnic costumes of the Han people from the "Yellow Emperor who hung up his clothes to rule the world" to the era of the Qing Dynasty [1, p.87]. It includes a clothing system consisting of a number of distinctive styles. According to our intuitive understanding, Hanfu in a narrow sense is the national costume of the Chinese nation (Han nation) during the Han Dynasty. Being an important part of the traditional cultural system of the Chinese nation, Hanfu has undergone changes in different eras, from ancient times to the present day, forming a diverse style, a certain niche of clothing and an appropriate etiquette and cultural system. The distinctive features of the Hanfu costume are "an upper and lower skirt, a crossed collar and hem, drawstring ties with hidden buttons, wide sleeves and wide belts, and as an addition, hair tied in a bun on top of the head," which gives people the impression of freedom and elegance. "Hanfu Culture", as well as the "Hanfu Renaissance Movement", refers to a typical youth subculture, where young people are the main part who are aware of the revival of Chinese national culture, creating traditional costumes and popularizing the traditional etiquette of the Han people." The work also includes a lot of useful and interesting information about the subject of the study, presented in an accessible and fascinating form: "Currently, Hanfu production is mainly manual and is based on small private sewing workshops. Therefore, most Hanfu enthusiasts invest their own funds in production, including the purchase of materials and sewing equipment for making Hanfu, the purchase (manufacture) of accessories, the purchase of books and materials for Hanfu advertising, participation in the costs of club activities, etc. According to the survey, about 54% of Hanfu enthusiasts will control their annual expenses for Hanfu activities in within 500 yuan, about 29.2% will control them within 501-1000 yuan, and 15.1% will spend 1001 - 3000 yuan. 74.3% of Hanfu enthusiasts have a monthly family income of less than 7,000 yuan. 71.0% of hanfu enthusiasts prefer to buy hanfu on the Hanfu website, 24.8% prefer to buy it from local Hanfu convenience stores, and 27% make hanfu themselves. In terms of family support, 55.2% of family members are indifferent to Hanfu enthusiasts involved in the popularization of Hanfu, and 22.9% of family members have always supported or moved from the group of opponents of Hanfu enthusiasts to support historical costume enthusiasts involved in the development of Hanfu." The article also contains extensive and correct conclusions: "The practice of building the cultural identity of the Hanfu movement has a certain educational significance for our attempts to use the perspective of "multiculturalism" instead of the perspective of "politicization" to analyze, study and manage ethnic relations in order to achieve political ethnic equality in the group and at the individual level [10]. Thus, this study has proved the need for the development of historical heritage in Chinese society in the form of traditional Hanfu national costume, which in recent years has become an important source of inspiration for a significant part of the country's young population in popularizing ancient traditions in modern street fashion. The interest in studying historical roots among young representatives of various ethnic groups is becoming more evident and is confirmed in the results of the study, and the revival of Hanfu culture is beginning to receive support at the state level." The bibliography of the study is extensive, includes the main foreign sources on the topic, and is designed correctly. The appeal to the opponents is sufficient and made at a decent professional level. In our opinion, the article will be of great importance for a diverse readership - researchers, students and teachers, fashion historians, designers, art historians, etc., as well as all those who are interested in fashion, costume history and international cultural cooperation.