German philosopher Hans-Georg Gadamer believed that culture is the blend of past and present. Other scholars have expanded on this, suggesting that individuals can reinterpret and innovate traditional cultural forms to meet current needs while preserving their classic aspects.

This idea resonates with young Chinese people who are increasingly interested in reconnecting with their heritage and distinguishing themselves through cultural symbols. This trend is evident in the rise of guochao products, ranging from special gifts to everyday items like cosmetics and even toothpaste. Guochao, which literally means "national tide," refers to products, from fashion to food, infused with traditional Chinese cultural elements. 

Recently, clothing with guochao elements has been categorized as xinzhongshi or neo-Chinese style. According to Xu Dong, founder of 23-year-old qipao brand Lingxifang in Beijing, neo-Chinese style combines modern updates with classic Chinese aesthetics. "Neo" signifies contemporary modifications, while "Chinese style" refers to timeless, traditional features.

The qipao, a one-piece Chinese dress originating in the 1920s, was adapted from the traditional attire of the Manchu people, who ruled China during the Qing Dynasty (1644-1911).

According to statistics from the China National Textile and Apparel Council, in 2023, the neo-Chinese style clothing trade surpassed 10 billion yuan ($1.4 billion). In the first quarter of 2024, a financial report from Kuaishou, a leading short video and e-commerce platform in China, showed that orders for this style had increased by 700 percent year on year.

Wang Hongchao, head of the Chinese Department at Shanghai Normal University, told newspaper Wenhui Daily that clothing is a key medium for cultural inheritance and self-expression. The popularity of the neo-Chinese style reflects modern people's understanding of traditional culture and their innovative spirit and cultural confidence.

Switching things up 

In the fashion industry, designers of traditional Chinese clothing, such as the qipao and hanfu, the traditional dress of the Han Chinese, as well as designers of modern outfits, are embracing neo-Chinese style. Traditional designers are simplifying or removing elements that are no longer practical or cost-effective, making the clothes more convenient and streamlined. Meanwhile, designers of contemporary gear are incorporating traditional elements like embroidery, patterns and silhouettes to infuse elegance and classic charm into their creations.

"I believe the qipao can be worn in everyday life. I've retained its essential features—lateral slits, collar and cuff shapes, as well as classic colors and floral patterns—while adopting materials to make the dress more affordable, low-maintenance, flexible, and waterproof for modern customers," Xu explained.

To appeal to younger generations, Xu launched a series of qipao in vibrant colors inspired by the wall paintings of the Mogao Caves, a famous Buddhist art site in Dunhuang, northwest China. She also selected bamboo fiber as the main material, aligning with young people's growing environmental awareness.

In addition to the qipao, other traditional garments like hanfu are undergoing considerable changes. Hanfu clothing is diverse, coming in many styles. For instance, modifications to the qixiong ruqun—a type of hanfu featuring a long, two-pleated dress with an embroidered belt and wide skirt—include shortening the skirt length to just above the knee, simplifying the belt embroidery, and reducing the width of the skirt to create a sleeker silhouette.

Some traditional garments, already simple and convenient, are easily integrated into modern wardrobes by China's younger generations. They often mix and match these with contemporary clothing. Under the hashtag xinzhongshi chuanda (or "neo-Chinese style matching outfits") on the wildly popular Chinese lifestyle and e-commerce platform Xiaohongshu, tens of thousands of users share their creative combinations. Examples include pairing a blouse with a mamian, a pleated skirt from the Ming Dynasty (1368-1644), jeans with a bijia, a sleeveless vest from the Yuan Dynasty (1271-1368), or a dress with a yunjian, a cloud-shaped cape originating from the Qin Dynasty (221-207 B.C.). These trendsetters are now seen everywhere, from museums and tourist attractions to the streets and workplaces.

Blending in 

In the modern fashion market, the rise of neo-Chinese style has led to a wave of adaptations in everyday clothing, especially for career women, according to Zhan Wentong, chief designer at LANCY, a leading Beijing-based brand focused on contemporary urban women.

"We launched a special neo-Chinese style collection for spring and summer, which was a resounding success," Zhan told Beijing Review, adding that the popularity of this initial release has prompted the brand to create another collection for the autumn and winter season.

For the spring and summer collection, Zhan chose a floral design featuring the white Camellia—a flowering plant often associated with tea-tasting rituals—as the central motif. This design highlights the elegance of ancient Chinese tea culture and complements the feminine grace.

"I combined traditional Chinese silhouettes with puff sleeves—a more modern, Western element—to create a look that feels both serene and lively," Zhan explained.

Confident in the future potential of neo-Chinese style, Zhan is now exploring more traditional Chinese elements for use in clothing, especially techniques listed as national intangible cultural heritage.

"Many traditional embroidery techniques make for a great match with modern outfits, including traditional embroidery of Jiangsu Province, Guangdong Province, and those of the Miao ethnic group," Zhan continued. "I'm also studying the dyeing and weaving techniques from ancient times—plant dyeing, for example, dates back hundreds of years and is environmentally friendly."

Although the term "neo-Chinese style" has only recently become popular, modern designs that embody this style have been present on the international stage since the last century.

"The incorporation of Chinese elements into the international fashion market occurred much earlier than within China's own fashion industry, and some examples, such as [French fashion house] Christian Dior's 1997 collection and [Italian designer] Giorgio Armani's couture featuring bamboo and peony designs, were quite successful," Zhan said. "However, recent efforts from domestic brands and designers indicate that Chinese people are increasingly valuing their cultural heritage. I believe our neo-Chinese style products will soon gain international recognition."

Zhan also added, "I've tried to balance preserving the essence of traditional design with making modern, subtle adaptations. I hope our work as designers can reinvigorate traditional clothing, and the growing popularity of neo-Chinese style suggests we're making progress."

(Print edition title: The New Style in Town) 

Copyedited by Elsbeth van Paridon

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