The centuries-old “mamianqun” or “horse face skirt” has resurfaced as a trendy fashion item in China. Originally part of traditional “hanfu” clothing, worn by ethnic-majority Han Chinese before the Qing dynasty, the skirt is now being embraced by young people in cities like Shanghai, Beijing, and Chengdu. This renewed interest in the “mamianqun” sees it being integrated into modern wardrobes, often through unconventional pairings and innovative fabric choices.

The “mamianqun” is characterized by its pleated, often brocade fabric, and while it was once reserved for special occasions and primarily worn by hanfu enthusiasts, it has now become a part of everyday wear. This shift is part of a larger trend known as “xinzhongshi” or “new Chinese style,” which blends contemporary design with traditional Chinese aesthetics.

This trend extends beyond clothing, influencing areas such as furniture and other lifestyle elements, reflecting a growing appreciation for cultural heritage combined with modern sensibilities.

While the idea of incorporating traditional Chinese elements into modern design isn’t new and was once considered old-fashioned, the concept is now being leveraged as a powerful marketing tool on China’s lucrative e-commerce platforms. Retailers are quick to capitalize on Generation Z’s patriotic and sometimes nationalistic sentiments to drive sales.

On Chinese social media platforms like Weibo and Xiaohongshu, searches for “new Chinese style” and “new Chinese style outfits” hashtags exceeded 100 million in early April, according to the state news agency Xinhua. This trend extends beyond fashion, encompassing a wide array of products. Posts under these hashtags feature everything from stuffed leather armchairs inspired by the curves of traditional Chinese wood furniture to mobile phone wallpapers depicting classic landscape paintings.

This resurgence and modernization of traditional Chinese aesthetics highlight a growing trend where cultural heritage meets contemporary tastes, appealing to a younger generation eager to express their identity through a blend of old and new.

On Xiaohongshu, a 33-year-old user known as Momo frequently provides tips on styling Chinese clothing. In one post, she demonstrated how to wear an oversized pink sweatshirt with a black mamianqun, paired with a matching baseball cap and sneakers. Momo, who chose not to disclose her real name for privacy reasons, engages her followers by showing them various ways to incorporate traditional elements into modern outfits.

“More and more young people are willing to use traditional culture as a new way to express their attitudes. That’s a good thing and very cool,” Momo told CNN in a text message.

Huang Weizhe, a 32-year-old designer and manager of the local fashion brand Longfuji, agrees that this trend is particularly popular among young people. Huang often shares his takes on the “new Chinese style” on social media. In one post, he combines a loose silk shirt with jeans, illustrating the versatility and inclusiveness of this fashion trend.

“There is no set rule in the ‘new Chinese style’ (trend) that you must follow, so it is more inclusive. This is the style that young people like now,” he told CNN over the phone.

This growing trend, which blends traditional Chinese elements with modern fashion, reflects a broader movement where young people are finding innovative ways to express their cultural heritage. The “new Chinese style” is not only about fashion but also encompasses various aspects of design, resonating with a generation that values both tradition and modernity.

Riding the ‘New’ Chinese Style Wave

Fashion designers like Samuel Gui Yang, whose collections have long taken inspiration from Chinese heritage, are seeing increased interest from mainland China due to the “new Chinese style” trend. Unlike the mamianqun, which directly references historical designs and is mass-produced, Yang’s 9-year-old brand aims to bridge the gap between Shanghai and London, drawing from the rich tapestry of what it means to be Chinese both in China and abroad.

“I think my wider audience (is) a fan of…the way we bring in this ‘Chineseness’ (the) heritage details in a more subtle way,” Yang said in a phone interview. For him, the aesthetics and themes of Taiwanese filmmaker Ang Lee’s 1994 movie “Eat Drink Man Woman” epitomize the “new Chinese style.” The film, which delves into the lives of a master chef and his three daughters as they navigate the tensions between modernity and tradition, personal freedom, and family, subtly reflects the lifestyle of Chinese people, particularly the direct connection between a dinner table and interpersonal relationships. This film provides significant inspiration for Yang’s design journey, as he often draws from the ’80s and ’90s Asian dressing styles.

Yang’s designs include the Lee denim jacket, inspired by Hong Kong martial arts and film star Bruce Lee, and the Ailing dress, named after Shanghai-born American novelist Eileen Chang. At Shanghai Fashion Week this March, he showcased a long-sleeved bias-cut qipao with roll-up sleeves, giving the classic silhouette a fresh update.

The Debate on ‘New Chinese Style’

For Ian Hylton, designer and decades-long China resident, “new Chinese style” is a misnomer. His eponymous menswear label heavily incorporates Chinese dress styles and design motifs, such as elegant loose silk mandarin collar shirts, Tang puffer jackets, and cashmere coats with button knots. Hylton is critical of the term “new Chinese style,” viewing it as reductive. “There’s nothing new. There’s a new way to approach it, but it’s somehow being treated like a trend,” he told CNN over the phone. “They’re part of a culture, they’re the fabric and makeup of a culture.”

Hylton’s wife, Min Liu, launched her Chinese-inspired label Ms. Min in 2010, in reaction to the lack of Chinese clothing worn by people in the country. Hylton, who moved to China in 2005 as the creative director of luxury fashion label Ports 1961, noted that everything foreign was once considered good, while local culture was often disrespected. He believes that the tides have turned in the last decade, with young Chinese becoming more aware and confident of their place in the world, embracing China’s culture and history.

Commercialization and Cultural Expression

Designer Huang Weizhe, known as Azhe online, frequently posts ideas about embracing the “new Chinese style” trend. Similarly, Momo, a Xiaohongshu user with 33,000 followers, critiques the commercialization of the trend. Despite the significant commercialization, such as Douyin (China’s TikTok) reporting an 841% increase in mamianqun sales, Momo remains committed to teaching her followers how to wear traditional clothing in everyday settings. She believes that, while some “new Chinese style” products are shoddily made, their designs will improve over time.

Momo emphasizes that wearing traditional or “new Chinese style” clothing is a way to invite more people, both in China and globally, to understand Chinese culture. The popularity of this trend reflects a broader movement where young people are innovatively expressing their cultural heritage while navigating modern fashion landscapes.