Fusion of the Golden Eras- A Fusion of Chinese Tang Dynasty and Mughal Era Clothing

Fusion of the Golden Eras A fusion of Chinese Tang Dynasty and Mughal Empire Clothing

By Aaminah Syed and Tracy Li- Project for the Asian Fashion Awareness Program sponsored by the East Coast Asian American Student Union

Research: Mughal Empire Peshwaz/Anarkali Dress The Mughal Empire was an early Islamic Empire in the Indian Subcontinent ruling from 1526- 1858. It covered the present day countries of India, Pakistan, Bangladesh, Nepal, and some areas of China and Afghanistan.

During this time, the culture of the region flourished, and great works of art and architecture were created. In Mughal courts, Queens and mistresses wore the Peshwaz/Anarakli dress.

Among other costumes from this time period, the Anarkali was the most elegant and extravagant costume due to its embroidery and flow of the skirt.

The costume was constructed with a bodice above the waist and a skirt made of “Dhaka Muslin”. This kind of Muslin is very rare and sheer due to its fine thread which came from a special cotton plant. In the Anarkali dress, this muslin was layered and often revealed the embroidery of the pants worn underneath (top and bottom left).

Men also had a similar style as the Anarkali dress during the Mughal Era . The male costume was known as the “Jama” which had a crossover skirt that tied around the waist. In modern times, this style has been adopted into womenswear and is known as the “Angarkha”.

Besides this, very elaborate embroidered fabrics are used in both menswear and womenswear which consists of metallic gold and silver. The embroideries from the Mughal Era mainly consists of floral and paisley motifs.

Research: Tang Dynasty Hanfu

Tang Dynasty was an imperial dynasty of China that ruled from 618 to 907 AD. It was a very prosperous time in China and is often known as the “Golden Era” as the society became rich, educated, well-governed by the standards of the age and expanded its influence in Inner Asia. During this time, Chinese poetry and art flourished along with many innovations.

Besides this, the Tang Dynasty was most open-minded to outside influence from other regions including Persia and the Indian Subcontinent. The society also became open-minded towards women and this particular dynasty had the only female emperor in Chinese history.

The Tang Dynasty Hanfu often had many colors. The patterns and embroidery used to decorate the Hanfu consisted of insects, symbols, and the four gentleman flowers of orchids, plums, chrysanthemum, and bamboo.

While bright and saturated colors were worn by the upper class women, women from the middle class wore more simpler and muted tones of colors while silhouette and patterns of the Hanfu remained unchanged.

Moodboard

Chiffon- For the flow of the Hanfu and to mimic the Dhaka Muslin’s Sheerness

Cotton and Polyester BlendFor Anarkali Dress and Modern Hanfu Fusion as it has drape and flows well

Organza-We used an embroidered Organza to decorate the Anarkali dress

We selected these colors as they were used in both cultures and cohesively go together in our collection.

Cotton Twill- For Tailored Blazer and Pants in Design Sketches

Fabrics/Color Story

Gold Paisley Jacquard Weave fabric- As a Mughal era fabric in sewn design

Hanfu Inspired Designs- Tracy Li

Though this design also features a ruqun, it is designed with the intent of being gender neutral.

Paired with this style top, it can be called Yichang, a unisex attire, accessorized with a short vest called Banbi, which was also unisex for the time.

This design draws on the changing gender expectations in the Tang Dynasty. This time saw plenty of women dressing in men’s clothing, so much so that the Yuanlingpao, (the clothes above,) become unisex dress despite it being traditionally menswear.

Inspired by the orchid of the Four Gentleman flowers, this outfit was designed with femininity and grace in mind, with billowy sleeves and a wide silhouette, a hanfu design meant to fit into High Tang Dynasty attire. This kind of dress is a style of ruqun, with a wrap-around skirt over a shirt that ties together. The bodice here is also covered by a hezi.

This design is inspired by the chrysanthemum and is another style of Ruqun, tied around the waist instead of the chest. It was common in the early Tang Dynasty, but not so much the Middle and Late Dynasty. The sheer sleeves of the shirt are drawing on how the Tang Dynasty saw women wearing more revealing clothes because of society becoming more liberal and non-restrictive.

This design takes the Banbi and shirt of the Tang Dynasty to combine it with the Mughal Era Peshwaz skirt, which is constructed very differently from the Ruquns in China. It is paired with a pair of pants and made with patterned fabric.

Traditional and Modernized Fusion with Hanfu DesignsAaminah Syed

For this traditional Anarkali dress, I took inspiration from the “Angarkha” style specifically and designed the crossover neckline with trim. The skirt portion of the dress is constructed of 18 panels with silver tape. Floral motifs in the embroidered fabric along with silver tape completes the look with elegance and charm.

This design consists of the vest made of woven gold paisley jacquard fabric and a plain black dress worn with a belt. From this, I wanted to show how the extravagant patterns from the Mughal Era can be utilized in Westernwear and can add a charm to any evening/formal look.

For this design, I wanted to combine tailoring with patterns and flowy silhouettes of both the Hanfu and the Peshwaz. The tailored jacket has embroidered hook and buttons as closures along with gold jacquard fabric attached to the cuff. The skirt is pleated and has Chinese watercolor Chrysanthemum print engineered onto the skirt.

For this design, I utilized the Silver Zari Ribbon for the details on the waist and border of the skirt while the Top has silver beaded embroidery. For this design, I was thinking of how some details from the Mughal era like embroidery and silver Zari can be incorporated into Western Skirt and top which has a similar silhouette to the Anarkali.

For this design, I was inspired by the Angarkha Crossover neck and implemented it onto a tailored blazer with velvet gold embroidered trim on the neck and border of sleeves. The pants are straight cut and has slashed hem with the Chrysanthemum embroidery on the bottom which combines the two cultures for an aesthetically modern customer.

*Velvet Gold Trim for Design

Sewn Fusion- Traditional Hanfu and Peshwaz (Aaminah)

*Inside Back View of the Hezi (On Chest)

I took on the traditional take on the Hanfu and combined it with the Peshwaz. The design consists of the Hanfu Top with embroidered fabric on the sleeves, Hezi with Chrysanthemum flowers embroidered, and Mughal era print fabric showing through the Beige Chiffon Ruqun Skirt. The skirt also has a slit to reveal the pants and a colorful gold trim is attached around the slit and the border of the skirt to complement the design.

Sewn Fusion- Traditional Hanfu and Low-High Anarkali (Tracy)

This design fuses the sleeves of the Daxiushan, a popular women’s cardigan, with the skirt of a high-low Anarkali, and a bodice designed to accommodate them both. A Mughal Era style trim was added in conjunction with Chinese frig buttons, and a mandarin collar to finish it off.

Model: Tracy Li’ 25 and Grace Moulthrop ’25 Hair and Makeup: Tracy Li’ 25 Styling and Photography: Aaminah Syed ‘25 Designed and Sewn by: Aaminah Syed’ 25 and Tracy Li’ 25

Traditional Fusion of Peshwaz with Hanfu

Modern Fusion of Low-High Anarkali with Hanfu

Model: Grace Moulthrop ‘25 Hair and Makeup: Tracy Li’ 25 Styling and Photography: Aaminah Syed ’25 Designed and Sewn by: Tracy Li’ 25

Traditional Mughal Era Anarkali Dress (Modernized)

Model: Grace Moulthrop ‘25 Hair and Makeup: Tracy Li’ 25 Styling and Photography: Aaminah Syed ’25 Designed and Sewn by: Aaminah Syed ‘25

Model: Grace Moulthrop ‘25 Hair and Makeup: Tracy Li’ 25 Styling and Photography: Aaminah Syed ’25 Designed and Sewn by: Aaminah Syed’ 25

Mughal Era Inspired Modern Vest