The neckline is divided into "cross collar" and "double lapel". The neckline of the cross lapel is Y-shaped, with the right lapel inside, the left lapel outside and the left lapel tightened at the right waist. On the other hand, double-breasted clothes are symmetrical left and right, tucked in the middle of the waist, and collar underwear or terminalia chebula (that is, tube top) is exposed in the middle gap. The half-arm neckline and lapel of the coat are mostly double-breasted
The cuffs of shovel are divided into "narrow sleeves" and "wide sleeves". Most of the lower-class women in the folk have narrow sleeves, which is no different from modern times; The upper class aristocrats have convenient narrow sleeves and gorgeous and elegant wide sleeves.
Women wear skirts. Skirt fabrics are mostly silk fabrics, but there are many differences in materials, usually one more piece is better. The material, color and style of skirts in the Tang Dynasty are much higher than the previous generation, which can be described as gorgeous and colorful. For example, there are many skirt styles involved in Tang poetry, such as "Fairy first wears a blue skirt", "Lotus leaf skirt with the same color", "Two-person hidden flower skirt", "Bamboo leaf skirt", "Blue gauze skirt" and "New neon moonlit skirt". The skirts in the Tang Dynasty are colorful and can be compared with people, mostly crimson, apricot, crimson, moon green and turquoise. Among them, pomegranate color has the longest popularity. Li Baiyou "deceives willow leaves with eyebrows and envies pomegranate flowers with skirts." Wan Chu has "Mei Dai wins the color of day lily, and the red skirt envies pomegranate flowers." Its popularity can be seen from the "Yanjing May Song", "Pomegranate flowers are burned all over the street, and the branches are all falling, and thousands of households can't buy them, leaving their daughters in red skirts." The biggest feature of pomegranate skirt is that the skirt is high and the coat is short, and the width and length of the two are in sharp contrast. "Luoshan leaves are heavily embroidered, and Jinfeng Yinyan has its own traces." Mei Dai wins the color of day lily, and the red skirt envies pomegranate flowers. The skirts in the Tang Dynasty are colorful, with red, purple, yellow and green competing for each other, especially the red skirt. The popularity of red skirts in the streets is not the patent of modern people. As early as the prosperous Tang Dynasty, dance skirts were dyed red by pomegranate flowers everywhere.
In the Tang Dynasty, women wore shoes, boots and shoes. Shoes are made of fabrics such as nylon, hemp, silk and twill. And straw sandals made of cattail. Embroidery is often added to shoes, which have various head shapes, such as round head, high head, cloud shape, flower shape, etc. For example, as the Tang poetry says, "Clouds tread on temple shoes", "Golden wrinkles weigh platform shoes" and "cluster shoes are red and thin". Boots are mostly made of brocade, which is successfully woven and beautifully decorated. Used barefoot in summer, it is deeply loved by folk women. For example, Li Bai's poem says, "My feet are like frost, and I don't need crow's head socks".
According to the Records of the Old Tang Dynasty, "I may have my husband's clothes, boots and shirts, but I always respect the inside and the outside", which has clearly recorded the scene of women wearing men's clothes. "New Tang Book Five Elements" records that "Emperor Gaozong tasted the banquet, Princess Taiping wore a purple shirt and jade belt, and the soap was folded with a towel, holding seven objects and singing and dancing in front of the emperor. The emperor and queen smiled and said,' Women can't be military officers. "Why are you dressed like this?" "
Especially in the Kaiyuan and Tianbao years of the Tang Dynasty, the fashion of women wearing men's clothes was popular. "China's Notes on Ancient and Modern Times" records that "by the middle of Tianbao, the scholar's wife wore her husband's boots, shirt and whip cap, which were integrated inside and outside." "New Tang Book Li Shichuan" Note: "I heard that there are golden birds in the forbidden area, and Xuanzong is fortunate in hot springs and Yang Guifei's clothes." It can be seen that it was quite common for women to imitate men's wear at that time.
The costume patterns in the Tang Dynasty changed the creative thinking given by God in the past, using real flowers, grass, fish and insects to sketch, but they did not exclude the traditional dragon and phoenix patterns, which was also determined by the influence of imperial power. At this time, the clothing pattern design tends to express the artistic style of freedom, fullness and fatness.
The Book of the New Tang Dynasty, Che Fuzhi, records the fancy of the official uniforms of civil servants, including the long ribbon of the phoenix, the ganoderma lucidum of the crane, the Cao Rui of the magpie, the prestige of the goose, the flower of the handsome stork, and the rehmannia.
The dress patterns in the late Tang Dynasty were more exquisite and beautiful. Flower-and-bird clothing patterns, border decoration patterns and group flower clothing patterns are really colorful in the soft clothing of silk and yarn. As Wang Jian of the Five Dynasties said, "Luoshan leaves are embroidered again, and there is a cluster of golden phoenix silver geese, each dancing in two directions, between the words" Long live peace ". "Today we see these luxurious and exquisite costume patterns, which are precious image materials that Dunhuang Grottoes painters have preserved for future generations with hard work. The development of costumes in Tang Dynasty is an overall development. At this time, the clothing pattern design tends to be free, plump, gorgeous and round, which is manifested in shoes, hats, towels, Yu Pei, hairstyle, makeup and jewelry.
The Tang Dynasty inherited the styles of Zhou, Warring States and Wei and Jin Dynasties, and integrated the rigor of dress design of Zhou Dynasty, the stretch of Warring States, the lightness of Han Dynasty and the elegance of Wei and Jin Dynasties, and on this basis, it became more luxurious, making the dress and dress patterns reach the peak in history. The influence of costumes and costume patterns in the Tang Dynasty on later generations continues to this day. The application of branch patterns in modern clothing patterns embodies the implication of combining traditional patterns with modern aesthetic consciousness.