In Chinese traditions, the clothing system under Confucian rites and etiquettes is a symbol of civilisation, which is best represented by the formal attires of the royals and dignitaries. However, such tradition has faded with the succession of dynasties and the evolution of history. Very often, any residual legacy is only retained verbally by folk artisans. Chinese people do have a few more national costumes. The "Zhongshan suit" (or Mao suit) came from a Japanese imitation of European military uniforms. The more popular derivative known as "Tang suit" (or Zhong suit) is somehow restricted to a certain format and rather lacking in depth. Herman Lee is doing what very few people would in this area. He is adopting a scientific approach and applying modern technology to uncover the origins and standards of the clothing civilisation that Chinese people are proud of. 在中國傳統文化中，衣冠制度就是文明的象徵。今天，此種以統治階級和上 層社會正式著裝為代表的文化傳統已日漸式微，其流風餘緒也只限於民間口 耳相傳。有國服之稱的中山裝，其實只是源自日本的著裝，現在流行的唐裝 或中裝，亦都限於款式和表面，而鮮少有人會以理性態度和現代技術為其正 本清源，直至李漢樑( Herman Lee ) 的出現。 To revive the aesthetics of the shenyi style, ancient proportions were strictly adhered to in the Sui and Tang dynasties. Tight collars, tight fitting upper garments and rectangular sleeves are the characteristics of their clothes. By the time of late Tang, the chest width was doubled. The change was related to weakened national power and the return to the more conservative social norms of Confucianism. 《第九章「神闕、關元」經 穴 vs. "navel" 古典美學》 左圖: 清代后妃吉服，乾隆 (1736-1795) ，《國采朝章： 清代宮廷服飾》頁149 中圖: L'uomo vitruviano by Leonardo da Vinci 右圖: 明代朝服上衣，山東博 物館，《衣冠大成》 15
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