Comprehensive Analysis of Li Ethnic Clothing Based on Five Major Dialects and Its Application in Modern Fashion Design

Understanding the culture of an ethnic group necessitates grasping its historical perspective of progress. Thus, comprehending and analyzing the history of the Li ethnic group is a prerequisite for understanding and analyzing its clothing culture. The Li ethnic group, one of China’s ancient and mysterious ethnic groups, has a unique culture and rich historical heritage that captivates numerous scholars. The origin of the Li ethnic group can be traced back over 3000 years to the Shang and Zhou dynasties. The term “Li” initially did not represent the self-identity of the Li ethnic group; rather, it referred broadly to the minority ethnic groups in the southern part of China. It was after the founding of the People’s Republic of China that the national identity of “Li” was established based on the will of the Li people [1]. In fact, “Li” can also be used as a collective term for the ethnic group. However, due to the diverse regional languages, customs, and clothing within the Li ethnic group on Hainan Island, five main branches formed: Run Li, Meifu Li, Ha Li, Qi Li, and Sai Li. These branches hold significant status and influence within Li society. The different dialect regions are referred to as the five major dialects. Despite having their own spoken language, the Li people do not have a writing system of their own. Traditional Li ethnic clothing is also well-documented in ancient texts. For instance, the “Han Shu. Geography” records: “In the first year of Emperor Wu of the Yuanfeng era (110 BC), the Danning and Zhuya commanderies were partially annexed, and the people there all wore cloth garments, like single-layered garments with a sewn hole in the center for the head to pass through.” There are also numerous records in works such as Gu Yanwu’s “Advantages and Disadvantages of the World’s Prefectures and States” [2]. Long ago, Li women on Hainan Island excelled in techniques such as spinning, dyeing, and embroidery related to clothing production. “Jiehua Li,” a special tie-dyeing technique, was mentioned by Su Shi in “Records of the Junling King’s Temple.” It was created by Li women as an expansion of traditional techniques, featuring exceptional patterns and delicate textures, transcending time and earning people’s admiration.

Some related research mentions that according to legend, the ancestors of the Li ethnic group traversed oceans and faced numerous hardships before settling on Hainan Island. Subsequently, they constructed homes with wooden boats as roofs, bamboo frames, and gable roofs replacing the semi-circular arch boat canopies, with floors raised more than a meter off the ground. Walls were made of bamboo wattle daubed with mud or coconut leaves. This adaptation to local conditions and utilization of local materials i.e. primitive plants, laid a solid foundation for the later development of cotton-spinning plant fibers, reflecting the Li people’s life traces and showcasing their hardworking and intelligent qualities [3]. This analysis of the Li people’s geographical environment reveals the origins of the materials used in their clothing, which has significantly influenced the development of fabrics used in Li ethnic clothing. Therefore, these studies provide valuable insights into the background and origins of the Li ethnic group, offering a meaningful reference for future related research.

With the progress and development of modern society, the interactions between the Li ethnic group and other ethnic groups have increased over time, leading to evident changes in certain aspects of Li ethnic clothing. One of the most noticeable changes in the evolution of traditional attire is the transition from collarless straight-necked blouses to those with scooped necklines. Additionally, the design of attire shifted from straight-cut, straight-stitched, and straight-sleeved forms to designs featuring waistlines and seamed cuffs. The attire transitioned from being buttonless to incorporating decorative buttons, eventually incorporating pipa-shaped buttons. Moreover, the style changed from symmetrical front-opening garments to asymmetrical designs. The flower tube skirt is a unique style worn exclusively by women in the Sai dialect Li area, specifically in the LingShui, ZuGuan, and QunYing regions. In other areas, women only embroidered the hem and waist of their skirts. The hem of clothing was adorned with colorful fabric edges, while the skirts were woven with stripes.

Furthermore, the upper garments were either blue, black half-skirts, or solid-colored garments without patterns. In recent times, the influence of Han culture on the Li ethnic group has grown, leading most young Li individuals to adopt Han clothing and language. However, the tradition of wearing Li ethnic clothing is still retained by middle-aged and elderly women in remote areas. Yet, much of this attire is now created from materials bought in markets, no longer crafted through traditional techniques, and the form of upper garments has changed significantly.

Moreover, in terms of the design evolution of traditional Li ethnic clothing, recent phases have shown definite success. The clothing market in Hainan has increasingly featured designs related to traditional Li ethnic attire. Most of these designs revolve around patterns from Li brocade and the traditional color schemes of their attire. Rarely do designers consider the structural design and fabric of traditional Li ethnic clothing in their fashion designs. To address this, our study supplements and perfects by taking into account the structural design of Li ethnic clothing, understanding its primary structures, extracting features that are closer to modern clothing designs, and integrating these with fabric designs. Achieving this integration is one of the objectives our research aims to fulfill.

The development and transformation of traditional Li ethnic clothing has been a lengthy and arduous process, influenced by the advancement of time and societal progress. Practical evidence suggests that traditional Li ethnic clothing possesses unique characteristics in terms of aesthetics and practicality, with different dialect regions exhibiting distinct clothing features. Traditional Li ethnic clothing, within the spectrum of Chinese attire, offers abundant significance and developmental trends. It is not only a treasured asset of the Li people but also an indispensable part of Chinese culture. The attire is a splendid manifestation of Li culture, featuring colorful hand embroidery, weaving, and textile craftsmanship that artfully display the Li people’s way of life and cultural heritage. Despite Li young men and women adopting Han clothing and language in modern society, they still preserve the tradition of wearing traditional attire, particularly during weddings. This underscores the Li people’s dedication to and reverence for their cultural heritage. Thus, it is vital to jointly strive to preserve, inherit, and promote the cultural value of Li ethnic clothing, upholding China’s exceptional traditional culture.

While preserving traditions, Li ethnic clothing should also embrace modernization, integrating contemporary elements and seeking innovation, enabling the fusion of traditional culture with modern life. This adaptation would enable Li ethnic clothing to better align with the development of the times and the evolution of society, enhancing its vitality and influence amidst the current cultural wave.

Among the five major dialect areas of the Li ethnic group, the Ha dialect has the largest population and the widest distribution. Due to its extensive distribution and large population, women’s clothing in the Ha dialect area has the most diverse styles and intricate patterns. The upper garment for women in the Ha dialect area is mainly a long-sleeved black blouse with a straight neckline and no buttons. The front placket is longer than the back placket, and the lower back of the garment is usually woven with patterns for added decoration. The sleeves and length of the garment have specified dimensions, with the sleeves measuring about 112 cm in length and the length of the garment being approximately 60 cm. The lower garment is primarily a knee-length tube skirt, adorned with various arranged patterns. The dimensions of the skirt are also specified, with the tube skirt measuring around 62 cm in length and 89 cm in width. In addition to clothing, Ha dialect accessories also have unique features. For example, the large earrings are both ear ornaments and headpieces, composed of around 10 rings with diameters of 14 to 20 cm. They are usually made of copper or silver rings and are worn on the earlobes. They are quite heavy and can be flipped over the head like a hat during walking or labor. These distinctive clothing and accessories reflect the living environment and production habits of the Ha dialect area, representing an essential part of Li culture. A summary of Ha dialect clothing characteristics can be found in Table 1.

The distribution of the Qi dialect covers a relatively wide area, mainly in Wuzhi Mountain, with a small number in the Ledong, Changjiang, Baisha, Lingao, Sanya, and Dongfang regions. The population is second only to the Ha dialect. Women’s clothing in the Qi dialect area has different characteristics due to the varied living environments. In terms of color and patterns, women’s clothing in different areas of the Qi dialect also varies, but overall, the clothing tends to have natural, simple colors and patterns that reflect the local natural environment and folk culture.

The design of Qi dialect clothing is indeed exquisite and unique. The upper garment is usually a black or dark blue medium-length blouse. The style of the upper garment is a front-placket, low-neckline design without buttons. Instead, a row of round silver buttons is used to adorn the front placket, adding a touch of folk charm and delicacy to the clothing. Additionally, the edges of the upper garment are embellished with white cloth to create layers and details. There are also front pocket flowers and waist flowers, showcasing local folk culture and traditional craftsmanship. The lower hem and cuffs of the garment are embroidered with exquisite and varied colorful patterns, reflecting the local life, natural environment, and cultural background. The upper garment has developed into two styles: traditional and “fashionable.” The traditional upper garment is a high-necked, front-placket, long-sleeved blouse with intricate embroidery on the back hem. Patterns mainly include ancestral, human, plant, and animal motifs. The lower garment of the Qi dialect also has its distinct style, usually worn as a knee-length medium tube skirt. The skirt is composed of three pieces of fabric sewn together. The skirt top is black fabric with no patterns, while the skirt body and skirt tail are both designed with woven floral patterns, showcasing exquisite and unique beauty. The four-joined woven brocade long tube skirt is the representative lower garment of the Qi dialect. It consists of four parts: the skirt hem, skirt body, skirt eye, and skirt top. The patterns on the skirt eye are varied, mainly human, animal, and plant motifs, exuding a rich natural and life ambiance. The patterns on the skirt body include tie-dye geometric diamond continuous or two-sided continuous patterns, intricate jacquard raised flower patterns, geometric patterns, and more. The three-dimensional effect created by embroidery further enhances its exquisite beauty.

Overall, the clothing design of the Qi dialect pays meticulous attention to details, brimming with regional characteristics and cultural connotations. Headscarves hold a significant place in Qi women’s clothing. The headscarf in the Qi dialect is made from coarse fabric, dyed with plant pigments to achieve a deep blue color. The sides of the headscarf are embroidered with red lace, and the intricate patterns are embroidered with red, yellow, and blue threads dyed from plant pigments. When worn on the head, the headscarf gives the appearance of horizontal decoration, enhancing the overall elegance. For formal occasions, women also wear delicate accessories such as earrings, bracelets, necklaces, and simple iron wires strung with blue and white beads. A summary of Qi dialect clothing characteristics can be found in Table 2.

It is noted that the clothing of Run dialect women in the Baisha region is particularly distinctive within the local dialect culture. They wear costumes such as “Yacha,” “Baisha,” “Yuanmen,” “Nankai,” “Qingsong,” “Jinbo,” and the old-style wide and slightly shorter “Guantou Yi.” These attires are highly popular among local women and serve as symbols of Run dialect clothing. The garments are simple in design, wide and slightly shorter, made by stitching together pieces of “broad cloth,” of varying sizes, with a “V” shaped hole in the middle that serves as the collar, hence the name “Guantou Yi” [4]. The unique “double-sided” technique of the Run dialect in Baisha is used to embroider patterns on both sides of the upper garment, the hem of the garment’s front opening, and the lower half of the back of the garment. At the upper back of the garment, there is a wide border adorned with distinctive totemic and plant patterns.

In contrast to the tube skirts of women from the other four dialect regions, the tube skirts of Run dialect women are narrower and the shortest. This type of skirt is tailored based on the wearer’s body shape, fitting closely to the waist and being more suitable than other non-customized clothing. These skirts lack a waistband and have a length that reaches the upper thigh, designed with a mid-low waist that does not cover the lower abdomen. In terms of style, it can be regarded as the oldest “mini skirt” of the Li ethnic group.

The tube skirt in Run dialect attire can be divided into three parts, each with distinct characteristics. The skirt head typically uses three main colors: deep blue, white, and reddish-brown. Horizontal patterns are woven to create geometric designs, resulting in a simple yet elegant overall style. Some skirts also incorporate other light-colored accents at the head, adding depth to the overall clothing. The design of the skirt body is primarily based on white threads, incorporating vertical lines of red, blue, black, and small amounts of yellow and green to create a checkerboard pattern. Within the squares, various patterns are woven, including human figures, frog motifs, dragon motifs, cattle patterns, and fish patterns. The skirt tail primarily uses black threads as its base color, and its patterns are more imaginative and varied compared to the skirt head and body. The craftsmanship of the skirt tail is more intricate and exquisite, with more diverse patterns and clearer color distinctions. Notably, most Run dialect women’s tube skirts are unique; among dozens of them; it is exceedingly rare to find two with precisely identical patterns.

Run dialect women’s headwear primarily comes in three types. The first is a black headscarf, about 10 cm wide. When worn from the front, it resembles a large black hat without a top. Some women also attach tassels made of red and green threads on one side of the headscarf or at the end of a hairpin. This flowing tassel adds dynamism and aesthetics. The second type is a headscarf with embroidered patterns on a white background, accompanied by small tassels on both sides, although this style is relatively less common. The third type is the local “human-shaped hairpin,” which is simple yet elegant, embodying the distinct features of the Run dialect. A summary of characteristics of Run dialect clothing can be found in Table 3.

Observations reveal that the Sai dialect is also widely distributed across various regions, primarily in areas like Jiamo Town, Liugong Township, and Baocheng Town in Baoting Li and Miao Autonomous County. It can also be found in places such as Zuguan, Qunying, and Tianzi in Linghsui Li Autonomous County. A smaller portion of this dialect is distributed in Tengqiao Town of Sanya City and Lanyang Town of Danzhou City. The clothing style of Sai dialect women does not exhibit significant regional variations; it is relatively uniform.

The people of the Sai dialect are adept at singing and dancing, and “March 3rd” holds significant importance for them, similar to the nature of the Spring Festival for the Han ethnic group. This festival is the grandest in the Sai dialect region, where people don splendid attire and hold elaborate ceremonies. Also known as the Love Festival or Love Talk Day, it occurs on the third day of the third lunar month each year. This festival primarily commemorates the hardworking and brave ancestors of the Hainan Li people and conveys a desire for love and happiness in life.

Sai dialect attire has been influenced by Han culture, and one traditional costume consists of an upper garment resembling a banner paired with a tube skirt. Women’s attire in the Sai dialect region is mostly similar, without notable differences. Sai dialect women’s skirts are usually long and loose, with wide skirts pleated when worn. Compared to the short and narrow tube skirts, this style is relatively looser and more voluminous. The tube skirt is primarily composed of four parts: the skirt head, the skirt body band, the skirt body, and the skirt tail. The essential elements of Sai dialect tube skirts are fine horizontal black lines, while different colors of threads and patterns make the skirt more colorful. The design of the skirt features a unique combination of colors like red, yellow, and green between the skirt head and body. The design of the skirt body band and skirt tail is even more diverse, adding more elements to the overall look.

The patterns on the tube skirt are rich and varied, including human figures, frog motifs, and various plant patterns. These patterns make the tube skirt more exquisite and charming, showcasing diverse styles. Sometimes, Sai dialect women choose to wear blue or dark blue upper garments, while older women prefer black clothing.

The neckline of their upper garment is high, resembling the collar of a cheongsam, with the front opening to the left and cloth buttons arranged slightly diagonally to the right from the collar. The edges of the upper garment are plain with red or white trim, and all fabric buttons are self-made.

Traditional accessories for Li women include headscarves, special hairpins, and silver bracelets. These accessories are made from metals such as silver, iron, or tin. In the Jiamo area, Sai dialect Li women often wrap their heads with a black scarf-like band, about five feet in length [5]. When worn, the headscarf is wrapped around the head twice and the ends tied at the back of the head. In the Jiamo area, Sai dialect women frequently tie their hair into a bun at the back of their head. When dressed in ceremonial attire, they insert silver hairpins into the bun. These hairpins are intricately carved with delicate patterns, though this detail has diminished over time. Another simpler style of necklace is also worn; these two styles of necklaces can be worn individually or together. A summary of Sai dialect clothing characteristics can be found in Table 4.

In the Meifu dialect of the Li ethnic group, the population is mainly concentrated between the middle and lower reaches of the Changhua River on Hainan Island, located between the cities and counties of Dongfang and Changjiang. This region has preserved the ancient Li ethnic dyeing technique called “jiao xie.”(tie dyeing)

The simple skirt in Meifu dialect is the widest and longest among the tube skirts worn by women in the five major dialect regions. It can reach down to the ankles and features a loose-fitting style, requiring pleating in the front when worn. The tube skirt is composed of five pieces of fabric, and the terminology for each part varies in different regions. The tube skirt can be divided into five sections: the skirt bottom, skirt two, skirt eye, skirt flower, and skirt head. While some dialects may refer to the skirt head as the skirt tail, and the skirt bottom as the skirt head. Apart from the geometric patterns on the skirt flower, which are woven using differently colored cotton threads, the other four patterns are created using Meifu dialect’s unique dyeing and weaving techniques. This craftsmanship, unparalleled anywhere else, is a distinctive feature of the Meifu dialect. It initially uses yarn as the warp threads, forming patterned designs through weaving knots on it. Subsequent dyeing is performed on these threads. The knots on the weft threads are then loosened and removed, resulting in colorful fabric for the tube skirt, complete with a gradient effect that showcases exquisite beauty. The seams and sleeve edges sewn with white thread on the upper garment’s back might be intended to enhance the overall texture and aesthetics of the attire. The asymmetric crotch back cloth on the back could possibly be a unique design of Meifu dialect women’s clothing, adding a touch of distinctiveness to the upper garment’s form and style. Square pieces of cloth are sewn on the collar and sides of the collar, and exquisite fabric edges are stitched along the garment’s edges and outer sleeves; all these intricate details are meant to enhance the ornamental sense of the clothing. Through these decorative elements, Meifu dialect attire becomes more elegant and refined, highlighting the culture of the Meifu dialect region. The traditional headscarves of Meifu dialect women are renowned for their distinctive characteristics. These headscarves are characterized by simplicity and elegance. They are usually composed of alternating black and white colors and lack any specific patterns or decorations. During formal occasions, wearers may also adorn themselves with silver necklaces, rings, bracelets, and other accessories, adding an air of grandeur. A summary of Meifu dialect clothing characteristics can be found in Table 5.

Li ethnic clothing is a traditional attire passed down in Hainan Province, mainly crafted through four traditional techniques of spinning, dyeing, weaving, and embroidery. These techniques are extensively utilized in the creation of Li ethnic clothing. These ethnic garments are made from materials such as island cotton, hemp, kapok, bark fibers, and silk, sewn together. Through these traditional techniques, Li ethnic clothing has become an integral part of local culture in Hainan Province, possessing unique charm and cultural value. In certain ancient regions, people used bark from paper mulberry or blood-blocking trees to make clothes.

This clothing material was produced by processing bark taken from trees on the mountains, then removing impurities, soaking it in lime, and drying it to create fiber layers. Li ancestors used their own hands to spin, weave, dye, and sew a unique garment known as “bark clothing.” This attire was not only clothing but also used to create decorations like blankets and hats. The material of bark clothing, ingeniously created by our ancestors, may not be suitable for everyday wear in modern times, but as a form of heritage incorporating its breathable, firm, and environmentally friendly characteristics into creative clothing design, represents an innovative attempt.

With the development of society, the use of bark clothing materials has gradually declined due to the high cost caused by the time and effort required. However, incorporating small patches of bark clothing into clothing design can reduce costs while also showcasing the main characteristics of bark clothing in the overall clothing design. This approach can reintroduce the history of bark clothing to people through design means. Traditional fabrics combined with modern clothing styles inject new vitality into traditional fabric, creating a new image of bark clothing and revitalizing modern clothing design.

Apart from the application of bark clothing, as traditional attire of island flair, most clothing fabrics on tropical islands should offer comfort and breathability. This aligns with the modern trend of pursuing comfortable and breathable clothing during hot summers, providing an opportunity for the presentation of traditional Li ethnic clothing. Prudent use of Li ethnic clothing fabrics in modern clothing design can gain popularity among the masses.

This study reviewed numerous materials related to Li ethnic brocade, where a typical approach involves incorporating Li brocade patterns into clothing design. For example, Deng, X. H., in her study “Innovative Expression of the Cultural Connotation of Li Ethnic Brocade Patterns in Fashion Design,” discusses the use of Li brocade patterns in design centered around the theme of Hainan International Tourism Island. This approach preserves the original charm and artistic essence of Li culture, using figures, deer, frogs, birds, and bird patterns from Li brocade as a base, combined with images of Hainan’s traditional sports activity and the bamboo pole dance, and integrating modern geometric patterns (combinations of vertical and horizontal stripes) [6]. Many designers and scholars are similarly concerned with the patterns of Li ethnic brocade, focusing their design efforts on these elements. While this design method is indeed innovative, this study prefers to focus on the design of the distribution of Li brocade patterns within the clothing.

The five Li dialects – Ha, Run, Sai, Qi, and Meifu – share certain commonalities and notable differences in clothing. Having comprehensively understood the clothing of these five dialects and analyzed their characteristics, it can be concluded that Li ethnic woven brocade is an extensively used element in traditional Li clothing. Li ethnic woven brocade elements are often distributed on the lower hem of the upper garment, cuffs, and collar, typically serving as decorative accents in Li ethnic clothing, enhancing the overall effect.

Additionally, within the lower garment of Li ethnic clothing, a cylindrical skirt made entirely of Li ethnic woven brocade is commonly seen. While the style and length of the skirt are similar in most dialects, variations exist in the use and arrangement of colors and patterns in the woven brocade. Nevertheless, Li ethnic woven brocade is consistently employed as a complete piece in the construction of Li ethnic clothing.

Analyzing the distribution positions of Li ethnic woven brocade enables a deeper understanding for creative integration. By utilizing this distinctive feature, Li ethnic woven brocade can be applied to modern designs following popular trends. For example, it can be employed on cuffs, lower hems of upper garments, collars, or extensively in designs such as half-skirts. However, it’s crucial to emphasize that innovative design is essential in the creation of Li ethnic woven brocade – involving pattern creation, color coordination, and arrangement. Modern clothing design aims for aesthetic appeal, trendiness, individuality, comfort, and practicality. Thus, in designing the distribution positions of Li ethnic woven brocade, considerations must be given to color matching, style coordination with woven brocade, and practicality. These are the aspects we need to take into account when combining modern clothing design with traditional Li ethnic clothing, allowing the resulting modern attire to exude the genuine essence of Li ethnic clothing while retaining its uniqueness. This fusion of design can become a source of spiritual strength, pursued by people in today’s rapidly changing society. A summary of Li brocade pattern distribution locations is given in Table 6.

Among the five major dialects of the Li ethnic group, the most profound element lies in the Li ethnic totem patterns. These totem patterns not only portray their visual appearance but also carry deeper meanings passed down from Li ancestors. Generally, Li ethnic totem patterns are categorized into several main types: animal, plant, and anthropological motifs.

Different types have different meanings, and even within the same type, different patterns convey distinct significance. For instance, in the animal category, there are bird, frog, dragon, fish, and deer motifs. The bird motif symbolizes a unique meaning in Li culture, representing birds as incarnations or guardian spirits of Li ancestors. This belief reflects the ideology of a matriarchal society. The frog motif signifies an imminent harvest, favorable weather, and a prosperous population. Dragons and fish, both dwelling in water, represent peaceful seasons and abundance. The meanings behind different animal motifs stem from the society’s different aspirations for various species in ancient times. The plant motifs include gourd, kapok, banana, sweet potato, and others. Apart from animal and plant motifs, there are also common patterns such as human motifs, similar to Hercules motifs, and frog-human motifs.

Usually, Li people incorporate animal motifs extensively into clothing, and a small portion also use human motifs, enhancing the overall elegance of the outfits through various arrangements and color combinations. However, a neglected issue in the use of pattern motifs is the lack of attention to different meanings for different age groups, genders, and even different spiritual pursuits within Li ethnic clothing. If one can attempt to design clothes suitable for different groups by incorporating different patterns and meanings, this can achieve a diversified effect. Li ethnic totem patterns should be distinctive, and in their creative design, respect for Li clothing culture is crucial. Reimagining and further developing them must align with their ethnic traits and cultural essence. Only then can the clothes designed truly express Li ethnic clothing culture, bringing out the simplicity of Li culture more vividly to the public. This is the original intention of our fusion design. A summary of Li ethnic clothing patterns for the five major dialects of the Li ethnic group is shown in Table 7.