Hi everyone,

I am back.  Sorry for "abandoning" this blog for so long. The past two years have been very fruitful but busy, and so, it was hard to juggle a day job, an active art practice, while running various social media platforms. On the bright side, from my real-life art practice, I’ve gained a lot of new research materials and stories, as well as hands-on knowledge of sewing & hanfu pattern making. 

Therefore, the "revival" of this blog comes with a few directional changes & additions. The Dao: Hanfu 3.0 will focus on the intersection of fashion, art history, and literary traditions, while the contents will stay fun and visually engaging.

Specifically, we will explore the meeting points of literature, fashion, and art history through flora or floral fashion, from the perspective of Chinese culture and beyond.  

Overall, this is an exciting experiment: can we use flora to tell stories and overcome linguistic and cultural barriers, or to bridge our 2D subculture/fandom with the 3D world?

Finally, I’d like to thank the Toronto History Museum’s Artist Mentorship for initiating this hybrid project as a physical exhibition in 2023, as well as the Ontario Arts Council and the Government of Ontario for funding support in the past two years. As a result, this new series has grown into a truly multicultural and multilingual project. 

As of 2025 , I would like to thank my collaborators for their past & future contributions (listed chronologically with their cultural/lingual perspectives):

Alaina Shah - Pakistan & South Asia

Ange Loft - Kanien'keha:ka  (Mohawk; indigenous Canadian)

Rana Khattab  - Egypt w/ Arabic

Niloufar Salimi - Iran w/ Farsi (Persian)

Veronica Spiljak -  Poland w/ Polish 

Emily Gong - Mandarin Chinese

Thank you,

Eric Chengyang

Note: Image Context

My newest piece. Please like and reblog if you save.

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