撰写^ 刘成刚著《桑热嘉措传》，青海人民出版社，西宁，1994年：“藏族学者桑热嘉措：“……但我从民国28年进入马步芳省政府工作以来，逐渐学着穿汉服……””
^ 高爱民《”西欧首都”－布鲁塞尔》人民日报1993年5月8日第7版：“中国北京市代表团送上了专门为他设计的一套汉族对襟衣衫。传达中华人民共和国国庆时，小于莲便身着汉服（对襟衣）迎接四面八方客人””
^ 《马关县志•风俗志》
^ 杨筑慧《中国侗族》，宁夏人民出版社，2012年
^ 《广州市黄埔区志》：“清末民初时期，大多数人都是以穿汉服（唐装）为主。”，1999年10月
^ 刘安琳. 华夏有衣，襟带天地— — 浅析汉衣冠审美文化沿革. 山东广播电视大学学报. 2014年4月,. 2014年第2期: 72–74.
^ 赵文龙. 由汉服的发展看中国民族服饰的文化传承. 美术教育研究. 2014,. 2014年2期: 28.
^ 53.0 53.1 53.2 贺晓梅. 汉服是华夏传统文化鲜明的旗帜. 职大学报. 2014,. 2013年第1期: 102–104.
^ 54.0 54.1 54.2 Sandra Lee Evenson. Hanfu Chinese robes. (编) Annette Lynch; Mitchell D. Strauss. Ethnic Dress in the United States A Cultural Encyclopedia. Rowman & Littlefield Publishers: 135–136. 30 October 2014. ISBN 978-0-7591-2150-8 （英语）. Chinese hanfu robes are full-length wrapped garments with bell-shaped sleeves extending over the hand. The front left opening is extended to a triangle shape….When wrapped, the contrat banding creates a dramatic play of line and color. Both men and women wear the haunfu; however, the overlap on the men’s style is less extensive. In the Disney film Mulan, the title chracter wears a hanfu to visit the matchmaker. History The term “hanfu” means “dress of the Han people.” It is based on the two-piece, fitted shenyi of the Warring States period (475-221 BCE). ….By the Han dynasty (206 BCE-220 CE), the one-piece version emerged as a long voluminous linen or silk robe in vivid, contrasting primary colors. Manchu people from the northeast founded the Qing dyansty (1616-1911 CE). …To expunge the Han identity, Qing rulers prohibited Han national dress and require them to wear garments in the Manchu tradition. Han resistance was so severe that the policies were modified. Men, government officials, Confucian scholars, and prostitutes wore the Manchu style; women, errand boys, children, monks, and Taoists were free to wear Han styles. Han dress was also permitted for special occasions suc as weddings and funerals. During the Republic of China period (1911-1949 CE), Euro-America lifestyles and products influenced Chinese dress, representing a shift from dynastic to popular rule…. After the revolution in 1949 and the founding of the People’s Republic of China, both traditional dress and world dress were rejected in favor of Mao suits and boxy cotton jackets and pants for bot men and women. Communist leadership discouraged reference to historical clals hierarchies and modern capitalistic values. As a result, traditional Han dress was relegated to ceremonial use. With the liberalization of the Chinese economy, interest in national dress prompted a search for popular, authentic, and intrinsically Chinese styles. … Because of its proportions, the hanfu is impractical for everyday dress, but is worn in China for Mid-Autumn Festival and for a new created coming-of-age ritual. Some favor the hanfu as a prototype for China’s acaemia regalia. On the other hand, the hanfu resembles the Japanese kimono and Korean hanbok, both based on Chinese robes. Some scholars note that this cultural authentication of styles blurs the geopolitical boundaries of what is authentically Han. Infusion of Chinese-American aesthetics and meanings may further complicate identifying an intrinsically Chinese national dress. Hanfu in the United States Han dress arrived in the United States with Chinese immigrants in the nineteenth century. Male laborers tended toward Manchu jackets and pants for work on the pineapple and sugarcane plantations of Hawi’i, in the gold fields of the American West (1848-1855 CE), and on the transcontinental railroad (1863-1869 CE). Over time, their families joined them, bringing traditions such as ceremonial dress. In the United States, the hanfu is sorn as ethnic dress for special occasions through out the life cycle. Women’s hanfu are billowing and fluid, with extended sleeves, trailing ribbons, and swaying dangles. Accessories range from the very traditional to the fashion forward, similar to the trending of other wedding dresses in America. Men’s styles are more restrained, but equally elegant. Influence and Impact Euro-Americans often identify the hanfu as traditional Chinese dress, inspiring Seventh Avenue, Hollywood, and individuals alike. In addition, when times change, dress is often the stage where the negotiation of cultural values play out. The hanfu has been that stage, both historically and in the twenty-first century. The hanfu is also used as costuming in cosplay, where tradition and fantasy combine.
^ 《论语·宪问》：“微管仲，吾其被发左衽矣。”
^ 胡晓东. 从《论语》看传统汉服的意蕴. 服饰导刊. 2014年3月,. 2014年3月第3期: 130–144.
^ 57.0 57.1 57.2 57.3 李樊乔; 王家民、乔益民. 汉服款式特征的文化研究. 包装与设计. 2014,. 2014年第2期: 104–106.
^ 周星. 本质主义的汉服言说和建构主义的文化实践——汉服运动的诉求、收获及瓶颈. 民俗研究. 2014,. 2014年第3期: 130–144.
^ 《明太祖实录》卷三，《诏复衣冠如唐制文》
^ 朱绍良、罗汉松《元王振鹏〈江山胜览图〉考》. 雅昌艺术网. 2012-11-22
^ 61.0 61.1 付丽娜; 谷联磊. 细说汉服由来及款式特征. 轻纺工业与技术. 2014,. 2012年第41卷第2期: 54–56.
^ 刘熙，东汉，《释名·释衣服》
^ 《册府元龟》“唐高祖武德二年制，每一丁，租二石、绢二疋、绵三两，自兹以外，不得横有调敛。”
^ 《汉书》：“布、帛广二尺二寸为幅，长四丈为匹。”
^ 林良浩. 中国传统文化常识. 百花洲文艺出版社；Esphere Media (美国艾思传媒). 1 June 2010: 103–. ISBN 978-7-80742-860-2.
^ 阮卫萍《从今话古谈襦裙》，《紫禁城》1992年第05期
^ 《太平御览》
^ 故宫博物院《紫禁城》（1992年第05期），紫禁城杂志编辑部，第28-32页
^ 《占今图书集成·礼仪典·衣服部》引《实录》曰：“秦二世诏朝服上加褙子，其制袖短于衫、身与衫齐而大袖。”又日；“隋人业中、内宫多服半臂，除即长袖也；唐高祖减其袖，谓之半臂，今背子也；江淮之间或日绰子，士人竞服。”
^ 《文献通考》“孝宗乾道中，中宫常服，有司进真红大袖，红罗生色为领，红罗长裙，红霞帔，药玉为坠，背子用红罗，衫子用黄红纱，裆袴以白纱，裙以明黄，短衫以粉红纱为之。”