On diplomatic occasions, attire, as a core carrier of nonverbal communication, functions not only as a form of aesthetic expression but also as a medium for sending diplomatic signals, conveying cultural identity, and building emotional connections. Focusing on Chinese-style attires worn by foreign dignitaries during their visits to China between 2023 and 2025, this study examines the strategic logic behind such attire choices. Case analyses reveal that these attire selections primarily follow three interrelated strategies: “Color”, “Form”, and “Pattern”. Strategically chosen colors with cultural resonance, such as Chinese red, express diplomatic respect; classic silhouettes, including cheongsam and Chinese tunic, suit align with host cultural etiquette; and traditional patterns like peony patterns subtly convey auspicious wishes. Visually, these three dimensions together form a coherent attire system for intercultural nonverbal communication in diplomatic contexts.
References
[1]
Birdwhistell, R. L. (1970). KinesicsandContext: EssaysonBodyMotionCommunication. University of Pennsylvania Press, 157-158.
[2]
Burgoon, J. K., Manusov, V., & Guerrero, L. K. (2022). Nonverbal Communication. Routledge. https://doi.org/10.4324/9781003095552
[3]
China Daily (2025). Interview with Grenadian Prime Minister Mitchell. (in Chinese) https://china.chinadaily.com.cn/a/202501/18/WS678b7b5fa310be53ce3f2524.html
[4]
China National Knowledge Infrastructure (CNKI) (2025). Advanced Search. (in Chinese) https://kns.cnki.net/kns8s/AdvSearch?crossids=YSTT4HG0%2CLSTPFY1C%2CJUP3MUPD%2CMPMFIG1A%2CWQ0UVIAA%2CBLZOG7CK%2CPWFIRAGL%2CEMRPGLPA%2CNLBO1Z6R%2CNN3FJMUV
[5]
Guangming Daily (2010). Color Matching Specialist. (in Chinese) https://www.gmw.cn/01gmrb/2010-02/24/content_1058877.htm
[6]
Li, D. Q., & Sun, S. Y. (2006). On “National Attire”: The Chinese Tunic Suit. Art Observation, 13-16.
[7]
Li, Z. J. (2010). “Distant Appreciation for Color and Close Observation for Pattern”: How Printing Enterprises Prepare for the Post-crisis Era. China Textile, 50-51.
[8]
Mehrabian, A. (1971). SilentMessages. Wadsworth Publishing Company.
[9]
Ministry of Foreign Affairs of the People’s Republic of China (2025). Search Results for “Visits to China”. https://www.mfa.gov.cn/irs-c-web/search.shtml?code=17e50b77dab&searchBy=title&searchWord=%E8%AE%BF%E5%8D%8E&dataTypeId=2082
[10]
NetEase News (2025). Queen Letizia’s Large Coat with Pink Floral Embroidery Looks Ethe-real and Graceful. (in Chinese) https://www.163.com/dy/article/KE6DVNGN05436IFU.html
[11]
Park, J., Woods, E., & DeLong, M. (2010). Quantification of Aesthetic Viewing Using Eye-tracking Technology: The Influence of Previous Training in Apparel Design. In Proceedings of the 2010 Symposium on Eye-Tracking Research & Applications (pp. 153). ACM Press. https://doi.org/10.1145/1743666.1743704
[12]
Samovar, L. A., Porter, R. E., McDaniel, E. R., & Roy, C. S. (2015). CommunicationbetweenCultures. Cengage Learning.
[13]
Shanghai Observer (2023). The President on His First Visit to China: Why is He Wearing a Chinese Tunic Suit? (in Chinese) https://export.shobserver.com/baijiahao/html/637103.html
[14]
Shen, C. W. (2011). ResearchonAncientChineseCostume. The Commercial Press.
[15]
Sohu News (2024). Belgian Foreign Minister Visits the Forbidden City in Eye-Catching Chinese Red. (in Chinese) https://www.sohu.com/a/752509809_121659516
[16]
Tao, H., Su, Y. L., Zou, Y., & Pei, X. H. (2023). Artistic Features and Origins of Ruqun Dress in the Sui and Tang Dynasties. Fashion Guide, 12, 15-23.
[17]
The Paper (2025). This African Prime Minister Customized a Chinese Tunic Suit Overnight. https://www.thepaper.cn/newsDetail_forward_31177672
[18]
Toutiao (2025). The King and Queen of Spain Attended a Formal Welcoming Ceremony in Beijing. (in Chinese). https://www.toutiao.com/w/1848569791354057/?channel=&in_ogs=&in_tfs=&original_source=&source=input&traffic_source=&utm_medium=wap_search&utm_source=
[19]
Wang, Y. (2008). The Image of “National Flower” in the Tang and Song Dynasties and the Spirit of Chinese Culture. Literary Review, 61-71.
[20]
Wang, Y. Z. (2016). The Imagined Community in Traditional Chinese Costume. JournalofNorthwestUniversityforNationalities (PhilosophyandSocialScience), 184-188.
[21]
Wu, Y. F. (2009). International Cultural Communication and the Shaping of China’s National Image. InternationalReview, 8-15.
[22]
Xinhua News Agency (2024). Shanghai-Style Qipao Collection on Exhibition in Brussels. https://english.news.cn/20240514/8a44752a98604a6b8cf0939b19db3b12/c.html
[23]
Xinhua Baoye (2025). Let the Beauty of Intangible Cultural Heritage Shine on the Inter-national Stage. (in Chinese) https://www.xhby.net/content/s693b7dc5e4b096256d6ba5bb.html
[24]
Yang, D. (2011). Application of “Chinese red” Elements in Modern Product Packaging Design. PackagingEngineering,32, 147-150.
[25]
Zhang, C. Y., & Li, Q. Y. (2020). Aesthetic Evolution and Cultural Inheritance of Chinese Cheongsam Modeling Art Elements. HundredSchoolsinArts,36, 62-67.
[26]
Zhang, C., Dai, Q. L., & Yao, X. N. (2023). Research on Design Elements of Ming Dynasty Hanfu Based on Eye-Tracking Technology. ChinaTextile, 60, 120-127.
[27]
Zhao, A. Q. (2025). King Felipe VI Visits China: Spain Wants to Seize New Opportunities of the 15th Five-Year Plan. ChinaYouthDaily.
