Introduction: From a Hat to the Awakening of a Cultural Symbol
From a lost hat to embracing 3,600 years of architectural history—on March 23, 2025, the Baoget “宀®” brand completed a cultural “rebirth” at China International Fashion Week.
Inspired by the Baoget“宀®” (mián) character in oracle bone script, which symbolizes “eaves,” this grand show transformed the mechanical beauty of bracket sets into garment cuts, allowing tile patterns to climb up the lapels and even imprinting the texture of old brick walls into flowing canvases. This is neither a mere reproduction of intangible cultural heritage nor a label of national style; it is an experiment on “how culture can become the genes of high fashion.”Baoget“宀®” opens a more austere and profound fashion path, employing the structural thinking of architecture and the symbolic aesthetics of Chinese characters, allowing culture to be embedded within the framework rather than remaining on the surface.
The Eaves in Oracle Bone Script: 3,600 Years of “Guardianship”
Perhaps even the ancestors who invented the Baoget“宀®” character in oracle bone script never anticipated that this symbol representing houses would become the starting point of a fashion revolution thousands of years later. The entrepreneurial story of principal Sien Wang began with an “awakening on top of the head.” Having been bald for over a decade, a hat became Sien Wang’s “cultural armor,” with the Baoget“宀®” character representing the ultimate answer he found for this safeguarding. “There is a significant domestic production capacity, and I am not qualified to enter such a competitive industry. However, the absurdity of ‘middle-aged men fighting with their sons for hats’ is precisely the market gap.”
Driven by an obsession with “not doing it if I can’t find a cultural symbol,” he spent two years diving deep into the “China Script Museum” in Anyang, Henan, discovering that Baoget“宀®” is not only a radical for 698 Chinese characters but also the prototype code of Chinese architecture: from the dome-shaped straw houses in oracle bone script to the tiled earthen walls with a history spanning millennia, and to the inverted bracket stacks at Lingyin Temple which resemble Baoget“宀®”. This symbol ultimately evolved into the soul of the brand. “The ambition of Baoget“宀®” is to become a “cultural architect”， rather than a mere transporter of symbols”.
On-Site Highlights: The Baoget“宀®” Style Three-Section Life, Architectural Epics on Lapels
Theme One: 宀-Independence — Dedicated to the “Spiritual Nomads” in the City
Straight lines, broad shoulder silhouettes, and asymmetrical hems echo the cantilevered structure of the bracket sets; the materials used include unbleached linen and hand-wrinkled cotton, retaining the mottled texture of natural dyes, symbolizing the transition from wilderness to civilization. The designer intentionally weakens gender symbols, creating a sense of tranquility with gray and white tones that suggest a “self-container.” This seemingly minimalist silhouette conceals magnetic modules, allowing hats to be transformed into scarves, while the coat can be restructured into a shawl through mortise and tenon fasteners, symbolizing the flexible survival philosophy of urban dwellers.
Theme Two: 宀冖-Twin — The Romantic Game of Twin Structures
Double layers of fabric intertwine Here: the outer layer of stiff ramie acts like armor, while the inner layer of translucent silk whispers softly. The combined long dress features independent cuts, and when side by side, the lapels overlap to form a complete Baoget“宀®” shape. The brim of the hat is embedded with miniature bracket-shaped metallic pieces, concealing the Chinese character code “冖” (covering). Love is not about dependency, but rather the mechanical interlocking of two souls.
Theme Three: Tranquility-Home — Portable Cultural Memory
Layers of earthy wool and indigo tie-dyed cotton are stitched together, and the lapel features embroidered patterns of Lingyin Temple’s tile designs, with each stitch made from metal wire melted from demolition waste. The grand finale is a three-meter-long cloak hat, embossed with the texture of century-old brick walls from Hangzhou. As one walks, the brick wall texture flows with movement, transforming into a contemporary footnote of A Thousand Li of Rivers and Mountains. The warmth of “home” is deconstructed into a wearable, disassemblable cultural gene repository.
Why Baoget“宀®” is Not Another “Cultural IP?”
“Intangible heritage is the legacy of history, while Baoget“宀®” aims to create a legacy for the future.” Sien Wang lifted a hat styled like a bracket: “If we directly embed tiles in the brim, that is cultural creation; but if we study the curvature of tiles, convert them into the arc structure of the crown, and calibrate the wearing comfort using architectural mechanics: this is the essence of luxury.”
This fundamental difference from mainstream national style brands in the market has led Baoget“宀®” to choose a more hidden path:
De-symbolized design: The brand’s logo, Baoget“宀®”, is deconstructed into lines and white spaces, achieving a Mondrian-style geometric reconstruction;
Wabi-sabi aesthetics: Extracting gray-white, ochre, and rust-red from ancient building materials, stripping away dynastic labels while retaining the texture of time’s patina;
Closed-loop ecology: Establishing a handmade workshop, the only one in the country using hat molds modeled after temple architecture’s brackets, and directly collaborating with top fabric suppliers like Loro Piana and Piacenza.
True Eastern aesthetics will conquer the world in silence. The dazzling performance at Fashion Week is merely one facet of Baoget“宀®”s ambition. The brand’s trademark has been registered in various locations globally, and the Baoget“宀®”Home, which integrates exhibitions of Chinese characters, traditional tea houses, and sustainable workshops, is already under renovation near West Lake. “We aim to show the world the power of China’s “small yet exquisite” brands: designs that align with universal aesthetic principles while embodying warm cultural essence.”
As Sien Wang stated, “What we call the East is poetry etched in flesh and bone, and the best protection is to let it grow silently”. At the end of the grand show, as the last beam of light faded and guests left, they took away more than just the profound impression made by the remnants of blue tiles; they also carried a wearable “eave”—the transmission of culture might just reside in the moment of lowering one’s head to adjust the brim of a hat.
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