One cut shapes the outline; every stitch brings it to your body.
Since the shop opened in 1979, not one Hanching cheongsam has been left to a machine. The master measures and cuts by hand, and not a single step of the old Shanghai method has been skipped.
Hanching Qipao｜1F, No. 53-6, Sec. 3, Zhongshan N. Rd., Zhongshan Dist., Taipei
From an Air-Raid Shelter to the Cutting Table
The homeland Chen Hsing-chun remembers is darkness. Day or night, they were forever hiding in air-raid shelters, eating and sleeping inside them. He was born on the Dachen Islands off Zhejiang — after the Battle of Yijiangshan in 1955, the Nationalist government evacuated the entire population of the islands to Taiwan; they became known as the Dachen evacuees, and he was one of them.
When the family fortunes collapsed he left school in his second year of junior high. In 1964, aged fifteen, relatives introduced him to the Lan-Bai tailoring shop on Chengdu Road in Taipei's Ximending, where he was apprenticed to a Shanghainese master. By Shanghai custom an apprentice had to serve three years and four months before he could be released as a tailor — not roughly three years, but three years and four months, set down in a written contract. In those days, the moment a craft counted as learned was measured in months.
Eight years later he judged his hands ready. In 1979, at thirty, Chen Hsing-chun opened his own shop on Anhe Road in Taipei's then-emerging East District: a space of about five ping (roughly 16 m²) at six thousand NT dollars a month. He could not afford staff, so he and his wife sewed everything themselves. For the first months almost no one came to order a cheongsam; they scraped by on the small change from alterations.
In 1997, with Taiwan's bridal photography industry at its height, Hanching moved from the East District to Zhongshan North Road, lined with bridal salons, and has stayed there ever since. The address changed once; the method never did — the rules laid down by that Shanghainese master are still at work on the same cutting table.
The Handwork You Cannot Skip
Whether a cheongsam looks right has little to do with its pattern. It comes down to how closely it sits on the body and how clean its lines run. These are the steps Hanching has never left out.
The Single Cut — At the cutting table he picks up the shears and cuts the outline of the cheongsam in one pass — no toile, no correcting afterwards. The trade calls this the “single cut,” and nothing shows an old tailor's confidence more plainly. The master himself puts it flatly: “There is nothing to it. That is simply how a cheongsam is made.”
Soaking and Pressing — By Shanghai rule the cloth is soaked in water and pressed with an iron before a single stitch is sewn. The step keeps the fabric from distorting later and makes the finished garment sit more flatteringly on the body. Skip it and nothing shows at first — but the garment loses its shape with wear.
Edge Finishing — Working the corners is the foundation of cheongsam tailoring. How cleanly the slit, the hem and the cuffs are finished decides whether a cheongsam reads as a fine garment or as something off the rack.
A Pair of Shears Used for Decades — A measuring tape, an iron and a pair of shears are the three tools a cheongsam needs. The master's shears have been in use for decades, sharpened again and again until only half their original length remains — and he is still using them.
Made to Measure or Rented — Both Work
Made-to-Measure Cheongsam — From measuring and fabric selection through to finishing, entirely by hand. Please allow one to one and a half months — the master works with limited hands, and that is simply how many orders can be taken at a time.
Cheongsam Rental — One-week hire, collected and returned within opening hours. Prices vary by fabric and style; the rental range is NT$1,800 to NT$6,800.
Wedding Attire — Wedding cheongsam, dragon-and-phoenix jackets and the Xiuhe wedding dress popular in recent years, all available to rent or order. For weddings we suggest coming in for a fitting a month ahead.
Men's Tang Jackets & Changpao — Made-to-measure and rental of men's Tang jackets, changpao and magua. Suitable styles for grooms, family elders and hosts alike.
Alterations & Customer's Own Fabric — Adjustments to existing cheongsam; we also work with fabric you bring yourself, by appointment so the master can quote in person.
Uniforms & Stage Costumes — Past commissions include staff uniforms for the National Palace Museum and the Chiang Kai-shek Memorial Hall, and costumes for Pai Hsien-yung's stage production Wandering in the Garden, Waking from a Dream and the PTS drama A Touch of Green.
You Will Wear It More Often Than You Think
People hesitate because they fear wearing it only once. In practice the cheongsam has never lost its place in Taiwan — and today's modern cut is easy enough to wear on an ordinary day.
Weddings & Engagements — For the bride, the groom, and mothers and elders on both sides. Wedding cheongsam, dragon-and-phoenix jackets and Xiuhe dresses are all within our range.
Mother-of-the-Bride — Dressing the mothers has been one of the shop's mainstays for years. A well-fitted cheongsam carries more dignity than an ordinary gown, and dates far better.
Year-End & Spring Banquets — Company occasions around the New Year — a use the shop itself lists among its services.
Lunar New Year & Family Gatherings — For New Year visits and the reunion dinner, a cheongsam that fits does more than any new outfit.
Formal Dinners & Ceremonies — Where formal dress is expected, the cheongsam is one of the few Taiwanese options that stands as an equal to a Western gown.
Performance & Stage — Stage costume commissions. The shop has made costumes for the PTS drama A Touch of Green and Pai Hsien-yung's Wandering in the Garden, Waking from a Dream.
Everyday · Modern Cut — The modern cut sits closer to contemporary life; length and slit can both be adjusted, so there is nothing daunting about wearing it day to day.
Photo Shoots — The second generation works regularly with bridal and location photographers — many of the shop's portfolio images came from exactly that.
From Walking In to Collection
Book — Call or message the Facebook page. For a general fitting we suggest one to two weeks' notice; for a wedding, please allow a month.
Measuring — The master measures you himself, calling out one point after another while the second generation writes each down. Shoulder, sleeve, waist — this is what happens in the shop every day.
Choosing Fabric — Chosen from the bolts in the shop. Material and grade affect both the price and how the garment drapes, and the master will advise based on your occasion and figure.
Cutting & Sewing — The cloth is soaked and pressed, the master cuts the outline in a single pass, and the garment is sewn by hand. Allow one to one and a half months.
Fitting — A fitting before completion, with final adjustments to the fit. This is where a cheongsam earns its value — one centimetre changes the whole line.
Collection — Collect once the fit is confirmed. If your figure changes later, you are welcome to bring it back for adjustment.
What Can Be Published, We Publish in Full
Cheongsam Rental：NT$ 1,800 – 6,800per garment · one-week hire — Priced by the combination of fabric and style. The deposit is adjusted according to the value of the garment. The range above is the current published figure from the shop's official site.
Made to Measure：Quoted in storematerials and labour included — The price depends on the grade of fabric, the complexity of the style and any embroidery. No made-to-measure price list is published; bring your occasion and your budget and the master will quote in person.
Own Fabric · Alterations：Quoted by appointment — Work on fabric you supply, and alterations to existing garments, can only be quoted once the master has seen the piece in person.
The figures above are taken from the current published information on the Hanching Qipao official website (August 2026). The amount payable is the one quoted in store; where the website and the shop differ, the shop's word stands.
Every Piece Here Was Made in the Shop
Grouped by occasion. Open one to see the detail — the weave of the cloth, the handwork of the frog buttons, the finish along the slit.
No.12 — Sleeveless full-length indigo silk-satin cheongsam with bamboo-leaf sprays, vermilion mandarin collar and cream piping, full-length studio shot against a bamboo-shadowed wall
No.13 — Teal embroidered Xiuhe wedding top with matching skirt, styled with an antique vase and furniture
No.14 — Men's black-and-gold dragon brocade Tang jacket with a mandarin collar and hand-knotted frog buttons, full-length studio shot against a dark background
No.16 — Silver-grey floral lace short cheongsam with cream edging, full length against a pure white studio backdrop
No.17 — Two dark cheongsam with folding fans, in a red-brick arcade
No.20 — Pink floral short-sleeved cheongsam seen from behind, the model glancing back so the cut of the back is visible, red lanterns in an old house at night
No.21 — Black long cheongsam with multicoloured floral embroidery, leaning beside a dark wooden counter in a warmly lit interior
No.23 — Short cheongsam with a multicoloured botanical print on red, mid-stride against a cobalt-blue studio backdrop
No.30 — Black patterned cheongsam, the model seated with a pipa, against a wine-red backdrop
No.32 — Long cheongsam in a black-and-white leaf pattern, standing before the red temple door with red paper diamonds, hard midday light
No.33 — A customer choosing cloth at the fabric racks in the shop, bolts of coloured silk on the shelves
No.34 — Gold cheongsam, the model reaching towards a wooden cabinet in a dimly lit old house
No.35 — Design concept: bone-white satin short cheongsam, a single deep navy arc motif sweeping across the skirt, city rooftop at blue hour
No.38 — Design concept: long black sequinned cheongsam with gold-and-copper floral embroidery, an emerald satin turned-back collar and matching slit lining
No.39 — Design concept: long silver-grey satin cheongsam with cream lace floral appliqué, mandarin collar and sleeveless cut, before the carved timber screen of a Chinese garden
No.40 — Design concept: long cheongsam in mineral blue-green damask, a still-water ripple woven tone on tone, low collar and three frog buttons, daylight in a bare concrete room
No.41 — Design concept: loose straight moon-white satin cheongsam worn over graphite straight-leg trousers, terracotta piping and three frog buttons, city street in daylight
No.42 — Design concept: long pink brocade satin cheongsam, floral damask woven tone on tone with rose piping, seated on a wooden table in an old house among blue-and-white porcelain
No.43 — Design concept: pink satin halter-neck short cheongsam, a row of matching hand-knotted frog buttons set along the mandarin collar and the diagonal front opening, a watercolour peony motif, in a glass conservatory
No.44 — Design concept: floor-length lilac velvet cheongsam, a tone-on-tone floral pattern, a long slender keyhole opening below the bar-shaped frog button at the mandarin collar, edged with narrow piping in the same colour, a row of matching bar-shaped frog buttons down the centre front, each hung with a silver teardrop drop, gathers at one side of the waist, in the terrazzo stairwell of an old hotel
No.45 — Design concept: wine-red satin halter-neck short cheongsam, gold-thread floral appliqué, a teardrop keyhole opening at the chest and a flower-shaped frog button at the collar, both edged with gold piping, the hem and the slit edged in gold to match, before a grey-green plaster wall
No.46 — Design concept: halter-neck short cheongsam with a blue watercolour rose print on ivory, a blue butterfly-shaped frog button at the mandarin collar and a small teardrop opening just below it, horizontal gathers all over the waist and hips, the hem cut on the diagonal and overlapping, before a wall of washed-stone render, slanting afternoon light
No.47 — Design concept: long cheongsam with a pink watercolour floral print, a two-layer construction with a sheer outer layer over a plain lining, a high mandarin collar and a row of silver-tipped pink bar-shaped frog buttons down the centre front, running all the way to the hem, an empty room backlit through sheer curtains
No.48 — Design concept: ivory silk long cheongsam with a crossover front, indigo-violet wisteria in ink-wash print cascading along the crossing line, the crossing edges, sleeve hems, lower hem and side slit all bound with very fine navy piping, pale ink twigs and small pink plum blossoms scattered over the skirt, photographed before a timber corridor in a Chinese garden
No.49 — Design concept: sleeveless long cheongsam in hand-dyed satin blending emerald and teal, a low mandarin collar closing at the centre front with a slender teardrop keyhole below it fastened by a single coral-red hand-knotted button, no piping anywhere, olive-gold washing across the waist and hip, backlit at dusk in a red-brick arcade
No.50 — Design concept: halter-neck cheongsam in wine-red satin with an all-over gold floral brocade, the mandarin collar and the keyhole opening both piped in gold and fastened with gold hand-knotted buttons, the high side slit piped to match, a half-length frame in an old interior with a warm lamp and a vase of red plum branches
No.51 — Design concept: sleeveless long cheongsam in white satin printed with blue-and-white porcelain florals, a mandarin collar closing at the centre front with a single self-coloured knot button and a deep teardrop keyhole below it, the front line, armholes and side slit all piped in fine pale blue, framed to the knee beside the iron railing of a stone bridge in a Jiangnan water town
No.52 — Design concept: short halter-neck cheongsam in cream printed with blue florals, the halter tied in a bow at the throat, a deep teardrop opening at the centre front, a small slit at the side of the skirt, beside the wet flagstones of an alley in a Jiangnan water town
No.53 — Design concept: sleeveless cheongsam in ivory lace, sheer throughout and unlined, a mandarin collar closing at the centre front with a long narrow keyhole below it running down to the bustline and finishing in a single red stone, the lace scattered with red, green, blue and gold stones and gold floral motifs, the high side slit and the hem both piped in fine self-coloured plain satin, framed above the knee beside a tea table in a Chinese timber gallery
No.54 — Design concept: halter-neck cheongsam in ivory guipure lace, wide open areas between the heavy lace bands and unlined through the waist and midriff, a mandarin collar trimmed with a lace floret that continues below into a fanned band of openwork panels, a plain satin bow tied at the side waist, the high side slit piped in fine self-coloured plain satin and worn over a plain satin underskirt, framed to the knee in an old interior with a warm lamp and a hanging ink landscape scroll
No.55 — Design concept: short-sleeved short cheongsam in cream printed with blue watercolour florals, a mandarin collar and diagonal front opening fastened at the throat with a single navy knot button, the collar edge, the crossing line, the sleeve hems, the side slit and the lower hem all bound in fine navy, in a bright room by a window with a white sheer curtain and white flowers in a stoneware vase
No.56 — Design concept: long halter-neck cheongsam printed with pink watercolour florals, a mandarin collar and a row of bar-shaped frog buttons down the centre front, a deep teardrop keyhole below them, the collar edge and the opening both piped in fine pink, a high side slit, seated on a wooden chair beside a tea table in an old interior
No.57 — Design concept: long halter-neck cheongsam in ivory satin, a single self-coloured knot button below the mandarin collar with a slender teardrop keyhole beneath it, a pink-violet flowering branch printed diagonally from the chest down into the skirt, no piping anywhere, a high side slit, seated by a wooden lattice window and a pond in a Chinese garden
No.04 — Couple portrait: the bride in an orange-and-gold floral cheongsam, the groom in a grey mandarin-collar Tang jacket
No.06 — Couple portrait: the groom in a cream embroidered Tang jacket, the bride in a teal embroidered top and skirt
No.07 — Mint-green brocade short cheongsam; the model sits sideways on a wooden bench holding a folding fan, dappled light in a timber walkway
No.09 — Ivory floral cheongsam with vermilion piping; the model stands on the stone bridge of a Japanese garden under a paper parasol
No.02 — Two cheongsam side by side — one black patterned, one black-and-white — in an old street arcade
No.03 — Men's black jacquard Tang robe, standing at the wooden window of an earth-walled old house
The portfolio images are based on garments actually made in the Hanching workroom: the styles, fabrics, motifs and cut are all the shop’s own work. The models, settings and lighting shown are digitally recreated and are not the original photographic locations. The finished garment is what counts — it is made to your measurements.
What You May Want to Know Before Coming
How long does a made-to-measure cheongsam take?
Please allow one to one and a half months. This is a matter of the shop's capacity — only so many orders can be taken at once — not a deliberate queue. If you have a firm date, tell the master when you book.
How many visits does it take?
At least three: one for measuring and fabric, one for the fitting, and one to collect. The exact number depends on how complex the style is.
What are the rental terms?
A one-week hire, collected and returned within opening hours of 12:00–21:00. Rental runs from NT$1,800 to NT$6,800 depending on fabric and style, and the deposit is adjusted to the value of the garment.
How far ahead should I book a fitting?
So that every customer has a comfortable fitting room to themselves, please do book ahead — by phone or through the Facebook page. We suggest one to two weeks before the day you need it; for weddings, please allow a month.
Can I bring my own fabric?
Yes — we currently accept customers' own fabric, by appointment so the master can see the cloth and quote. One caveat: years ago a customer's own fabric distorted after the garment was finished, so the master will usually suggest choosing from the shop's own bolts, where the result is more certain.
What if my figure changes later?
Bring it back and we will adjust it. Alterations have always been part of the shop's work — many customers began coming when they were young and still come now, ordering something new for each wedding, celebration or milestone.
Do you make menswear too?
Yes. Men's Tang jackets, changpao and magua can all be made to measure or rented, and are common for both grooms and family elders.
Is there parking?
The shop is on Section 3 of Zhongshan North Road, near Yuanshan MRT Station and opposite the Taipei Fine Arts Museum. Customers have mentioned easy parking in Google reviews, but the shop has no dedicated space of its own; the MRT or a nearby car park is advisable.
1979 Opened Founded on Anhe Road in Taipei's East District; moved to the Zhongshan N. Rd. bridal district in 1997 · Two Generations First generation Master Chen Hsing-chun; second generation Chen Hao-jan · 100+ Costumes Commissioned for the PTS period drama A Touch of Green · 4.4 Google rating 50 reviews (August 2026)
How Others Have Recorded This Shop
Mirror Media（2018）：[Taiwan Landmarks] The Craft Is in My Hands: Hanching Qipao — A full feature on Master Chen Hsing-chun's apprenticeship, the founding of the shop and the second generation's return, with further instalments in the Reviving the Cheongsam series.
TTV（2019）：Finding Taiwan's Power to Move | Hand-Tailored Cheongsam, Stitch by Stitch — A television feature showing the master measuring, cutting and sewing at work.
Ministry of Culture · National Cultural Memory Bank（Collection）：Green Cheongsam with Gold Paramecium Motif | Maker: Chen Hsing-chun — A cheongsam commissioned from Hanching Qipao in 1997, held in the Ministry of Culture's National Cultural Memory Bank and catalogued by the Chinese Textile and Costume Culture Center at Fu Jen Catholic University.
Fu Jen Catholic University, College of Fashion & Textiles（2020）：An Age of Elegance | A Century of Cheongsam Craft in Taiwan — An exhibition supported by the Ministry of Culture's National Cultural Memory Bank programme, naming Master Chen Hsing-chun among its cheongsam artisans.
TVBS Queen：The Beauty of the Cheongsam — Special Programme — A programme feature on cheongsam craft and wear, with Hanching Qipao invited to take part.
PTS（2022）：Southern Talk | Old Towns, New Ideas — From the Lukang embroidery segment.
WEDDINGS magazine（2026）：Ten Cheongsam Tailors in Taiwan We Recommend — Selected for the list, offering both rental and made-to-measure.
Commissions
Not Only a Shop — Part of a Circle
The Taiwan World Cheongsam Culture Promotion Association is a nationwide body for cheongsam culture, with chapters across the country, running runway shows, talks and cultural exchanges throughout the year. Hanching Qipao has long taken part in the association's activities and has been listed among the supporting partners for its events.
Taiwan World Cheongsam Culture Promotion Association｜National body（12,000 followers on Facebook）
Taoyuan Chapter — Taiwan World Cheongsam Culture Promotion Association｜Taoyuan chapter（2,200 followers on Facebook）
Hsinchu County World Cheongsam Culture & Arts Promotion Association｜Hsinchu chapter（444 followers on Facebook）
World Cheongsam Queen International Pageant｜International pageant（3,400 followers on Facebook）
I came to rent a cheongsam because I had an event. A cheongsam is like a gown — it brings out a woman's lines, you look better in it, you move more gracefully and it gives you presence. Theirs is very comfortable against the skin; on the whole it wears far more easily than I had imagined, and there would be no problem wearing one day to day. I would like to have one made here, something I can wear on formal occasions.
The clothing history and terminology on this page draw on the public collections below. The shop’s services, lead times, and prices are subject to current notices on its official website and information provided in person.