An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also  an internal symbolism. Each and every piece of traditional clothing communicates a vitality of its own. This combination  of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear  originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant  good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Fashion Although the traditional robe-and-vest has virtually disappeared, the comfortable Tang suit has survived, and  remains a formal wear choice for a select few. Originally, the Tang suit was a term foreigners used, in a sweeping way, to describe all Chinese fashion. In fact, what people have over time come to define as the Tang suit is something that was created in the late  Qing and early Republican era among the common people.  It is cut wide, with long sleeves, buttons in the front, and a stiff collar. The lines are simple and generous. There is no class restriction on the Tang suit; its enthusiasts can be found in commerce, government, and academia. Examples include the scholar Wang Chien-hua, the ethnomusicologist Lin Ku-fang, and the well-known businessmen Huang Jen-chung and Wong Ta-ming.  They find pleasure in wearing Tang suits for classes, meetings, and all kinds of formal affairs. Wang Chen-hua began wearing Tang suits 20 years ago. He says that the Tang suit is comfortable and easy to move around in. Moreover, unlike a Western suit, it is not open in the front and so keeps out the cold better. Moreover, the Tang suit has "personality." It displays an individual's character and aesthetic.  Yu Yuh-chao has "suffered a blow" at a number of international conferences. He is determined to reshape the  image Chinese project, and to encourage culture in daily life. Yu, who worked in the Ministry of Education  for many years, is strongly promoting the creation of a new national attire. He notes that modern national  dress must have five key characteristics: it must be comfortable, artistic, modern, suited to the locality,  and universal. He calls his ideal national dress shuya, which means "comfortable and elegant." Taking the  lead himself, two years ago he put aside his Western suits and asked a tailor to make a shuya outfit that  Yu himself had designed. He wears it to work and to give lectures.  So what is shuya clothing, that it doesn't lose the spirit of traditional Chinese culture yet conforms to  the needs of modern life? This March, the Council for Cultural Affairs and Fujen Catholic University, aiming to promote innovation  in national costume design, co-sponsored an academic conference and a design competition on the theme of  "Comfortable and Elegant Dress Suited to Taiwan's Local Conditions."