In traditional China every individual, however rich or poor, was entitled to be honoured on three occasions: birth, death and marriage. Among Chinese-Canadians marriage is similarly honoured, but the circumstances and ceremonies surrounding it now blend Chinese tradition with Western symbolism. Matchmakers and fortune-tellers are no longer consulted; Canadian born Chinese choose their spouses themselves, though some continue to avoid marrying persons of the same surname. Weddings are now usually conducted in a church, followed by a reception at home and a banquet in a restaurant. Newlyweds maintain the tradition of offering tea to parents and relatives, but the old custom of kowtowing to elders and worshipping heaven and earth and the ancestors has waned. The traditional wedding costume, which is still favoured by many modern Chinese brides, is charged with symbolism. This bride's satin jacket and skirt is richly embroidered with sequins, rhinestones and glass beads, forming dragon and phoenix motifs. The phoenix, symbolizing beauty, was the favourite dress motif of Chinese empresses. On a bridal gown, the phoenix signifies that the bride is empress on her wedding day. The groom's coat is woven with the character shou, meaning longevity. Both these contemporary garments were made in Taiwan. Some traditional wedding gifts are chop-sticks, dates and lotus seeds, all symbolizing the wish that the couple have many children. [Treasures] (Chinese)

The country of Tibet is divided into three main regions, Kham in the East, Amdo in the North East and Utsang in the centre. In each region the costume differ slightly, though the basic garments and styles remain the same.

There are two main types of costumes: Those worn for special ceremonies and festivals and those for everyday use. Silk and fine cotton are used for special clothes, with the silk being imported from China and cotton from India. The basic garment is a long-sleeved coat called chubba or chupa, which is folded across the body and held in place by a belt. Both men and women wear this garment and both have the draping from left to right, as is customary in Asia. The women wear the chubba to the ankle, two blouses (one long sleeved and one short sleeved) underneath. The two blouses have high necks, with one often rolled over the other to form a collar. Decorated boots in felt and leather are worn and are shown just below the skirt. Women from the Utsang region, where this costume is from, wear a chubba without sleeves which allows the long sleeves of the blouse to be shown. (Tibetan)

This stage costume, made around the 1930s, is a traditional style Chinese soldier's uniform made of cotton. The jacket is trimmed with rabbit fur encircling the Chinese characters Yong, which indicates bravery. (Chinese)

The dress is part of a costume worn by the historical mannequin representing Princess Olha on display at the Ukrainian cultural exhibit at Casa Loma in Toronto. The dress is inspired by Byzantine court fashions and imitates a 10th Century dalmatica-type garment.

The silk and brocade, covered with a design of the same colour as the background were characteristic for the expensive imported fabrics known in Rus' under the general term of pavolok. The costume was produced for the Ukrainian exhibition in the late 1960s Ukrainian Canadian Women's League. (Ukrainian)

This fabric was hand-woven by "Faso Dan Fani", a state society that assists women with weaving by supplying them with materials to make boubous (knee-length, full tops worn by both men and women shown here) and other textiles. This ensemble, made in Ouagadougou, Burkina Faso, Africa, would not be worn casually, but instead to the office or for a party. (African)

Brought into Canada nearly one hundred years ago, these glasses were worn by a Korean immigrant. These tinted lens glasses, with round frames and distinctively styled folding arms are typical of the culture and time period. (Korean)