Previous study of Ch'u Yuan's "Li-sao" already recognized the significance of attire. This paper takes Shan-hai-ching and other sources as examples to explicate that fu, ch'u-fu and the unworldly fu all refer to men's attire. It has been proved by historical documents and archaeological artifacts that, among the various artistic techniques of symbolizing men's attire by fragrant grass, the Ch*u people in Ch'li Yuan's time did have the habit of wearing fine apparel, swords, precious stones and high top hats which represented the attire of a gentleman. To explain how Ch'u Yiian employed images of fragrant grass attire as metaphors for self-cultivation, this paper proposes a theory of three stages, or three changes, which are the novice's attire (ch'u-fu), the adult's official attire, and the shaman's attire of ascending to heaven, to symbolize attire for ritual ceremony and memorial ceremony in different stages. The author argues that the term "hao-hsiu" (refined cultivation) is the motif of "Li-sao" which symbolizes Ch'u Yuan's insistence on goodness and beauty. As a contrast to "change," "constancy" is indeed the theme of "Li-sao". The fact that Ch'li Yiian employed the changes of fragrant grass as a metaphor for inferior men's moral repentance, to satirize Tzu-lan and Tzu-chiao, is related to the tradition of naming of the Ch'u royal family with names of fragrant grass. By way of the "constancy" and "inconstancy" of the attire theory and other related arguments, the author concludes that attire is the core of "Li-sao."