Woman's Hanbok, Korea

During the late 19th century, Koreans coined the term “hanbok,” which refers to Korean clothing, to distinguish their traditional attire from the increasingly prevalent Western-style garments (Kwun, 2022). A century later, Western clothing gained dominance, diminishing the hanbok dress tradition to a ceremonial role for special occasions such as first birthdays, weddings, and funerals.

The hanbok in the Historic Textile & Costume Collection is a 21st-century ensemble left outside the International House of Rhode Island in 2017 and passed along to the Collection by Dr. Thomas Hospod. The origins of who owned the hanbok are a mystery; being left outside of the International House, it can be surmised that an international student from Korea left it there. The hanbok ensemble is a total of four pieces including a jeogori, chima, sokchima, and ayam (Fig. 1). 

The jeogori is a short jacket that covers the bust of the high-waisted outfit (Fig. 2). The bodice of the jeogori is made from an off-white damask fabric of an unknown fiber content. This garment has saekdong sleeves; the word means "colorful stripes," and these sleeves are comprised of eleven different colored stripes of damask about 2 cm wide (Fig. 3). The jeogori has red damask embellishments at the cuffs, neck, and ties, suggesting this garment was worn for celebrations. Red cording finishes several seams on the back and sleeves.

The front left of the jeogori crosses over the right side and is closed with the two red ties and a single snap. The bodice is lined with a white, sheer fabric, possibly organza. The stitching is done by a machine. There are signs of wear as there is light staining on the inside of the jacket along the back seam and a brown spot on the left sleeve that is very evident because it is on a white stripe. There are scattered stained spots around the red cuff. Threads are also pulling on the inside of the collar. 

The chima is a long skirt that, when worn, would reach the floor. The red damask skirt is attached to a very narrow bodice, possibly white cotton or polyester (or both) that allows it to hang from the shoulders (Fig. 4). The chima fabric is very stiff and provides the desired fullness of the skirt. Very narrow folds of a sheer white fabric accent each of the four seams. A fan-shaped applique, featuring a pink and yellow floral pattern, decorates the bottom of each seam. The chima is open all the way down the back and closes at the back with a tie just under the shoulder blades. The skirt is lined with a sheer red fabric. The chima is machine sewn, but finished by hand.  

The sokchima is the petticoat layer worn under the chima to give it the desired fullness (Fig. 5). Made from a combination of white fabrics, the top is sleeveless with a simple round neckline made from organza fabric. The skirt has two layers, the outer layer decorated at the hem with a narrow eyelet trim. The machine-sewn sockima closes at the back with two rows of hooks and eyes, allowing for adjustment in size and tightness.

Two labels are attached to the sokchima. The first is attached to the back seam and printed with “Made in China” and “80.” Korean or Chinese characters are printed on the reverse side of the tag. The second label is at the hem and printed with “1-8-80”. The “Made in China” suggests that this was likely purchased for a ceremonial event. 

The last garment in this hanbok ensemble is the ayam, a cap made from a red damask material and lined with a sheer pink, plain weave fabric (Fig. 6). The cap has two long ties that hang down the back. The bottom edge at the front creates a slight point over the forehead. The front is decorated with a yellow square embroidered with a pink and green flower, and further decorated with blue, yellow, and red tassels. It also features two kinds of floral embroidered patterns. A narrow yellow cord accents the upper edges of the cap. A small label is attached to the cap's inside features small Korean or Chinese printed characters. The cap is machine-sewn.

The history of hanbok seamlessly intertwines with the history of human civilization on the Korean peninsula. Rather than specifying a particular design or shape, "hanbok" is a comprehensive term that encapsulates the millennia of Korean clothing (Hanbok – traditional Korean dress, V&A). The hanbok dress and design style has transformed through the years as sleeves, widths, silhouettes, and dress folds have evolved in details, styles, colors, and decorations. 

In the Three Kingdoms period of Korea (57 BC – 668 AD), the hanbok consisted of a jeogori, an upper body garment resembling a jacket that closed at the front, and lower garments (Kwun, 2022). Men wore lower-garment trousers called baji while women wore long skirts called chima. This period of Korean history witnessed variations in the fastening of the jeogori, ranging from using belts to altering the wrapping order of the fabric (Kwun, 2022). During the 6th century, a new style of fastening the jeogori emerged by folding the fabric left-over-right. This new way of folding the jeogori became standardized in subsequent hanbok iterations and styles. Historical records indicate that both men and women wore baji and chima, with these styles characterized by their length and width. Additionally, long outer coats, called durumagi, appeared during this period, persisting in fashion for over a millennium (Kwun, 2022).

As Korean power dynamics shifted, hanbok design was influenced by various regional powers and invasions from other countries. In 668 AD, Silla, one of the three kingdoms on the Korean peninsula, allied with the Chinese Tang Empire to overthrow the other two kingdoms, Goguryeo and Baekje, establishing Unified Silla (668 – 935 AD) (Hanbok – traditional Korean dress, V&A)). This newly formed kingdom maintained close ties with the Tang Dynasty, resulting in shared hanbok design features. Artifacts discovered in ancient Gyeongju tombs and influenced by tomb paintings from the Tang Dynasty in China indicate that 18th-century aristocratic women from the Unified Silla period wore opulent hanbok, using intricately patterned fabrics, with a geometric flower pattern. (Arumjigi Culture Keepers Foundation).

While this style of hanbok persisted into the Goryeo Dynasty (918 – 1392 AD), the period was marked by 30 years of Mongolian invasions (Hanbok – traditional Korean dress, V&A). Consequently, Mongolian influences surfaced in hanbok, particularly impacting the attire of court officials. The hanbok reflected fewer class distinctions, becoming more straightforward, functionable and elegant in style. Colors and patterns bcame subdued and understated. Goryeo's hanbok distinguishes itself from other types by using natural colors like white, beige, and gray and focusing on patterns like clouds.

As Korea faced external pressures and influences, the hanbok continued to transform and undergo a distinct Korean evolution, gradually transforming into the familiar version of the hanbok of the Joseon Dynasty (1392 – 1910) (Hanbok – traditional Korean dress V&A). 

Saekdong, which roughly translates to “putting colors one after another,” is rooted in the Goguryeo period (37 BC – 688 AD) (Hanbok – traditional Korean dress, V&A). The multicolored fabrics harmonize and convey the wishes for a long and joyful life (Arumjigi Culture Keepers Foundation). Saekdong is most commonly utilized on the sleeves of children’s and bridal jeogori.

The four primary textiles of the traditional hanbok style are silk, hemp, ramie (a finely woven and delicate fabric), and cotton. Many weaving techniques, from plain weave to damasks, gauze, and brocade, were used to create textiles for hanbok (Arumjigi Culture Keepers Foundation). In addition to weaving, various symbols and patterns decorated the hanbok. Techniques included painting, block printing, tie-dyeing, wax or starch-resist dyeing, and embellishment with fragile gold leaf known as geumbak (Arumjigi Culture Keepers Foundation).

During the Joseon Dynasty, variations in hanbok style were visual markers to denote someone’s age, gender, social class, and marital status (Hanbok – traditional Korean dress, V&A). This practice mirrored the prevalent neo-Confucianist values, emphasizing the importance of maintaining distinct social roles to achieve societal harmony (Talbot, 2023, p. 92). A woman of comfortable means who was married would traditionally wear an undyed white ramie jacket, an indigo-dyed skirt of ramie, and undyed ramie undergarments (Hanbok – traditional Korean dress, V&A). The late years of the Joseon Dynasty saw a widespread preference for simple white hanboks without embellishments, conforming to neo-Confucian ideals (Lee, 2022, p. 272). White symbolized purity and resilience, reflecting both folk traditions and beliefs and the continued connection between the Korean peninsula's physical land and the Korean people's culture (Lee, 2022, p. 274). 

Hanbok design did not have a clear gender distinction until the Joseon dynasty, during which a recognizable divergence emerged in silhouette between men’s and women’s styles. The women’s jeogori gradually shortened over time as fashion assimilated the cropped top worn by the Gisaeng, who were women entertainers and courtesans trained in classic poetry, music, calligraphy, conversation, and dancing (Talbot, 2023, p.99). These women had more freedom in dressing, and the cropped style of jackets soon gained popularity throughout all social classes (Talbot, 2023, p. 99-100). The chima became wider as women imitated the style of the upper class. According to neo-Confucian ideals, women were discouraged from revealing too much skin or the contours of their bodies (Talbot, 2023, p. 96 - 99).

In the 21st century, a new wave of fashion designers has emerged, offering new meaning and interpretation to Korean dress. Through collaborations with K-pop groups and K-dramas, modern designers have brought new vitality into hanbok, generating international interest in Korean culture, captivating the attention of global audiences. Modern designers such as Lee Young-hee, Young Jin Kim, Park Seon-ok, and Danha Kim have revived the centuries-old way of dress, adding contemporary design elements. In 2009, Young Jin Kim, released a runway collection that featured a reinterpreted 18th-century hanbok style, with modern design elements such as a floral Liberty print organza fabric for the jeogori. Now housed at the Victoria & Albert Museum, this contemporary hanbok remains true to the historical 18th-century dress of a voluminous chima and slim jeogori (Kim, 2009). Karl Lagerfeld released a collection inspired by Korean fashion and dress; the 2015/16 Chanel Cruise Collection featured runway looks that reinterpreted saekdong rainbow sleeves and hanbok ensembles.

References

Arumjigi Culture Keepers Foundation. (n.d.). Jeogori, and Stories About Materials. Google Arts & Culture. Retrieved November 17, 2023, from https://artsandculture.google.com/story/jeogori-and-stories-about-materials/_QVh008cNieELw

Blanks, Tim. (2015, May 4). Chanel Resort 2016 Collection. Vogue. https://www.vogue.com/fashion-shows/resort-2016/chanel

Choi, N.-Y. (2006). Symbolism of Hairstyles in Korea and Japan. Asian Folklore Studies, 65(1), 69–86.

Hanbok – traditional Korean dress, V&A. (n.d.). Victoria & Albert Museum. Retrieved November 17, 2023, from https://www.vam.ac.uk/articles/hanbok-traditional-korean-dress

Kim, Y. J. 김영진. (2009). Modern Girl [Silk, gossamer silk, organza, cotton, rubber]. Victoria & Albert Museum East Asia Collection. https://collections.vam.ac.uk/item/O1305320/modern-girl-ensemble-kim-young-jin/

Kwun. (2022, April 9). One Garment’s Journey Through History—The New York Times. The New York Times. https://www.nytimes.com/2022/04/09/style/one-garments-journey-through-history.html

Lee, Y. (2022). The White-Clad People: The White Hanbok and Korean Nationalism. Sage Journals, 34(4), 271–296.

National Palace Museum of Korea. (n.d.). Attire of Royal Court Women. Google Arts & Culture. Retrieved November 17, 2023, from https://artsandculture.google.com/story/attire-of-royal-court-women/UQXBuGhXqfUdKQ

Saekdong색동: Korean Colorful Stripes | Korean American Center. (n.d.). Retrieved November 17, 2023, from https://koreanamericancenter.org/saekdong/

Talbot, L. (2023). Scholarly Discourses on Fashion Change in Late Joseon. In K. Pyun & M. Kim (Eds.), Dress History of Korea: Critical Perspectives on Primary Sources (1st ed., pp. 91–109). Bloomsbury Publishing.

Traditional-Clothing of the Goryeo Dynasty 1—Lee Kyung Sun. (n.d.). Google Arts & Culture. Retrieved November 17, 2023, from https://artsandculture.google.com/asset/traditional-clothing-of-the-goryeo-dynasty-1-lee-kyung-sun/YAG4i3t5uIknyA