A
walk down almost any street in Korea will reveal that today's Korean wardrobe
ranges from jeans and casual fashions to tailored suits and chic designer creations.
However, of all the outfits one is likely to see, the most striking is without
a doubt the hanbok, the traditional costume worn by Koreans of all ages, particularly
on traditional holidays and when attending social affairs with a traditional
Korean theme.
The
hanbok is characterized by its simple lines and the fact that it has no pockets.
The women's hanbok comprises a wrap-around skirt and a bolero-like jacket. It
is often called chimajeogori, chima being the Korean word for skirt and jeogori
the word for jacket. The men's hanbok consists of a short jacket and pants,
called baji, that are roomy and bound at the ankles. Both ensembles may be topped
by a long coat of a similar cut called durumagi.
The traditional-style hanbok worn today are patterned after the ones worn during
the Confucian-oriented Joseon Dynasty (1392-1910). Yangban, a hereditary aristocratic
class based on scholarship and official position rather than on wealth, wore
brightly colored hanbok of plain and patterned silk in cold weather and of closely
woven ramie cloth or other high-grade, light-weight materials in warm weather.
Commoners, on the other hand, were restricted by law as well as finances to
bleached hemp and cotton and could only wear white and sometimes pale pink,
light green, gray and charcoal.
Young
women wore red chima and yellow jeogori prior to marriage and red chima and
green jeogori after the wedding when bowing to their parents-in-law and when
paying respect to them upon returning from the honeymoon. Today, however, women
usually wear pink hanbok for engagement ceremonies, Western-style wedding dresses
and the traditional red skirt and green jacket after the wedding when greeting
their in-laws after the honeymoon. On other occasions, they wear hanbok of almost
any color and fabric including embroidered, hand-painted, or gold-stamped silk,
but white is worn mostly by old people and used for mourning clothes.
Yangban
women wore wrap-around skirts 12 pok (a width of cloth) wide and wrapped them
on the left side whereas commoners were prohibited from wearing chima of more
than 10 or 11 pok and were required to wrap them on the right. Under the hanbok,
women generally wore, and most still do, a pair of long bloomers, a long, one-piece
slip worn somewhat like a high-waisted, one-piece dress, and a jacket-like piece
a little smaller than the jeogori. The fullness of the chima allows the wearing
of any number of undergarments, a big plus given Korea's cold winters, and also
makes it wearable during pregnancy.
Nowadays
skirts of two and a half widths of cloth are generally worn; however, today's
cloth is about twice as wide as in ancient times. Most of today's chima have
shoulder straps for ease in wearing. For proper appearance the chima should
be pulled tight so that it presses the breasts flat and the slit should be just
under the shoulder blade. The left side of the chima should be held when walking
to keep it from flapping open and revealing the undergarments. Old women often
hold the left side up beside the left breast.
Most jeogori have a snap or small tie ribbons on the inside to hold it closed.
The long ribbons of the jacket are tied to form the otgoreum, a bow that is
different from the butterfly-like bow of the West. The otgoreum is very important
for it is one of three things by which the beauty and quality of a hanbok is
judged. The other two are the curve of the sleeves and the way the git, a band
of fabric that trims the collar and front of the jeogori, is terminated. The
ends of the git are generally squared off. A removable white collar called dongjeong
is placed over the git.
As
hanbok have no pockets, women and men both carried all types of purses, or jumeoni.
These were basically of two major types: a round one and a pleated, somewhat
triangular one, both closed with a drawstring. These were embellished with elaborate
knots and tassels that varied according to the status and gender of the bearer.
Although
some of the basic elements of today's hanbok and its accessories were probably
worn at a very early date, the two-piece costume of today did not begin to evolve
until the Three Kingdoms period (57 B.C.-A.D. 668), when the kingdoms of Goguryeo,
Baekje and Silla dominated the Korean Peninsula. This is clearly evident in
the paintings that adorn the walls of fourth to sixth century Goguryeo tombs.
The murals feature men and women dressed in long, narrow-sleeved jackets with
the left side pulled over the right, trousers and boot-like footwear. Such garments
were probably inspired by the harsh northern climate and terrain and a nomadic
lifestyle centered on horse riding. Also, owing to geopolitical factors, it
is likely that they were influenced by Chinese styles of dress. Baekje and Silla
had similar costumes.
Silk mandarin robes introduced from neighboring Tang China were adopted for
wear by royalty and officials in 648 by Silla, the kingdom that eventually unified
the peninsula in 668. The robes were worn over the native costume. Noble women
began to wear full-length skirt-trousers and wide-sleeved, hip-length jackets
belted at the waist, and noblemen, roomy trousers bound in at the ankles and
a narrower, tunic-style jacket cuffed at the wrist and belted at the waist.
In
935, Silla was replaced by a new dynasty called Goryeo, from which the name
"Korea" is derived. Buddhism, which Silla had already made the national religion,
flourished along with printing and the arts, especially celadon ceramics. During
the Goryeo Dynasty, the chima was shortened and it was hiked up above the waist
and tied at the chest with a long, wide ribbon, which has remained the fashion
ever since. The jeogori was also shortened and its sleeves were curved slightly.
At the same time, women began to wear their hair in plaits on top of their heads
and men began shaving their heads except for a patch in the middle.
In
1392, the Joseon Dynasty replaced Goryeo. It was founded by an ex-Goryeo general
named Yi Seonggye and his descendants ruled Korea for over 500 years. The early
Joseon Dynasty kings made Neo-Confucianism the ruling ideology and, with its
emphasis on formality and etiquette, dictated the style of dress for the royal
family and all the members of the court as well as for aristocrats and commoners
for all types of occasions including weddings and funerals. Integrity in men
and chastity in women became the foremost social values and was reflected in
the way people dressed. Men's hanbok changed very little but women's underwent
many changes over the centuries.
In
the 15th century, women began to wear full, pleated skirts that completely concealed
the lines of the body and long jeogori. With time, however, the jeogori was
gradually shortened until it just covered the breasts, making it necessary to
reduce the fullness of the chima so that it could be extended almost to the
armpits, this remains the fashion today.
Today's
designers are increasingly seeking inspiration in the hanbok and other costumes
of their ancestors to create fashions with a uniquely Korean flair that can
meet the demands of today's lifestyles. They are incorporating the lines and
cut of the hanbok and other ancient clothes and accessories in their designs
and employing traditional fabrics such as hemp and ramie. In fact, many department
stores now have boutiques specializing in such clothes and shops specializing
in a new generation of hanbok for everyday wear are springing up nationwide.
Without a doubt, the hanbok, with its roots stretching back many centuries,
will continue to grace the streets of Korea for many years to come.
Beautiful Hanbok: Pride of the Korean People
In all cultures, traditional costume is an indicator of national character and
values. Koreans use "
ot" as a general term for clothing. Koreans have
designed their ot to cover their whole body but for comfortable use. Traditional
clothing is called "
hanbok," an abbreviation of the term
Han-gukboksik
(Korean attire).
Hanbok forms a highly effective expression of Korean
identity and changes in
hanbok design from the past to the present parallel
the nation's historical development. Moreover, forms, materials and designs
in
hanbok provide a glimpse into the Korean lifestyle, while its colors
indicate the values and world view of the Korean people.
Development of Hanbok
Hanbok is a kind of apparel of the Caftan type; a style of attire commonly
seen in Northeast Asia and Central Asia. The outer top garment is loose fitting
and opens in the front. It's single piece coat mirrors other Asian designs.
Today few in cities wear
hanbok as daily apparel but older women in the
countryside still wear "
chima," a skirt and "
geogori," a bolero-like
blouse. A
sokchima is full slip and
beoseon is a thick padded
socks. In winter, a long overcoat,
durumagi, is worn outdoors.
Durumagi
is also worn on formal occasions in all seasons. Men wear
jeogori, jokki,
a vest,
magoja, a jacket or short coat, and
baji, baggy trousers.
For undergarments, they wear variations of the
jeogori and
baji.
Men also wear beoseon and sometimes a
durumagi when they go out.
Ritual garments are worn at rites of passage. On their first birthday boys wear
a knee-length vest, a five-colored top coat called
kkachidurumagi, and
on their head
hogeon or
bokgeon, peaked or plain hoods. Women
wear
dang-ui, a ceremonial jacket with front lapels, over
chima
and
jeogori, a small bejeweled toque called
jokduri on their head,
and quilted
beoseon decorated with embroidery and pompons, on their feet.
For wedding the groom wears a gossamer hat called
samo and
dallyeong,
a kind of topcoat with a rounded neckline and a belt. The bride wears
wonsam
or
hwarot, a long decorative jacket, on top of
seuran-chima, a
long skirt decorated with embossed gold at the hem.
For burialsin the Joseon era, the corpse of an upper-class man was dressed in
the official attire of the highest office he held during his lifetime. Upper-class
women were dressed in attire corresponding to the rank of her husband's last
official post. Common people were wrapped in hemp robes patterned after the
wedding attire.
There were also special garments for rituals held at
Jongmyo, the royal
ancestral shrine of the Joseon Period, and for shamans, folk dancers and other
performers.
In the ancient times during the Gojoseon era (paleolithic age-57B.C.), records
reveal that people trimmed their head and wore hats.
During the Three Kingdoms period, which began with the founding of Goguryeo
(37B.C.-A.D.668),
hanbok consisted of a two-piece "unisex" outfit. The
upper garments (
yu) of this period opened in front and came down to the
hips. They were held shut with a belt. The lower garments (
go) were also
tied off above the feet. Notably, the opening flap of the upper garments seems
to have been the right to left style in contrast with the left to right flaps
on the
jeogori worn today. This change in the direction of the opening
flap occurred after the mid-Goryeo period. Among Western apparel, a right-side
flap is used for male attire, while a left-side flap is used for female attire.
Thus, the unisex style popular in the modern period can be said to have originated
in East and North Asia, whereas the differentiation between male and female
attire is thought to have originated in the West. Ancient Koreans produced upper
and lower garments in a snuggly fitting style, which were beautiful yet practically
suited to the active lifestyle of nomadic hunters. But dress and ornaments like
head gear, necklaces, bracelets and earings of upper class were brilliant and
decorative.
Korean society diversified while contacts with neighboring countries increased
during the Silla period. At this time, Koreans began to introduce the international
fashions of China's Tang Dynasty. Examples include sleeveless shirts for women,
long scarves, decorative hairpins, male headdress and coats with round lapels.
Elaborate silk clothing and ornaments are deemed related to the refined clothing
fashions of the period from Persia to Japan's Nara period.
During the Goryeo period, the long upper garments of the previous period gave
way to waist-length attire. As a result, waist belts were replaced by coat tie-strings,
otgoreum. As one of the unique features of Korean clothing, the coat
string was initially a short, thin cord but eventually developed into the style
seen today, i.e., a long, dangling piece of cloth that hangs down below the
knees. Around this time, after the splendid Silla fashion, the mode of Goryeo
embraced a more calm and quiet manner. As Goryeo society turned to the values
of frugality and simplicity, the tranquil beauty of agricultural life found
expression in the period's famous blue celadon vessels and white clothing. Korean
clothing underwent further refinement as cotton was introduced into Goryeo from
Yuan China. In addition, clothing regulations were introduced from abroad and
a system of official uniforms was established for the palace.
The beginning of the Joseon period saw the development of a Confucian society.
At this time, the use of cotton became widespread all over the country. In addition,
the period saw the development of a unique script, known as
Han-geul,
and the publication of numerous scholarly compilations. At the same time, there
were diverse developments in the system of ritual attire. Confucianism, as the
central ideology and faith of East Asia, was actively pursued at this time,
along with its system of ritual dress.
Ritual clothing represented the visible manifestation of intangible Confucian
virtues such as benevolence, propriety, wisdom and trust. Clothing served as
a medium for the visible expression of a rite. Hence, Joseon apparel, in addition
to its role in delineating social status, represented a strict conformity to
Confucian codes of ritual attire. In particular, a standardized system of clothing
for the various rites of passages was established in accordance with numerous
ritual manuals. Special attire was worn for the rites of manhood, marriage,
mourning and memorial services. Even today, this clothing can be seen at weddings
and funerals, and in particularly conservative areas, the special clothing for
memorial services is still worn. The traditional dress of Confucian scholars
can be seen in the paintings of the famous Joseon folk painter,
Sin Yun-bok.
In these paintings, the outer robes are long, yet never touch the ground. Inside
the robes, multiple layers of undergarments can be seen. With wide sleeves hanging
down, the grave-looking scholar sports a broad-brimmed, horse-hair hat.
The late-Joseon period was confronted by great social changes as the common
people came to resent the feudalistic system. The period was also marked by
significant changes in values and aesthetics. At this time, female entertainers
took the lead in the new developments in women's attire. Men's fashions, on
the other hand, were primarily influenced by members of overseas missions, political
reformers, overseas students and Western missionaries. Folk art depictions of
women during this era show them wearing white belts, snug
jeogori that
show the contour of the breast, and numerous undergarments exaggerating the
volume of the dress. The erotic beauty of the garments has little precedent
in traditional Confucian culture.
The opening of Korea to the West intensified the pace of change in apparel.
Most notably, clothing during this period became much simpler. During the Gabo
Reform (1894), clothing specifications for various ceremonies were combined
to form a single ritual attire. The awkwardly wide sleeves became narrower and
male top-knots were cut off. Among woman's attire, undergarments as well as
concealing vestments such as the
sseugae-chima (shawl),
jang-ot
(hood) and
neo-ul (veil) gave way to a more practical, short coat.
The disappearance of traditional attire during the process of modernization
has been explained in relationship to economic development. Nations which have
industrialized and developed economically have given up their traditional clothing
as their everyday dress at a more rapid pace than economically backward nations.
In Korea, the
hanbok began to disappear from the daily life in the 1960s
and came to be used only on special occasions. As for traditional ritual attire,
only marriage and mourning clothing have survived. Traditional
hanbok
are now only seen on special traditional events such as folk festivals, shaman's
rites called
gut, historical dramas or reenactments of palace ceremonies.
The
hanbok has undergone many changes but still maintains the same elements
of pants, outer coat, skirt, and so on. During its development, the
hanbok
acquired some elements from neighboring nations, while changing to suit the
particular needs of the times.
|
A Korean family ready to celebrate the Lunar
New Year in their Hanbok. |
|
Modern Korean
Attire
At present, attire can be divided into Western-style dress, which has
become the common form of attire throughout the world, and various forms
of traditional dress. In Korea, as elsewhere, Western-style clothing
is so pervasive that one rarely comes across anyone wearing Korean hanbok
in public. The hanbok presently worn can be classified, according
to use, as everyday attire, ritual attire and special attire. |
First, the
hanbok worn by women as everyday attire consists chiefly of
the following: a dress (
jeogori), a skirt (
chima), and undergarments,
such as an undershirt (
sokjeogori), under pants (
gojaeng-i), inner
skirt (
sokchima) and socks (
beoseon). Men's hanbok are made up
of jeogori, pants (
baji), an overcoat (
durumagi), vest, outer
coat (
magoja) and socks (
beoseon). Western accessories such as
shoes and handbag are also used.
In recent times, Korea's Ministry of Culture and Tourism has launched a campaign
encouraging people to wear
hanbok. Facilitated by Koreans' fondness for
their own traditions, the campaign has promoted the creation of new
hanbok
styles that are practical for everyday use. At present,
hanbok, as everyday
attire, is worn chiefly by old people and by the general population during special
occasions such as traditional holidays, weddings and 60th birthday celebrations.
Second, there is a
hanbok worn during rites of passage. Examples include
baenaet jeogori worn by newborn infants,
hwarot (loose robe decorated
with peonies) worn by a bride as the bride presents gifts to her new parents-in-law,
wonsam (ritual attire worn by a woman), and jokduri (black, silk headpiece worn
by women), hairpieces,
daenggi (pigtail ribbons). During traditional
weddings, the man wears a large robe known as a
dallyeong over his other
clothing, a
gakdae (traditional belt) and
samo (tall cap with
round projections of the left and right).
During funerals, the corpse is clothed in special attire. The clothing design
is the same as that of weddings, but natural-colored hemp is used instead. Women
from the deceased person's family wear white skirts and coats.
Third, there is special attire worn during all traditional rituals and related
events.
As seen above, the
hanbok design is characterized by a two-piece outfit
without pockets and buttons that is closed with strings, belts or cords. In
traditional ondol houses, people sit on the warm floor, thus the legs of the
lower garment tend to be baggy.
Hanbok colors are based on natural hues
which are interpreted according to East Asian theories of
eum-yang (yin-yang)
and the five elements. The female aspect is represented by
yin and likewise
the lower garment is given a
yin color.
Yang represents the male
aspect as well as upper and outer garments. White garments, which the Korean
people have always been very fond of, indicate the Koreans' simple and pure
aesthetic sense.
In traditional Korean garments color is used symbolically. White was the basic
color most widely used by the common people. It symbolized a modest and pure
spirit. Red signified good fortune and wealth and thus was used in woman's wedding
garments. Indigo, the color of constancy, was used for the skirt of court ladies
and the official coats of court officials. Black, symbolizing infinity and the
fountainhead of all creation, was used for men's hat. Yellow, which represented
the center of the universe, was used for royal garments. Common people were
forbidden from wearing yellow. These five colors were also firmly established
as symbols of the four directions and the center of the universe and order of
the universe.
Neutral colors symbolized the yin or implicit virtues. They were used for embroidery
on garments worn below the waist. The five cardinal colors, symbolizing the
yang, or overt virtues, were used in patterns on garments worn above
the waist. The five colored garments worn by children, five-colored purses and
five-colored dancing costumes are good examples of this symbolism. Colors symbolizing
heaven and earth were used for wedding dress.
Unlike most of the world's peoples, Koreans have managed to preserve the basic
design of their traditional attire up through the modern period. Their ability
to do so can be attributed to their strong sense of national identity.
To study the history of a national costume is to understand the culture and
character of that nation. It is no surprise that the
hanbok, like the
traditional costumes of other nations, is increasingly seen as ceremonial or
ornamental attire today.