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d여기에서 Must-Have Winter Item in Korea l Korean Culture [Long Padding] – padding jacket korea 주제에 대한 세부정보를 참조하세요
\”During winter season in Korea, you will see Long Padding everywhere\”
\”They look like a Sleeping Bag Jackets or Gimbap\”
\”It’s mostly black color, why?\”
\”The trend started from 2018 Pyeong Chang Olympics?\”
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주제와 관련된 이미지 padding jacket korea
주제와 관련된 더 많은 사진을 참조하십시오 Must-Have Winter Item in Korea l Korean Culture [Long Padding]. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
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주제에 대한 기사 평가 padding jacket korea
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What is padding jacket?
/ˌpæd.ɪd ˈdʒæk.ɪt/ a warm hip-length or waist-length coat filled with thick soft material sewn into sections: He wore a big padded jacket and thick mittens.
What are Korean Coats called?
The magoja is a type of long jacket worn with hanbok, the traditional clothing of Korea, and is usually worn on top of the jeogori (short jacket). The po is a generic term referring to an outer robe or overcoat in hanbok.
What are Korean long jackets called?
| Transcriptions | |
|---|---|
| Revised Romanization | Joseon-ot |
| McCune–Reischauer | Chosŏn-ot |
Why puffer jackets are at the Centre of Korea class divide?
The popularity of streetwear and street brands has led to increased customer demand for [puffers] in Korea.” Hip-hop and associated visual representations have recently exploded into Asia’s mainstream, prompting a hip-hop-influenced, high-end streetwear obsession.
Is padded jacket warm?
Padded jackets are filled with a synthetic polyfill material, usually trying to mimic the effect of a down jacket. Padded jackets by themselves are fairly warm. These jackets (along with your layers) can withstand temperatures up to -5 degrees.
Do padded jackets keep you warm?
Puffer jackets, also called quilted jackets, have a signature quilted design with sections that are “puffy” between the stitching. They are filled with down insulation or synthetic fibers, both of which can provide a high level of warmth depending on how well they are made and the quality of the synthetic fibers.
What do Durumagi means in Korean?
The Durumagi, meaning ‘closed all around‘, is a man’s coat and is part of the Hanbok; the national dress of South Korean. More elaborate hanboks are worn at weddings.
When did Korea stop wearing hanbok?
Overall there were few major changes until the 19th century, when Western dress started to become more popular. This was followed by Japanese colonial rule. The hanbok eventually fell out of fashion in the early 20th century.
What is Korean aesthetic called?
Hallyu (also known as the Korea Wave) is an aesthetic heavy centered around South Korean popular culture; especially Korean pop music (commonly referred to as “K-Pop”) and Korean drama shows (commonly referred to as “K-Dramas”).
What is Seolbim?
Seolbim refers to the whole set of clothing aside from the basic jacket and pants or skirt to include socks and shoes.
What did Korean royalty wear?
Myeonbok (면복) was the formal and religious ceremonial robe worn by the emperor, king, crown prince, and heir-grandson from the Goryeo period to the Joseon period and the Korean Empire.
How do Koreans dress in winter?
Puffy or padded coats have become extremely popular in South Korea during winters. Approx. 80% of the population wear puffy jackets during winters in Seoul. It has become trendy and even foreigners most of the time think why people in South Korea wear puffy coats in winters.
What is padding in clothing?
Padding is thin cushioned material sometimes added to clothes. Padding may also be referred to as batting when used as a layer in lining quilts or as a packaging or stuffing material.
What is the padding?
Padding is used to create space around an element’s content, inside of any defined borders. This element has a padding of 70px.
Which type of jackets are warmest?
- It’s all about the material. No matter how stylish and snug a jacket is, it is the materials used for the coat that will keep you warm and toasty. …
- Wool. …
- Faux Fur. …
- Nylon. …
- Hemp. …
- Flannel. …
- Cashmere. …
- Mohair.
What is padding made of?
Foam padding is low-density flexible foam used in a wide range of applications such as upholstery, bedding, packaging, protective sports wear and more. Typical materials used in the fabrication of different types of foam include polyester, polyether, polystyrene, polyurethane, polyethylene and vinyl.
padded jacket
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List of Korean clothing
Baji Baji ( 바지 ) are a form of baggy pants (see more pictures at commons:Category:Baji).
Chima Chima ( 치마 ) is a type of skirt
Chima jeogori Chima jeogori ( 치마저고리 ) is a type of skirt worn together with a jeogori, a short jacket.
Dangui Dangui is a female upper garment worn for ceremonial occasions during the Joseon Dynasty.[1] Dangui was also called dang -jeogori (Hangul: 당저고리 ), dang-jeoksam (Hangul: 당적삼 ), or dang-hansam (Hangul: 당한삼 ).[2]
Dopo Dopo is a variety of po (an overcoat) mostly worn by male Confucian scholars called seonbi since the mid-Joseon period.
Durumagi Durumagi is a lined overcoat worn by men or women with no slit. It is most commonly held closed with a single goreum .[ definition needed ]
Garot Garot is a type of working and everyday dress dyed with the juice of unripe persimmons. It has been worn by Jeju Island locals.
Gwanbok Gwanbok is a Korean general term referring to all business attire of government officers issued by the government, with rank badges on them to distinguish hierarchies.
Hwarot Hwarot is a type of traditional Korean clothing worn during the Goryeo and Joseon Dynasty by royal women for ceremonial occasions or by commoners for weddings.[3] It originated from the Kingdom of Khotan, Central Asia.[4]
Jeogori Jeogori is a basic upper garment which has been worn by both men and women. It covers the arms and upper part of the wearer’s body.
Jeonbok Jeonbok is a type of sleeveless long vest mostly worn by military personnel. It does not have overlapped column on the front side, and was worn over dongdari.
Jokki Jokki is a type of vest.
Kkachi durumagi Kkachi durumagi is a colorful children’s overcoat worn on Korean New Year. It was worn over a jeogori or jokki while the wearer could put a jeonbok over it. Kkachi durumagi was also worn along with headgear such as bokgeon, hogeon or gulle.
Magoja The magoja is a type of long jacket worn with hanbok , the traditional clothing of Korea, and is usually worn on top of the jeogori (short jacket).
Po The po is a generic term referring to an outer robe or overcoat in hanbok .
Sagyusam Sagyusam is a type of po (outer robe) worn by young boys until their coming-of-age ceremony called gwallye. The name was derived from the shape; the lower end of the garment is divided into four parts.[5]
Saekdongot Saekdongot is any hanbok patchworked with colorful stripes. It began to be made in the Goryeo period (918 – 1392). The name literally means ‘many-colored clothing’. It was usually worn by children of the age of one to seven years old. The saekdong can be applied throughout jeogori (a short jacket with sash), majoja (buttoned jacket), durumagi (overcoat), among others.[6][7]
Wikipedia
Traditional Korean clothing
Not to be confused with Hanfu
Not to be confused with Hanfu
Hanbok accessories accessories
The hanbok (in South Korea) or Chosŏn-ot (in North Korea) is traditional Korean clothes. The term “hanbok” literally means “Korean clothing”.[1]
The earliest visual depictions of hanbok can be traced back to the Three Kingdoms of Korea period (1st century BC–7th century AD), with roots in the Proto-Koreanic people of what is now northern Korea and Manchuria. Early forms of hanbok can be seen in the art of Goguryeo tomb murals of the same period, with the earliest mural paintings dating to the 5th century.[2] The basic structure of the hanbok was established at least since this period. The ancient hanbok consisted of a jeogori (top), baji (pants), chima (skirt), and the po (coat). The basic structure of hanbok was designed to facilitate the ease of movement and integrated many motifs of Mu-ism.[3] These basic structural features of the hanbok remains relatively unchanged to this day. However, present day hanbok, which is worn nowadays, is patterned after the hanbok worn in the Joseon dynasty.[3]
Contemporary Koreans wear hanbok for formal or semi-formal occasions and events such as weddings, festivals, celebrations, and ceremonies. In 1996, the South Korean Ministry of Culture, Sports and Tourism established “Hanbok Day” to encourage South Korean citizens to wear the hanbok.[4]
Etymology
The first recorded evidence of the name hanbok is from a 1881 document Jeongchiilgi (Hangul: 정치일기).[5][6] In the document, hanbok was used to distinguish Korean clothing from Japanese traditional clothing and Western clothing. Hanbok was used in a 1895 document describing the assassination of Empress Myeongseong to distinguish Korean clothing from Japanese clothing. The origin of the name remains unclear, because these documents predate the Korean Empire (Hangul: 대한제국) which popularized the hanja letter Han (韓).
Beginning in 1900, Korean newspapers used the hanja han in words that describe Korean clothing, such as hanguguibok (Hangul: 한국의복), hangugyebok (Hangul: 한국예복) and daehannyeobok (Hangul: 대한녀복). Hanbok was used in a 1905 newspaper article, which described the righteous army wearing Korean clothing. After the March 1st Movement, hanbok became a significant ethnic symbol of Koreans.
Influenced by rising nationalism in the 1900s, hanbok became a word that meant the unique Korean clothing that can be distinguished from that of foreigners, such as Japanese, Western, and Chinese clothing. Other words with the same meaning, uriot (Hangul: 우리옷) and joseonot (Hangul: 조선옷), were concurrently used. Joseonot, which was more popular in the north, replaced the other words in North Korea after the division of Korea.
Construction and design
A diagram of the hanbok ‘s anatomy
‘s anatomy 1. hwajang
2. godae
3. somae buri
4. somae
5. goreum
6. u
7. doryeon
8, 11. jindong
9. gil
10. baerae
12. git
13. dongjeong
Traditionally, women’s hanbok consist of the jeogori (top) and the chima (skirt). The ensemble is often known as ‘chima jeogori’. Men’s hanbok consist of jeogori and loose fitting baji (trousers).[7] On top of this ensemble, there are also a variety of vests, jackets and coats. For men, some examples are Durumagi, Dopo, Danryeong-ui, Joong-chimak, Sochang-ui, Daechang-ui, etc. For women, there are Jang-sam, Dan-sam, Won-sam, and more.
Jeogori
The jeogori is the basic upper garment of the hanbok, worn by both men and women. It covers the arms and upper part of the wearer’s body.[8][9] The basic form of a jeogori consists of gil, git, dongjeong, goreum and sleeves. Gil (Hangul: 길) is the large section of the garment on both front and back sides, and git (Hangul: 깃) is a band of fabric that trims the collar. Dongjeong (Hangul: 동정) is a removable white collar placed over the end of the git and is generally squared off. The goreum (Hangul: 고름) are fabric-strings that tie the jeogori.[7] Women’s jeogori may have kkeutdong (Hangul: 끝동), a different colored cuff placed at the end of the sleeves. There are two jeogori artifacts that may be the earliest surviving archaeological artifact. One from a Yangcheon Heo clan tomb is dated 1400–1450,[10] while the other was discovered inside a statue of the Buddha at Sangwonsa Temple (presumably left as an offering) that has been dated to the 1460s.[11]
Jeogori and chima
The form of Jeogori has changed over time.[12] While men’s jeogori remained relatively unchanged, women’s jeogori became dramatically shortened during the latter half of the Joseon dynasty, reaching its shortest length at the late 19th century. However, due to reformation efforts and practical reasons, late modern jeogori for women was longer than its earlier counterpart with its length still above the waistline There are various styles and types of jeogori varying in fabric, sewing technique, and shape.[12][10] Contemporary jeogori are presently designed with various lengths.
The early form of jeogori is hypothesized to have originated or have been influenced by Ho-bok, nomadic dress worn by northern nomadic people in Asia.[13] Hobok characteristics of the ancient jeogori include: the closure on the front[14] closing to the left side in Jwa-im (左袵, 좌임), narrow sleeves, and both men and women wearing trousers, even under chima.[15] There is also Hanbok that was influenced by a more tropical style in Southern parts of the Korean Peninsula which lacked trousers and had a one-piece style.[16]
Most modern jeogori is closed to the right which is a fashion trend from what is now mainland China. The closure of the jeogori to the right is an imitation of Han Chinese jackets,[17] this style of closure is called Woo-Yim (우임, 右衽; Chinese: 右衽; pinyin: yòurèn) and originated in the Shang dynasty.[18]
Goreum
Traditionally, there are many types of goreum. Goreum refers to strings of cloth that fasten clothes together. Fabric goreum were potentially used since Gojoseon. They were originally practical but often decorative. Silla had regulations against types of Dae (belts) and decorative goreum for each Golpoom. Southern parts of Korea, including Silla, had a colorful goreum on the front of the neck, which influenced Yayoi culture. Parts of Goguryeo style had a fabric goreum loop around the waist with a decorative ribbon to the side like a belt. Generally, thin and short ones were used on the inside and more decorative, colorful ones were used on the outside. Since the early form of the jeogori was usually wrapped across the front, the outside goreum was placed on the side of the wearer, below the armpit. Starting in Joseon Dynasty, the goreum slowly moved to the front of the jeogori. In the 20th century, the goreum became the commonly known long and wide decorative ribbons on the front of the jeogori and was coined the Ot-goreum.
Danchu
Other than fabric strings, danchu (buttons) were also used. There are many types of danchu.[19] One example is the Maedeup-danchu which were often used to keep symmetrical collars together in the front and used for practical uses on military uniforms and court uniforms. They have long horizontal lines on either side like Manchurian buttons or looked like a ball and lasso. Magoja-danchu are often big decorative metal, gems or stones buttons usually on Jokki (vest).
Chima
Chima refers to “skirt,” and is also called sang (裳) or gun (裙) in hanja.[20][8][12] The underskirt, or petticoat layer, is called sokchima. Chima-malgi is the waistband that trims the top of the chima. From Goguryeo[8] to Joseon period, various styles of chima existed such as striped, pleated, patchworked, and gored skirts. Chima were typically made from rectangular panels that were pleated or gathered into the chima-malgi (waistband).[21] This waistband also had goreum strings for fastening the skirt around the body.[22]
Goguryeo
According to the murals of Goguryeo and an earthen toy excavated from the neighborhood of Hwangnam-dong, Gyeongju, Goguryeo women usually wore the jeogori over the chima, covering the top of the chima.[23][24] One popular fashion was the A-line chima.
Goryeo
Variety of chima was worn during the Goryeo dynasty.
Joseon
Variety of chima was worn during the Joseon dynasty.
Late modern period
Sokchima was largely made in a traditional way until the early 20th century when shoulder straps were added,[25] later developing into a sleeveless bodice or ‘reformed’ petticoat called Eo-Kkeh-Heo-ri-Chima.[26] By the mid-20th century, some outer chima also gained a sleeveless bodice, which was then covered by the jeogori.[27][28]
Baji
Baji refers to the bottom part of the men’s hanbok. It is the formal term for “trousers” in Korean. Compared to western style pants, baji does not fit tightly. The roomy design is aimed at making the clothing ideal for sitting on the floor and an ethnic style that dates back to the Three kingdoms period.[29] It functions as modern trousers do and the term baji is commonly used in Korea to refer to every kind of pants.
The baji-malgi is a waistband of the baji that has a long string of goreum.
Baji can be unlined trousers, leather trousers, silk pants, or cotton pants, depending on style of dress, sewing method, embroidery and so on.
Po
Po is a generic term referring to an outer robe or overcoat. There are two general types of po, the Korean type and the Chinese type.[30]
The Korean type is a common style from the Three Kingdoms of Korea period, and it is used in the modern day.[8][30] There were many ways to fasten the coat but mainly a belt was used in conjunction with a ribbon goreum until the ribbon goreum became mainstream during late Joseon dynasty. Durumagi is a type of po that was worn for protection against the cold. It has been widely worn as an outer robe over jeogori and baji. It is also called jumagui, juchaui, or juui.[20][8][31]
The Chinese type consist of different types of po from mainland China. Starting from the North–South states period, they were mainly adopted as court uniforms that localized into Korean culture throughout history. In 1895, there was a nation-wide adoption of the Korean type durumagi to regulate clothes and luxury items.[30]
Dragon robe (or ikseongwanpo): business attire for king
Hongryongpo : everyday clothes for king
Hwangryongpo : everyday clothes for a Sino-sphere emperor styled after the Chinese imperial robe. Once restricted to Chinese emperors, Gojong began to wear the yellow robe after establishing the Korean Empire.
Tongcheongwan and Gangsapo
Deot-ot
Deot-ot refers to a category of outer layers worn on top of the jeogori. Po also falls under this category. There are many varieties other than the ones listed here.
Banbi
Banbi refers to a variety of short sleeved garments that are worn on top of inner garments.A type of outer half-sleeved Banbi can be seen in Goguryeo murals.[citation needed]
Bigap
A sleeveless outer garment that was derived from Mongolian clothing worn during the Goryeo period.[32]
Baeja and Kwaeja
Baeja refers to sleeveless outer garments that are worn on top of inner garments. It can be different lengths, short to long. Kwaeja is interchangeable with Baeja, but Kwaeja often refers to men’s clothing.
Dapho
The dapho is a short sleeved men’s outer garment, often part of military uniform or official uniform.
Jokki
Jokki (Korean: 조끼) is a type of vest, while magoja is an outer jacket. The jokki was created around late Joseon dynasty, as Western culture began to affect Korea.
Magoja
Magoja was originally styled after the clothing of the Manchu people, and was introduced to Korea after Heungseon Daewongun, the father of King Gojong, returned from his political exile in Tianjin in 1887.[31][33] Long sleeved Magoja were derived from the magwae he wore in exile because of the cold climate there. Owing to its warmth and ease of wear, magoja became popular in Korea. It is also called “deot jeogori” (literally “an outer jeogori”) or magwae.[31]
Magoja does not have a git, the band of fabric trimming the collar.[7] Magoja was originally a male garment but later became unisex. The magoja for men sometimes has seop (Korean: 섶, overlapped column on the front) and is longer than women’s magoja, with both sides open at the bottom. A magoja can be made of silk and often adorned with danchu which are usually made from amber. In men’s magoja, buttons are attached to the right side, as opposed to the left as in women’s magoja.[31]
Children’s hanbok
Children’s hanbok
Traditionally, Kkachi durumagi (literally “a magpie’s overcoat”) were worn as seolbim (Hangul: 설빔), new clothing and shoes worn on Korean New Year, while at present, it is worn as a ceremonial garment for dol, the celebration for a baby’s first birthday.[34][35] It is a children’s colorful overcoat.[36] It was worn mostly by young boys.[37] The clothes is also called obangjang durumagi which means “an overcoat of five directions”.[34] It was worn over jeogori (a jacket) and jokki (a vest), while the wearer could put jeonbok (a long vest) over it. Kkachi durumagi was also worn along with headgear such as bokgeon (a peaked cloth hat),[38][39] hogeon (peaked cloth hat with a tiger pattern) for young boys or gulle (decorative headgear) for young girls.[8][need quotation to verify][40]
Occasions
Hwarot, bride clothes , bride clothes
Hanbok is classified according to its purposes: everyday dress, ceremonial dress, and special dress. Ceremonial dresses are worn on formal occasions, including a child’s first birthday, a wedding, or a funeral. Special dresses are made for shamans and officials.[29]
Hanbok was worn daily up until just 100 years ago, it was originally designed to facilitate ease of movement. But now, it is only worn on festive occasions or special anniversaries.[41] It is a formal dress and most Koreans keep a hanbok for special times in their life such as wedding, Chuseok (Korean Thanksgiving), and Seollnal (Korean New Year’s), Children wear hanbok during their first birthday celebration (Hangul: 돌잔치) etc.[42] While the traditional hanbok was beautiful in its own right, the design has changed slowly over the generations. The core of hanbok is its graceful shape and vibrant colors, it is hard to think of hanbok as everyday wear but it is slowly being revolutionized through the changing of fabrics, colors and features, reflecting the desire of people.
Women’s Traditional Hanbok consist of jeogori, which is a type of jacket, and chima, which is a wrap around skirt that is usually worn with a petticoat underneath. A man’s hanbok consists of jeogori (jacket) and baggy pants that are called baji. There are also additional outer layers, such as the Po which is an outer coat, or robe, jokki which is a type of vest and magoja which is an outer jacket worn over jeogori for warmth and style.[43]
The color of hanbok symbolized social position and marital status. Bright colors, for example, were generally worn by children and girls, and muted hues by middle aged men and women. Unmarried women often wore yellow jeogori and red chima while matrons wore green and red, and women with sons donned navy. The upper classes wore a variety of colors. Contrastingly, commoners were required to wear white, but dressed in shades of pale pink, light green, gray and charcoal on special occasions.
Also, the status and position can be identified by the material of the hanbok. The upper classes dressed in hanbok of closely woven ramie cloth or other high grade lightweight materials in warmer months and of plain and patterned silks throughout the remainder of the year. Commoners, in contrast, were restricted to cotton. Patterns were embroidered on hanbok to represent the wishes of the wearer. Peonies on a wedding dress, represented a wish for honor and wealth. Lotus flowers symbolized a hope for nobility, and bats and pomegranates showed the desire for children. Dragons, phoenixes, cranes and tigers were only for royalty and high-ranking officials.[44]
History
Three Kingdoms of Korea
The hanbok can be traced back to the Three Kingdoms of Korea period (57 BC to 668 AD).[45][46][47][48] The origin of ancient hanbok can be found in the ancient clothing of what is now today’s Northern Korea and Manchuria.[49] Some hypothesize that the hanbok of antiquity can trace its origin to nomadic clothing of the Eurasian Steppes, spanning across Siberia from western Asia to Northeast Asia, interconnected by the Steppe Route.[50][51][52] Reflecting its nomadic origins in western and northern Asia, ancient hanbok shared structural similarities with hobok type clothing of the nomadic cultures in East Asia, designed to facilitate horse-riding and ease of movement.[5][53][54]
Early forms of Hanbok can be seen in the art of Goguryeo tomb murals in the same period from the 6th century AD.[48][49][54][55] Trousers, long jackets and twii (a sash-like belt) were worn by both men and women. Women wore skirts on top of their trousers. These basic structural and features of hanbok remain relatively unchanged to this day,[56] except for the length and the ways the jeogori opening was closed as over the years.[47] The jeogori opening was initially closed at the center front of the clothing, similar to a kaftan or closed to the left, before closing to the right side eventually became mainstream.[47] Since the sixth century AD, the closing of the jeogori at the right became a standard practice.[47] The length of the female jeogori also varied.[47] For example, women’s jeogori seen in Goguryeo paintings of late 5th century AD are depicted shorter in length than the man’s jeogori.[47]
In early Goguryeo, the jeogori jackets were hip-length Kaftan tunics belted at the waist, and the po overcoats were full body-length Kaftan robes also belted at the waist. The pants were roomy, bearing close similarities to the pants found at Xiongnu burial site of Noin Ula.[citation needed] Some Goguryeo aristocrats wore roomy pants with tighter bindings at the ankle than others, which may have been status symbols along with length, cloth material, and colour. Women sometimes wore pants or otherwise wore pleated skirts. They sometimes wore pants underneath their skirts.[57]
Two types of hwa (shoes) were used, one covering only the foot, and the other covering up to the lower knee.[citation needed]
During this period, conical hat and its similar variants, sometimes adorned with long bird feathers,[58] were worn as headgear.[52] Bird feather ornaments, and bird and tree motifs of golden crowns, are thought to be symbolic connections to the sky.[citation needed]
The Goguryeo period royal attire was known as ochaebok.[47] The precursor of what is now known as the durumagi was introduced during the Goguryeo period from a long coat worn by Northern Chinese.[47] Originally the durumagi was worn by the upper class of Goguryeo for various ceremonies and rituals. It was later modified and worn by the general population.[47] In Muyong-chong murals of Goguryeo, there are male dancers in short jeogori with long flexible sleeves and female dancers wearing long coats with long flexible sleeves, all performing a dance. This type of long sleeves, similar to the Chinese water-sleeves, was passed down to Goryeo, Joseon, and present day Korean court dances and mu-ism rituals.[citation needed]
North-South States period
In the North-South States Period (698–926 AD), Silla and Balhae adopted dallyeong, a circular-collar robe from the Tang dynasty of China.[59][60] In Silla, the dallyeong was introduced by Muyeol of Silla in the second year of queen Jindeok of Silla.[60][61] The dallyeong style from China was used as gwanbok, a formal attire for government officials, grooms, and dragon robe, a formal attire for royalty until the end of Joseon.[60]
United Silla
The Silla Kingdom unified the Three Kingdoms in 668 AD. The Unified Silla (668-935 AD) was the golden age of Korea. In Unified Silla, various silks, linens, and fashions were imported from Tang China and Persia. In the process, the latest fashions trend of Luoyang which included Chinese dress styles, the second capital of Tang, were also introduced to Korea, where the Korean silhouette became similar to the Western Empire silhouette. King Muyeol of Silla personally travelled to the Tang dynasty to voluntarily request for clothes and belts; it is however difficult to determine which specific form and type of clothing was bestowed although Silla requested the bokdu (幞頭; a form of hempen hood during this period), danryunpo (團領袍; round collar gown), banbi, baedang (䘯襠), and pyo (褾).[61] Based on archaeological findings, it is assumed that the clothing which was brought back during Queen Jindeok rule are danryunpo and bokdu.[61] The bokdu also become part of the official dress code of royal aristocrats, court musicians, servants, and slaves during the reign of Queen Jindeok; it continued to be used throughout the Goryeo dynasty.[62] In 664 AD, Munmu of Silla decreed that the costume of the queen should resemble the costume of the Tang dynasty; and thus, women’s costume also accepted the costume culture of the Tang dynasty.[61] Women also sought to imitate the clothing of the Tang dynasty through the adoption of shoulder straps attached to their skirts and wore the skirts over the jeogori.[61][63] The influence of the Tang dynasty during this time was significant and the Tang court dress regulations were adopted in the Silla court.[57][64] The clothing of the Tang dynasty introduced in Silla made the clothing attire of Silla Court extravagant, and due to the extravagance, King Heundeog enforced clothing prohibition during the year 834 AD.[61] The general public of Silla continued to wear their own traditional clothing.[61]
Reconstruction of Silla king’s and queen’s attire
Gold waist belt used by royalty of Silla.
Women figures wearing Tang-dynasty style clothing, Silla.
Balhae
Balhae (698–926 AD) imported many various kinds of silk and cotton cloth from the Tang and diverse items from Japan including silk products and ramie. In exchange, Balhae would export fur and leather. The clothing culture of Balhae was heterogeneous; it was not only influenced by the Tang dynasty but also had inherited Goguryeo and indigenous Mohe people elements.[65] Early Balhae officials wore clothing appeared to continue the Three Kingdoms period tradition.[65] However, after Mun of Balhae, Balhae started to incorporate elements from the Tang dynasty, which include the putou and round collared gown for its official attire.[65] Male everyday clothing was similar to Gogoryeo clothing in terms of its headgear; i.e. hemp or conical hats with bird feathers; they also wore leather shoes and belts.[65] Women clothing appears to have adopted clothing from Tang dynasty (i.e. upper garment with long sleeves which is partially covered by a long skirts and shoes with curled tips to facilitate walking) but also wore the ungyeon (Yunjuan; a silk shawl) which started to appear after the demise of the Tang dynasty. The Ungyeon use is unique to late Balhae period and is distinctive from the shawl which was worn by the women of the Tang dynasty.[65] People from Balhae also wore fish-skin skirts and sea leopard leather top to keep warm.[65]
Goryeo dynasty
The Chinese style imported in the Northern-South period, however, did not affect hanbok still used by the commoners,[citation needed] In the following Goryeo period, use of the Chinese Tang dynasty style of wearing the skirt over the top started to fade, and the wearing of top over skirt was revived in the aristocrat class.[66][67] The way of wearing the top under the chima (Tang-style influenced fashion) did not disappear in Goryeo and continued to coexist with the indigenous style of wearing of the top over skirt throughout the entire Goryeo dynasty; this Tang-style influenced fashion continued to be worn until the early Joseon dynasty and only disappeared in the middle and late Joseon periods.[68]
In Goryeo Buddhist paintings, the clothing and headwear of royalty and nobles typically follows the clothing system of the Song dynasty.[69] The Goryeo painting “Water-Moon Avalokiteshvara”, for example, is a buddhist painting which was derived from both Chinese and Central Asian pictorial references.[70] On the other hand, the Chinese clothing worn in Yuan dynasty rarely appeared in paintings of Goryeo.[69] The Song dynasty system was later exclusively used by Goryeo Kings and Goryeo government officials after the period when Goryeo was under Mongol rule (1270 –1356).[71]
Details of the Water-Moon Avalokiteshvara painting shows a group of nobles (possibly the donors) dress in court clothing, Goryeo painting. [72]
A noblewoman’s attire in Water-Moon Avalokiteshvara ,It were chima jeogori,it was a Goryeo dynasty painting, 1323 AD. [71]
Portrait of Lady Jo ban (1341-1401 AD), Goryeo dynasty.
Ordinary people’s clothing, [71] Mural tomb of Bak Ik in Gobeop-ri, Miryang. Bak Ik was a civil official who lived from 1332 to 1398 AD.
Portrait of Yi Je-hyeon (1287–1367 AD) of the Goryeo dynasty, wearing simui.
Hanbok went through significant changes under Mongol rule. After the Goryeo dynasty signed a peace treaty with the Mongol Empire in the 13th century, Mongolian princesses who married into the Korean royal house brought with them Mongolian fashion which began to prevail in both formal and private life.[61][51][73][74] A total of seven women from the Yuan imperial family were married to the Kings of Goryeo.[75] The Yuan dynasty princess followed the Mongol lifestyle who was instructed to not abandon the Yuan traditions in regards to clothings and precedents.[61] As a consequence, the clothing of Yuan was worn in the Goryeo court and impacted the clothing worn by the upper-class families who visited the Goryeo court.[61] The Yuan clothing culture which influenced the upper classes and in some extent the general public is called Mongolpung.[75] King Chungryeol, who was political hostage to the Yuan dynasty and pro-Yuan, married the princess of Yuan announcing a royal edict to change into Mongol clothing.[61] After the fall of the Yuan dynasty, only Mongol clothing which were beneficial and suitable to Goryeo culture were maintained while the others disappeared.[61] As a result of the Mongol influence, the chima skirt was shortened, and jeogori was hiked up above the waist and tied at the chest with a long, wide ribbon, the goruem (an extending ribbon tied on the right side) instead of the twii (i.e. the early sash-like belt) and the sleeves were curved slightly.[citation needed]
The cultural exchange was also bilateral and Goryeo had cultural influence on the Mongols court of the Yuan dynasty (1279–1368); one example is the influence of Goryeo women’s hanbok on the attire of aristocrats, queens, and concubines of the Mongol court which occurred in the capital city, Khanbaliq.[76][77][78] However, this influence on the Mongol court clothing mainly occurred in the last years of the Yuan dynasty.[79][75] Throughout the Yuan dynasty, many people from Goryeo were forced to move into the Yuan; most of them were kongnyo (literally translated as “tribute women”), eunuchs, and war prisoners.[75][80] About 2000 women from Goryeo were sent to Yuan as kongnyo against their will.[75] Although women from Goryeo were considered very beautiful and good servants, most of them lived in unfortunate situations, marked by hard labour and sexual abuse.[75] However, this fate was not reserved to all of them; and one Goryeo woman became the last Empress of the Yuan dynasty; this was Empress Gi who was elevated as empress in 1365.[75] Most of the cultural influence that Goryeo exerted on the upper class of the Yuan dynasty occurred when Empress Gi came into power as empress and started to recruit many Goryeo women as court maids.[75] The influence of Goryeo on the Mongol court’s clothing during the Yuan dynasty was dubbed as Goryeoyang (“the Goryeo style”) and was rhapsodized by the Late Yuan dynasty poet, Zhang Xu, in the form of a short banbi (半臂) with square collar (方領).[75][81] However, so far, the modern interpretation on the appearance of Mongol royal women’s clothing influenced by Goryeo is based on authors’ suggestions.[81] According to Hyunhee Park: “Like the Mongolian style, it is possible that this Koryŏ style [Koryŏ yang] continued to influence some Chinese in the Ming period after the Ming dynasty replaced the Yuan dynasty, a topic to investigate further.”[82] Tracing the development and evolution of goryeoyang (高麗樣), it can be found that the popular banryeong banbi (方領半臂)during the Yuan Dynasty were actually the result of the influence of ancient Chinese costumes on the Korean Peninsula before the Yuan Dynasty. According to the 高麗史·舆服志[83][1], the Goryeo costume system inherited the costume system of the Tang Dynasty. The half arm was developed from the half sleeves in the Han and Wei Dynasties. In the Sui and Tang Dynasties, under the influence of the “Hufu” of the Xianbei ethnic groups in the north, the half arm became a fashionable dress for women. In the Tang Dynasty, half-arms were worn on top of the coat, or under the coat and on top of the mid-single. With the lower skirt, the half-arm shirt appeared in the form of a placket. The half arm of the Tang Dynasty spread to the Korean peninsula, and continued to be inherited and developed during the Goryeo Dynasty, becoming an important costume of the Goryeo Dynasty.
Joseon dynasty
Women’s everyday wear
Early Joseon continued the women’s fashion for baggy, loose clothing, such as those seen on the mural from the tomb of Bak Ik (1332–1398).[84] During the Joseon dynasty, the chima or skirt adopted fuller volume, while the jeogori or blouse took more tightened and shortened form, features quite distinct from the hanbok of previous centuries, when chima was rather slim and jeogori baggy and long, reaching well below waist level. After the Japanese invasions of Korea (1592–98) or Imjin War, economic hardship on the peninsula may have influenced the closer-fitting styles that use less fabric.[85]
Neo-Confucianism as the ruling ideology in Joseon was established by the early Joseon dynasty kings; this led to the dictation of clothing style worn by all social classes in Joseon (including the dress of the royals, the court members, the aristocrats and commoners) in all types of occasions, which included wedding and funerals.[86] Social values such as the integrity in men and chastity in women were also reflected in how people would dress.[86] The women of the upper classes, the monarchy and the court wore hanbok which was inspired by the Ming dynasty clothing while simultaneously maintaining a distinctive Korean-style look; in turn, the women of the lower class generally imitated the upper-class women clothing.[87]
In the 15th century, neo-confucianism was very rooted in the social life in the fifteenth and sixteenth centuries which lead to the strict regulation of clothing (including fabric use, colours of fabric, motifs, and ornaments) based on status.[88] Neo-confucianism also influence women’s wearing of full-pleated chima, longer jeogori, and multiple layers clothing in order to never reveal skin.[89] In the 15th century, women started wearing of full-pleated chima which completely hide the body lines and longer-length jeogori.[90][89][91] The 15th century AD chima-jeogori style was undoubtedly a clothing style introduced from China consisting of longer jeogori and pleated chima.[89]
15th century lady
15th century lady
However, by the 16th century, the jeogori had shortened to the waist and appears to have become closer fitting, although not to the extremes of the bell-shaped silhouette of the 18th and 19th centuries.[92][93][85] In the 16th century, women’s jeogori was long, wide, and covered the waist.[94] The length of women’s jeogori gradually shortened: it was approximately 65 cm in the 16th century, 55 cm in the 17th century, 45 cm in the 18th century, and 28 cm in the 19th century, with some as short as 14.5 cm.[94] A heoritti (허리띠) or jorinmal (졸잇말) was worn to cover the breasts.[94] The trend of wearing a short jeogori with a heoritti was started by the gisaeng and soon spread to women of the upper class.[94] Among women of the common and lowborn classes, a practice emerged in which they revealed their breasts by removing a cloth to make breastfeeding more convenient.[95]
In the eighteenth century, the jeogori became very short to the point that the waistband of the chima was visible; this style was first seen on female entertainers at the Joseon court.[87] The jeogori continued to shorten until it reached the modern times jeogori-length; i.e. just covering the breasts.[89] During the seventeenth and eighteenth centuries the fullness of the skirt was concentrated around the hips, thus forming a silhouette similar to Western bustles. The fullness of the skirt reached its extreme around 1800. During the 19th century fullness of the skirt was achieved around the knees and ankles thus giving chima a triangular or an A-shaped silhouette, which is still the preferred style to this day. Many undergarments such as darisokgot, soksokgot, dansokgot, and gojengi were worn underneath to achieve desired forms.
A clothes reformation movement aimed at lengthening jeogori experienced wide success in the early 20th century and has continued to influence the shaping of modern hanbok. Modern jeogori are longer, although still halfway between the waistline and the breasts. Heoritti are sometimes exposed for aesthetic reasons. At the end of the 19th century, as mentioned above, Heungseon Daewongun introduced magoja, a Manchu-style jacket, which is often worn over jeogori to this day.
Women’s hanbok consists of chima skirt and jeogori shirt.
Full skirt and tight jeogori were considered fashionable. 18th century.
A rare painting of yangban women. Yangban ladies were sensitive to “fashion fads” which worried Seonbi scholars. 18th century.
Soksokgot , similar to a petticoat, is shown under the woman’s skirt. 18th century.
Dancing together with two swords
Men’s everyday wear
gat (a dopo (overcoat) Male aristocrat dress: a(a horsehair hat) on the head and yellow(overcoat)
Men’s hanbok saw little change compared to women’s hanbok. The form and design of jeogori and baji hardly changed.
In contrast, men’s lengthy outwear, the equivalent of the modern overcoat, underwent a dramatic change. Before the late 19th century, yangban men almost always wore jungchimak when traveling. Jungchimak had very lengthy sleeves, and its lower part had splits on both sides and occasionally on the back so as to create a fluttering effect in motion. To some this was fashionable, but to others, namely stoic scholars, it was nothing but pure vanity. Daewon-gun successfully banned jungchimak as a part of his clothes reformation program and jungchimak eventually disappeared.
Durumagi, which was previously worn underneath jungchimak and was basically a house dress, replaced jungchimak as the formal outwear for yangban men. Durumagi differs from its predecessor in that it has tighter sleeves and does not have splits on either sides or back. It is also slightly shorter in length. Men’s hanbok has remained relatively the same since the adoption of durumagi. In 1884, the Gapsin Dress Reform took place.[96] Under the 1884’s decree of King Gojong, only narrow-sleeves traditional overcoat were permitted; as such, all Koreans, regardless of their social class, their age and their gender started to wear the durumagi or chaksuui or ju-ui (周衣).[96]
Hats was an essential part formal dress and the development of official hats became even more pronounced during this era due to the emphasis of Confucian values.[97] The gat was considered an essential aspect in a man’s life; however, to replace the gat in more informal setting, such as their residences, and to feel more comfortable, Joseon-era aristocrats also adopted a lot hats which were introduced from China, such as the banggwan, sabanggwan, dongpagwan, waryonggwan, jeongjagwan.[97] The popularity of those Chinese hats may have partially been due to the promulgation of Confucianism and because they were used by literary figures and scholars in China.[97] In 1895, King Gojong decreed adult Korean men to cut their hair short and western-style clothing were allowed and adopted.[96]
A man wearing jungchimak . 18th century.
The “fluttering” effect. 18th century.
Waryonggwan and hakchangui in 1863
Photograph taken in 1863
Photograph taken in 1863
Bokgeon and simui in 1880
Black bokgeon and blue dopo in 1880
Jeongjagwan on the head
A Korean in mourning clothes
Korean men, 1871
Young Korean man of the middle class, 1904
Korean mother and daughter, 1910–1920
Material and color
Heuk dallyeongpo in the late 18th century in the late 18th century
The upper classes wore hanbok of closely woven ramie cloth or other high-grade lightweight materials in warm weather and of plain and patterned silks the rest of the year. Commoners were restricted by law as well as resources to cotton at best.
The upper classes wore a variety of colors, though bright colors were generally worn by children and girls and subdued colors by middle-aged men and women. Commoners were restricted by law to everyday clothes of white, but for special occasions they wore dull shades of pale pink, light green, gray, and charcoal. The color of chima showed the wearer’s social position and statement. For example, a navy color indicated that a woman had son(s). Only the royal family could wear clothing with geumbak-printed patterns (gold leaf) on the bottom of the chima.
Headdresses
gache A woman wearing a wig, or
Both male and female wore their hair in a long braid until they were married, at which time the hair was knotted; man’s hair was knotted in a topknot called sangtu (상투) on the top of the head, and the woman’s hair was rolled into a ball shaped form or komeori and was set just above the nape of the neck.
A long pin, or binyeo (비녀), was worn in women’s knotted hair as both a fastener and a decoration. The material and length of the binyeo varied according to the wearer’s class and status. And also wore a ribbon or daenggi (댕기) to tie and to decorate braided hair. Women wore a jokduri on their wedding day and wore an ayam for protection from the cold. Men wore a gat, which varied according to class and status.
Before the 19th century, women of high social backgrounds and gisaeng wore wigs (gache). Like their Western counterparts, Koreans considered bigger and heavier wigs to be more desirable and aesthetic. Such was the women’s frenzy for the gache that in 1788 King Jeongjo banned by royal decree the use of gache, as they were deemed contrary to the Korean Confucian values of reserve and restraint.[98]
Owing to the influence of Neo-Confucianism, it was compulsory for women throughout the entire society to wear headdresses (nae-oe-seugae) to avoid exposing their faces when going outside; those headdresses may include suegaechima (a headdress which looked like a chima but was narrower and shorter in style worn by the upper-class women and later by all classes of people in late Joseon), the jang-ot, and the neoul (which was only permitted for court ladies and noblewomen).[99]
In the 19th century yangban women began to wear jokduri, a small hat that replaced gache. However gache enjoyed vast popularity in kisaeng circles well into the end of the century.
Later development
Today’s hanbok is the direct descendant of hanbok patterned after those worn by the aristocratic women or by the people who were at least from the middle-class in the Joseon period,[64][100] specifically the late 19th century. Hanbok had gone through various changes and fashion fads during the five hundred years under the reigns of Joseon kings and eventually evolved to what we now mostly consider typical hanbok.
Beginning in the late 19th century, hanbok was largely replaced by new Western imports like the Western suit and dress. Today, formal and casual wear are usually based on Western styles. However, hanbok is still worn for traditional occasions, and is reserved for celebrations like weddings, the Lunar New Year, annual ancestral rites, or the birth of a child.
Foreign influences
The clothing of Korea’s rulers and aristocrats after AD 7, was influenced by both foreign and indigenous styles, including significant influences from various Chinese dynasties, resulting in some styles of clothing, such as the simui from Song dynasty,[101] gwanbok worn by male officials were generally adopted from and/or influenced by the court clothing system of the Tang,[61][102] Song,[102] and Ming dynasties,[103] and Court clothing of women in the court and women of royalty were adapted from the clothing style of Tang and Ming dynasties,[104][105] the cheolik from the Mongol clothing and bestowed from the Ming court,[106] and the magoja from Manchu clothing.
The cultural exchange was also bilateral and Goryeo hanbok had cultural influence on some clothing of Yuan dynasty worn by the upper class (i.e. the clothing worn by Mongol royal women’s clothing[81] and in the Yuan imperial court[75]).[107] Commoners were less influenced by these foreign fashion trends, and mainly wore a style of indigenous clothing distinct from that of the upper classes.[108]
Social status
Especially from the Goryeo Dynasty, the hanbok started to determine differences in social status through the many types and components,[109] and their characteristics[110] – from people with the highest social status (kings), to those of the lowest social status (slaves).[109] Although the modern Hanbok does not express a person’s status or social position, Hanbok was an important element of distinguishment especially in the Goryeo and Joseon Dynasties.[110]
Clothes
Hwarot
Hwarot or Hwal-Ot (Hangul: 활옷) was the full dress for a princess and the daughter of a king by a concubine, formal dress for the upper class, and bridal wear for ordinary women during the Goryeo and Joseon dynasties.[111] Popular embroidered patterns on Hwal-Ot were lotuses, phoenixes, butterflies, and the ten traditional symbols of longevity: the sun; mountains; water; clouds; rocks/stone; pine trees; the mushroom of immortality; turtles; white cranes, and deer.[112] Each pattern represented a different role within society, for example: a dragon represented an emperor a phoenix represented a queen; floral patterns represented a princess and a king’s daughter by a concubine, and clouds and cranes represented high ranking court officials.[111] All these patterns throughout Korean history had meanings of longevity, good luck, wealth and honor.[111] Hwal-Ot also had blue, red, and yellow colored stripes in each sleeve – a woman usually wore a scarlet-colored skirt and yellow or green-colored Jeogori, a traditional Korean jacket.[111] Hwal-Ot was worn over the Jeogori and skirt.[111] A woman also wore her hair in a bun, with an ornamental hairpin and a ceremonial coronet.[111] A long ribbon was attached to the ornamental hairpin, the hairpin is known as Yongjam (용잠).[111] In more recent times, people wear Hwal-Ot on their wedding day, and so the Korean tradition survives in the present day.[111]
Wonsam
Wonsam (Hangul: 원삼) was a ceremonial overcoat for a married woman in the Joseon dynasty.[113] The Wonsam was also adopted from China and is believed to have been one of the costumes from the Tang dynasty which was bestowed in the Unified Three Kingdoms period.[60] It was mostly worn by royalty, high-ranking court ladies, and noblewomen and the colors and patterns represented the various elements of the Korean class system.[113] The empress wore yellow; the queen wore red; the crown princess wore a purple-red color; meanwhile a princess, a king’s daughter by a concubine, and a woman of a noble family or lower wore green.[113] All the upper social ranks usually had two colored stripes in each sleeve: yellow-colored Wonsam usually had red and blue colored stripes, red-colored Wonsam had blue and yellow stripes, and green-colored Wonsam had red and yellow stripes.[113] Lower-class women wore many accompanying colored stripes and ribbons, but all women usually completed their outfit with Onhye or Danghye, traditional Korean shoes.[113]
Dangui
Dangui or Tangwi (Hangul: 당의) were minor ceremonial robes for the queen, a princess, or wife of a high ranking government official while it was worn during major ceremonies among the noble class in the Joseon dynasty.[112] The materials used to make “Dang-Ui” varied depending on the season, so upper-class women wore thick Dang-Ui in winter while they wore thinner layers in summer.[114] Dang-Ui came in many colors, but yellow and/or green were most common. However the emperor wore purple Dang-Ui, and the queen wore red.[114] In the Joseon dynasty, ordinary women wore Dang-Ui as part of their wedding dress.[114]
Myeonbok and Jeokui
Myeonbok
Myeonbok (Hangul: 면복) were the king’s religious and formal ceremonial robes while Jeokui were the queen’s equivalent during the Goryeo and Joseon dynasties.[115] Myeonbok was composed of Myeonryu-Gwan (Hangul: 면류관) and Gujang-bok (Hangul: 구장복).[115] Myonryu-Gwan had beads, which hung loose; these would prevent the king from seeing wickedness.[115] There were also wads of cotton in the left and right sides of Myeonryu-Gwan, and these were supposed to make the king oblivious to the influence of corrupt officials. Gujang-bok was black, and it bore nine symbols, which all represented the king.[115]
Nine symbols
Dragon:A dragon’s appearance paralleled how the king governed and subsequently brought balance to the world.[115] Fire: The king was expected to be intelligent and wise to govern the people effectively, like a guiding light represented by the fire.[115] Pheasant: The image of a pheasant represented magnificence.[115] Mountain: As a mountain is high, the king was on a par in terms of status and was deserving of respect and worship.[115] Tiger: A tiger represented the king’s courage.[115] Monkey: A monkey symbolized wisdom.[115] Rice: As the people needed rice to live, the king was compared to this foodstuff as he had the responsibility of protecting their welfare.[115] Axe: This indicated that the king had the ability to save and take lives.[115] Water plant: Another depiction of the king’s magnificence.[115]
Jeokui
Jeokui or Tseogwi (Hangul: 적의) was arranged through the use of different colors as a status symbol within the royal family.[116] The empress wore purple-red colored Jeokui, the queen wore pink, and the crown princess wore deep blue.[116] “Jeok” means pheasant, and so Jeokui often had depictions of pheasants embroidered onto it.[116]
Cheolique
Cheolique (Alt. Cheolick or Cheollik) (Hangul: 철릭) was a Korean adaptation of the Mongol tunic, imported in the late 1200s during the Goryeo dynasty. Cheolique, unlike other forms of Korean clothing, is an amalgamation of a blouse with a kilt into a single item of clothing. The flexibility of the clothing allowed easy horsemanship and archery. During the Joseon dynasty, they continued to be worn by the king, and military officials for such activities.[117] It was usually worn as a military uniform, but by the end of the Joseon dynasty, it had begun to be worn in more casual situations.[117] A unique characteristic allowed the detachment of the Cheolique’s sleeves which could be used as a bandage if the wearer was injured in combat.[117]
Ayngsam
Ayngsam (Hangul: 앵삼;鶯衫) was the formal clothing for students during the national government exam and governmental ceremonies.[118] It was typically yellow, but for the student who scored the highest in the exam, they were rewarded with the ability to wear green Aengsam.[118] If the highest-scoring student was young, the king awarded him with red-colored Aengsam.[118] It was similar to the namsam (난삼/襴衫) but with a different colour.[119]
Accessories
Binyeo
Binyeo or Pinyeo (Hangul: 비녀) was a traditional ornamental hairpin, and it had a different-shaped tip again depending on social status.[120] As a result, it was possible to determine the social status of the person by looking at the binyeo. Women in the royal family had dragon or phoenix-shaped Binyeo while ordinary women had trees or Japanese apricot flowers.[121] And Binyeo was a proof of marriage. Therefore, to a woman, Binyeo was an expression of chastity and decency.[122]
Daenggi
Daenggi is a traditional Korean ribbon made of cloth to tie and to decorate braided hair.
Norigae
Norigae (Hangul: 노리개) was a typical traditional accessory for women; it was worn by all women regardless of social ranks.[123][124] However, the social rank of the wearer determined the different sizes and materials of the norigae.[124]
Danghye
Danghye or Tanghye (Hangul: 당혜) were shoes for married women in the Joseon dynasty.[125] Danghye were decorated with trees bearing grapes, pomegranates, chrysanthemums, or peonies: these were symbols of longevity.[126]
Kunghye
Danghye for a woman in the royal family were known as Kunghye (Hangul: 궁혜), and they were usually patterned with flowers.[126]
Onhye
Danghye for an ordinary woman were known as Onhye (Hangul: 온혜).[126]
Modern usage
Although hanbok is a traditional costume, it has been re-popularized in modern fashion.[127] Contemporary brands, such as the Modern Hanbok of the “Korean in Me”[128] and Kim MeHee,[129] have incorporated traditional designs in their upscale modern clothes. Modern hanbok has been featured in international haute couture; on the catwalk, in 2015 when Karl Lagerfield dressed Korean models for Chanel, and during Paris Fashion Week in photography by Phil Oh.[130] It has also been worn by international celebrities, such as Britney Spears and Jessica Alba, and athletes, such as tennis player Venus Williams and football player Hines Ward.[131]
Hanbok is also popular among Asian-American celebrities, such as Lisa Ling and Miss Asia 2014, Eriko Lee Katayama.[129] It has also made appearances on the red carpet, and was worn by Sandra Oh at the SAG Awards, and by Sandra Oh’s mother who made fashion history in 2018 for wearing a hanbok to the Emmy Awards.[132]
The South Korean government has supported the resurgence of interest in hanbok by sponsoring fashion designers.[133] Domestically, hanbok has become trendy in street fashion and music videos. It has been worn by the prominent K-pop artists like Blackpink and BTS, notably in their music videos for “How You Like That” and “Idol.”[134][135] As the hanbok continues to modernize, opinions are divided on the redesigns.[136]
In Seoul, a tourist’s wearing of hanbok makes their visit to the Five Grand Palaces (Changdeokgung, Changgyeonggung, Deoksugung, Gyeongbokgung and Gyeonghuigung) free of charge.
See also
Why Puffer Jackets Are at the Centre of Korea’s Class Divide
SEOUL, South Korea — With temperatures now hovering at single digits, followed by reports of first snowfalls, a curious trend is taking off in South Korea: the puffer jacket. Its presence is ubiquitous and is worn by everyone across the country, from elementary school children in Busan to K-pop celebrities like Suzy Bae and BTS in Seoul. But the jacket is more than just a piece of practical cold-weather wear; it’s a vital fashion statement that has become a marker of class divide.
A few years ago, the craze was specifically for North Face jackets. They’re often referred to as “spine breakers,” because “parents’ [financial] backbones are ‘broken’ by having to buy these ridiculously high-priced jackets for their children,” explains Celine Hong, a Korean photographer and videographer whose clients include Vogue Korea, Dazed, Hypebeast and MM6 Maison Margiela.
While the Pyeongchang Winter Olympics this Feburary helped boost the recent trend for puffers, it is also a cultural issue with meaning that goes far deeper. “It’s a syndrome phenomenon beyond fashion. [It] starts with the middle school and high school uniform culture of Korea; students who wear the same clothing all the time began to wear padded jackets,” says Mo Kim, general director of the multi-brand concept store Rare Market.
A guest at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty A guest at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
A guest at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
The type of puffer jacket someone chooses to wear is important. “Each brand, style and colourway signifies a certain social subgroup,” he continues, explaining that playground hierarchies are determined by the choice of puffer jacket worn. It’s similar to how consumers in need of status use loud luxury goods to signal to the less affluent that they are not one of them.
In recent decades, Asia has become a region of extremes: as of 2018, four of the world’s five most expensive cities are in Asia, with Seoul coming in fifth place. Yet, a wealth gap, driven largely by wage disparity and differing levels of access to education, has opened up. It has in turn led to a hugely popular phrase among young people in South Korea, which is “hell joseon (헬조선),” roughly translating as “Korea is close to hell and a hopeless society.”
While the country has often been championed as an economic success story, thanks to the global popularity of South Korean culture known as hallyu, income equality in Korea is the worst in the Asia-Pacific region, according to a 2016 report by the International Monetary Fund, dispelling the myth that everyone here is affluent, when in fact, there is a system of hidden social strata and wider income disparity issues that are not noticed from a cursory trip to the capital city.
Similar to Japan, there are ancient codes of social hierarchies that determine a lot in Korean life. Therefore, anything that highlights this — like the status symbol of a coat — can be powerful, because it shines a light on a topic and emotions that are rarely discussed openly but that people feel. According to local media, the puffer jacket fad has caused problems in schools like theft, aggressive bullying, counterfeiting and money extortion. Some parents are even said to have bought their children expensive puffer coats to boost their self-esteem, but merely end up competing with other parents.
While change is afoot — President Moon Jae-in was elected on a wave of outrage over this growing inequality and has begun work to reverse the trend — the fact of the matter is, “every teenager I know has at least one puffer jacket,” says Hong. “It’s the most popular item in the winter season.”
Parents teach their children that by not standing out too much, they’ll be safe. It’s why Koreans tend to look alike.
But what’s really driving this trend?
It’s no secret that K-pop, K-dramas and K-beauty have become wildly popular over the past decade in Seoul and overseas. Many individuals look to their favourite Korean stars for inspiration, so when the boy-band members of BTS step out in Puma’s down padded coats, it’s likely that a legion of fans will follow. “You see celebrities on TV shows; when they’re shooting outside it’s very cold and they have to stay outside for a long time, so they wear these puffers and it becomes a big trend,” says Jung Kuho, executive director of Seoul Fashion Week, held at the Zaha Hadid–designed Dongdaemun Design Plaza. “My nephew is 13 and he really wants a long puffer jacket this winter. It’s become like a uniform for that generation.”
However, for the older generation, the puffer’s appeal has less to do with following K-pop trends and more to do with finding comfort in conformity rather than individuality in South Korea’s culturally homogeneous society. “Many parents here teach their children … that by not standing out too much in a group, they’ll be safe,” says Jung. “It’s why Koreans tend to look alike. People here love to follow trends, whichever way it goes, and a majority of people go after the same thing: they go to the same restaurants, listen to the same music.”
Korean model Irene Kim wearing an Ienki Ienki puffer jacket | Source: Ienki Ienki Korean model Irene Kim wearing an Ienki Ienki puffer jacket | Source: Ienki Ienki
Korean model Irene Kim wearing an Ienki Ienki puffer jacket | Source: Ienki Ienki
“There is a tendency for people here to follow key trends en masse,” agrees Caroline Kim, chief operating officer of Solid Corporation, an export-trading company in Seoul, but also added that “apart from the obvious reason of freezing temperatures during the winter, Koreans are generally very influenced by global trends. The popularity of streetwear and street brands has led to increased customer demand for [puffers] in Korea.”
Hip-hop and associated visual representations have recently exploded into Asia’s mainstream, prompting a hip-hop-influenced, high-end streetwear obsession. But it’s a phenomenon that isn’t restricted to the continent. (Earlier this year, rap overtook rock as the biggest music genre in the US for the first time.) Now, it’s starting to take over airwaves in South Korea, even though the country is better known for its monumental K-pop scene.
The first widely recognised Korean song containing rapping appeared in 1989, courtesy of Hong Seo-beom, a moderately popular rock musician. Then emerged Jinusean, a pioneering Korean hip-hop duo backed by YG Entertainment — the talent agency of Big Bang, G-Dragon and 2NE1 — and rappers Tiger JK and DJ Shine of Drunken Tiger, who emulated prevailing black music trends in America. However, Korean hip-hop — abbreviated as K-hop — caught global attention in 2016 when Coachella announced it would host a Korean group for the first time in its 17-year history. To the surprise of many, the invitation was not extended to leading pop idol groups like EXO or Girls’ Generation, but to alternative hip-hop group Epik High.
“When you watch Korean TV, it’s all about R&B and hip-hop. Rap is super popular right now,” says Jung, citing popular South Korean TV show “Show Me The Money,” a competition show where everyone from underground rappers to mainstream artists battle it out to bring home a cash prize. (The programme’s popularity has extended to neighbouring countries like China, leading to successful spinoffs like “The Rap of China.”) “When you look at rappers, their style and how they dress, they love big puffer jackets,” Jung continues.
The South Korean market presents a major opportunity for fashion brands, with designer apparel and accessories approximately worth $5 billion and growing 7.2 percent on average each year. And the puffer jacket phenomenon has been a boon to outerwear brands in the country.
Guests at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty Guests at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
Guests at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
In the first nine months of 2018, Moncler’s sales in Asia grew 39 percent, a spokesperson at the company told BoF, noting that China and Korea were the strongest performers. “Moncler’s down jackets are a luxury must-have … specifically for the Korean market. This style is currently one of our most popular categories.” The Italian label currently has 24 directly operated stores in the country.
Canadian outerwear brand Nobis opened shop in Korea six years ago and today, it has 33 direct retail stores across the country. “We launch two to six new styles, exclusive to the Korean market each season,” says Nobis co-founder Robin Yates, who formerly served as vice president of Canada Goose. Today, it counts Korea as among its top five performing markets.
According to a spokesperson at MatchesFashion.com, Moncler, Canada Goose, Herno, Burberry and Prada are among the luxury retailer’s best performing puffer brands and the style is among its top five categories in Korea. Brands such as The North Face, K2, Descente, D-Antidote, Youser, This is Never That and Ienki Ienki have also been popular with Korean shoppers.
Launched in 2016 by Kyiv-based Dmitriy Ievenko, who also co-founded Asthik Group, one of Ukraine’s fastest growing luxury retail companies, Ienki Ienki’s down jackets begin at around $700 and go up to $1,500. Yet, the high price tag hasn’t dented demand. “In our store, Ienki Ienki sold out straight away in its first season,” says Rare Market’s Kim.
Today, the Ukrainian outerwear label is stocked in 315 stores across 30 countries — in Seoul, it can be found in 10 Corso Como, Rare Market, Breaker, Boon the Shop, Cherbebe and Space Mue. “Each season, our orders in Korea rise about 20 percent,” founder Ievenko adds.
The puffer is also Korean menswear label D-Antidote’s bestseller for the Autumn/Winter season. “For Autumn/Winter 2018, we presented four to five puffer styles and 3,000 pieces were ordered from international retailers,” says D-Antidote designer Park Hwan-sung. The brand launched in 2014 and today has over 35 stockists worldwide.
Many Koreans are willing to spend on a brand name because of its perceived value, says art director Gary Bradnick, who has spent a lot of time in the country. “A middle class demographic has been forming over a few years … in this instance, the price tag becomes more important, as it becomes less about how cheap did you get it for, but more how much you paid to own an authentic item, which of course is a statement of one’s wealth.”
“It’s interesting because Koreans buy puffer jackets to fit in, but also to stand out and differentiate [themselves],” says Kim.
Disclosure: Kati Chitrakorn travelled to Korea as a guest of Hera Seoul Fashion Week.
Related Articles:
[ Korea’s Lightning Fast Fashion ] [ Can ‘Sick-Cute’ Fashion Break Japan’s Silence on Suicide? ] [ Canada Goose Takes on Chinese Market More Used to Fake Parkas ]
OUTERWEAR: Padded Jackets
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Before Buying a Padding Jacket in Korea, Check These 7 Things
Before Buying a Padding Jacket in Korea, Check These 7 Things
Padding (패딩) jackets or padded coats are the “national” coat in Korea during winter. There are many reasons why it is popular with Korean people. First, padding suits both men and women since it comes in a variety of unisex models. You can choose from fashionable long padding or convenient short padding. Moreover, padding is not only warm and convenient but it also creates a trend among young Koreans for light materials and beautiful designs. You don’t need to wear a lot of layers of clothes, just a T-shirt inside is warm enough when you have a long padding. So, for expats, especially those who experience their first Korean winter, and want to buy a padding jacket, please check out 7 things before you make your purchase.
1. What is the outer layer (겉감), lining (안감), and filling (충전재)?
Filling (충전재) acts as an insulating material, like the cotton in a blanket. Key ingredients commonly found in the padding material panel include:
Cotton
Wellon (special cotton fiber with added heat retaining function)
Duck down feathers (덕다운)
Goose down feathers (구스다운)
Wild goose down feathers (와일드 구스다운)
The outer layer (겉감) acts as a covering for the filling material and is commonly made of a special fabric that is waterproof and windproof.
The lining (안감) is the part that touches the body, so it will be made from a material that is soft and non-irritating.
Specialized paddings are mainly made by using materials that prevent static electricity, reflect body heat, or have a self-heating function.
2. What is the difference between natural and artificial materials?
Natural materials (천연소재) include feathers of poultry, such as ducks or geese. Meanwhile, man-made material (인공소재) includes cotton polyester, synthlate, wellon, and some similar components. Artificial materials will be cheaper than natural materials, which are more difficult to exploit.
Wellon cotton, the most popular man-made material in padding manufacturing over the past few years, is a specially processed fine fiber. It is warmer and lighter than conventional cheap cotton. Furthermore, you don’t have to be worried about avian feather allergies. Also, the price of paddings made from this material is also relatively affordable. So, many Korean people, especially Korean students, often choose to buy padding made from wellon cotton rather than goose down padding or duck down padding.
Photo Credit: compagna_official
3. Duck down and goose down
Down feather refers to the feathers in the bird’s chest part. With its light, porous and heat-retaining properties, down feathers keep warm better than the feathers in the bird’s wings. Duck down paddings don’t have as good warmth retaining ability as goose down paddings, but their price is cheaper.
Meanwhile, goose-down paddings have the ability to occupy a larger volume of gas so the ability to keep warm is better. In particular, the feathers of geese raised in cold and dry countries have a better ability to keep warm. The Korean market also introduced paddings made from wild goose down. Unlike normal goose down fathers, which is white, wild goose feathers are typically gray.
Photo Credit: classical_fit
4. Is it necessary to consider the feather-to-cotton ratio?
Currently, the main materials in paddings sold on the market include both feathers and cotton fibers. If only feathers are used, with the soft properties, the padding will be difficult to inflate and not create much space for gas storage.
Therefore, to create space for the air layers to appear, the manufacturer will add cotton fibers between the feathers. The golden ratio of these two components (cotton fibers: feathers) should be 9:1 or 8:2.
Photo Credit: clorlk
5. How many feathers is enough?
This is one of the most important factors when choosing to buy a padding. The more feathers, the higher the price. The amount of feathers weighing more than 300g is called heavy padding, and it is suitable for environments with temperatures around -25 degrees.
In Korea, the lowest temperature on the coldest days is not that much, so the amount of feather of a padding in the range of 220 – 250g is most appropriate.
6. What is Fill Power?
A thick and heavy padding is not necessarily warm. Korean garment technology is developing more and more so there are a variety of paddings that are light, warm and convenient having been introduced.
Fill power is simply the ability to restore cotton swelling after it is compacted. The higher the fill power, the more air a certain weight of the down can trap, and thus the more insulating ability the down will have. For the Korean winter, a padding with a fill power from 650 to 700 is sufficient.
Photo Credit: seoul_ajumma
7. Do paddings have to be dry-cleaned?
Many people think that because paddings are made from expensive feathers they need to be dry-cleaned. In fact, if water damages the feathers in a coat, birds such as ducks and geese cannot swim in the water.
Hence washing a padding by water (hand washing recommended) is recognized as not affecting the quality.
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Why Puffer Jackets Are at the Centre of Korea’s Class Divide
SEOUL, South Korea — With temperatures now hovering at single digits, followed by reports of first snowfalls, a curious trend is taking off in South Korea: the puffer jacket. Its presence is ubiquitous and is worn by everyone across the country, from elementary school children in Busan to K-pop celebrities like Suzy Bae and BTS in Seoul. But the jacket is more than just a piece of practical cold-weather wear; it’s a vital fashion statement that has become a marker of class divide.
A few years ago, the craze was specifically for North Face jackets. They’re often referred to as “spine breakers,” because “parents’ [financial] backbones are ‘broken’ by having to buy these ridiculously high-priced jackets for their children,” explains Celine Hong, a Korean photographer and videographer whose clients include Vogue Korea, Dazed, Hypebeast and MM6 Maison Margiela.
While the Pyeongchang Winter Olympics this Feburary helped boost the recent trend for puffers, it is also a cultural issue with meaning that goes far deeper. “It’s a syndrome phenomenon beyond fashion. [It] starts with the middle school and high school uniform culture of Korea; students who wear the same clothing all the time began to wear padded jackets,” says Mo Kim, general director of the multi-brand concept store Rare Market.
A guest at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty A guest at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
A guest at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
The type of puffer jacket someone chooses to wear is important. “Each brand, style and colourway signifies a certain social subgroup,” he continues, explaining that playground hierarchies are determined by the choice of puffer jacket worn. It’s similar to how consumers in need of status use loud luxury goods to signal to the less affluent that they are not one of them.
In recent decades, Asia has become a region of extremes: as of 2018, four of the world’s five most expensive cities are in Asia, with Seoul coming in fifth place. Yet, a wealth gap, driven largely by wage disparity and differing levels of access to education, has opened up. It has in turn led to a hugely popular phrase among young people in South Korea, which is “hell joseon (헬조선),” roughly translating as “Korea is close to hell and a hopeless society.”
While the country has often been championed as an economic success story, thanks to the global popularity of South Korean culture known as hallyu, income equality in Korea is the worst in the Asia-Pacific region, according to a 2016 report by the International Monetary Fund, dispelling the myth that everyone here is affluent, when in fact, there is a system of hidden social strata and wider income disparity issues that are not noticed from a cursory trip to the capital city.
Similar to Japan, there are ancient codes of social hierarchies that determine a lot in Korean life. Therefore, anything that highlights this — like the status symbol of a coat — can be powerful, because it shines a light on a topic and emotions that are rarely discussed openly but that people feel. According to local media, the puffer jacket fad has caused problems in schools like theft, aggressive bullying, counterfeiting and money extortion. Some parents are even said to have bought their children expensive puffer coats to boost their self-esteem, but merely end up competing with other parents.
While change is afoot — President Moon Jae-in was elected on a wave of outrage over this growing inequality and has begun work to reverse the trend — the fact of the matter is, “every teenager I know has at least one puffer jacket,” says Hong. “It’s the most popular item in the winter season.”
Parents teach their children that by not standing out too much, they’ll be safe. It’s why Koreans tend to look alike.
But what’s really driving this trend?
It’s no secret that K-pop, K-dramas and K-beauty have become wildly popular over the past decade in Seoul and overseas. Many individuals look to their favourite Korean stars for inspiration, so when the boy-band members of BTS step out in Puma’s down padded coats, it’s likely that a legion of fans will follow. “You see celebrities on TV shows; when they’re shooting outside it’s very cold and they have to stay outside for a long time, so they wear these puffers and it becomes a big trend,” says Jung Kuho, executive director of Seoul Fashion Week, held at the Zaha Hadid–designed Dongdaemun Design Plaza. “My nephew is 13 and he really wants a long puffer jacket this winter. It’s become like a uniform for that generation.”
However, for the older generation, the puffer’s appeal has less to do with following K-pop trends and more to do with finding comfort in conformity rather than individuality in South Korea’s culturally homogeneous society. “Many parents here teach their children … that by not standing out too much in a group, they’ll be safe,” says Jung. “It’s why Koreans tend to look alike. People here love to follow trends, whichever way it goes, and a majority of people go after the same thing: they go to the same restaurants, listen to the same music.”
Korean model Irene Kim wearing an Ienki Ienki puffer jacket | Source: Ienki Ienki Korean model Irene Kim wearing an Ienki Ienki puffer jacket | Source: Ienki Ienki
Korean model Irene Kim wearing an Ienki Ienki puffer jacket | Source: Ienki Ienki
“There is a tendency for people here to follow key trends en masse,” agrees Caroline Kim, chief operating officer of Solid Corporation, an export-trading company in Seoul, but also added that “apart from the obvious reason of freezing temperatures during the winter, Koreans are generally very influenced by global trends. The popularity of streetwear and street brands has led to increased customer demand for [puffers] in Korea.”
Hip-hop and associated visual representations have recently exploded into Asia’s mainstream, prompting a hip-hop-influenced, high-end streetwear obsession. But it’s a phenomenon that isn’t restricted to the continent. (Earlier this year, rap overtook rock as the biggest music genre in the US for the first time.) Now, it’s starting to take over airwaves in South Korea, even though the country is better known for its monumental K-pop scene.
The first widely recognised Korean song containing rapping appeared in 1989, courtesy of Hong Seo-beom, a moderately popular rock musician. Then emerged Jinusean, a pioneering Korean hip-hop duo backed by YG Entertainment — the talent agency of Big Bang, G-Dragon and 2NE1 — and rappers Tiger JK and DJ Shine of Drunken Tiger, who emulated prevailing black music trends in America. However, Korean hip-hop — abbreviated as K-hop — caught global attention in 2016 when Coachella announced it would host a Korean group for the first time in its 17-year history. To the surprise of many, the invitation was not extended to leading pop idol groups like EXO or Girls’ Generation, but to alternative hip-hop group Epik High.
“When you watch Korean TV, it’s all about R&B and hip-hop. Rap is super popular right now,” says Jung, citing popular South Korean TV show “Show Me The Money,” a competition show where everyone from underground rappers to mainstream artists battle it out to bring home a cash prize. (The programme’s popularity has extended to neighbouring countries like China, leading to successful spinoffs like “The Rap of China.”) “When you look at rappers, their style and how they dress, they love big puffer jackets,” Jung continues.
The South Korean market presents a major opportunity for fashion brands, with designer apparel and accessories approximately worth $5 billion and growing 7.2 percent on average each year. And the puffer jacket phenomenon has been a boon to outerwear brands in the country.
Guests at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty Guests at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
Guests at Hera Seoul Fashion Week at Dongdaemun Design Plaza | Photo: Getty
In the first nine months of 2018, Moncler’s sales in Asia grew 39 percent, a spokesperson at the company told BoF, noting that China and Korea were the strongest performers. “Moncler’s down jackets are a luxury must-have … specifically for the Korean market. This style is currently one of our most popular categories.” The Italian label currently has 24 directly operated stores in the country.
Canadian outerwear brand Nobis opened shop in Korea six years ago and today, it has 33 direct retail stores across the country. “We launch two to six new styles, exclusive to the Korean market each season,” says Nobis co-founder Robin Yates, who formerly served as vice president of Canada Goose. Today, it counts Korea as among its top five performing markets.
According to a spokesperson at MatchesFashion.com, Moncler, Canada Goose, Herno, Burberry and Prada are among the luxury retailer’s best performing puffer brands and the style is among its top five categories in Korea. Brands such as The North Face, K2, Descente, D-Antidote, Youser, This is Never That and Ienki Ienki have also been popular with Korean shoppers.
Launched in 2016 by Kyiv-based Dmitriy Ievenko, who also co-founded Asthik Group, one of Ukraine’s fastest growing luxury retail companies, Ienki Ienki’s down jackets begin at around $700 and go up to $1,500. Yet, the high price tag hasn’t dented demand. “In our store, Ienki Ienki sold out straight away in its first season,” says Rare Market’s Kim.
Today, the Ukrainian outerwear label is stocked in 315 stores across 30 countries — in Seoul, it can be found in 10 Corso Como, Rare Market, Breaker, Boon the Shop, Cherbebe and Space Mue. “Each season, our orders in Korea rise about 20 percent,” founder Ievenko adds.
The puffer is also Korean menswear label D-Antidote’s bestseller for the Autumn/Winter season. “For Autumn/Winter 2018, we presented four to five puffer styles and 3,000 pieces were ordered from international retailers,” says D-Antidote designer Park Hwan-sung. The brand launched in 2014 and today has over 35 stockists worldwide.
Many Koreans are willing to spend on a brand name because of its perceived value, says art director Gary Bradnick, who has spent a lot of time in the country. “A middle class demographic has been forming over a few years … in this instance, the price tag becomes more important, as it becomes less about how cheap did you get it for, but more how much you paid to own an authentic item, which of course is a statement of one’s wealth.”
“It’s interesting because Koreans buy puffer jackets to fit in, but also to stand out and differentiate [themselves],” says Kim.
Disclosure: Kati Chitrakorn travelled to Korea as a guest of Hera Seoul Fashion Week.
Related Articles:
[ Korea’s Lightning Fast Fashion ] [ Can ‘Sick-Cute’ Fashion Break Japan’s Silence on Suicide? ] [ Canada Goose Takes on Chinese Market More Used to Fake Parkas ]
Padded Puffer Jacket
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Shipping is FREE on all orders. Please ensure you enter the correct address when ordering (including house number) and in English only. We cannot be held responsible for items not being delivered due to an incomplete address.
Our order processing times are 1-7 business days depending on stock levels.
Goods will be dispatched on regular working days, Monday to Friday. All packages are processed from our warehouses in China.
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