Oct 8, 2016 - Nov 4, 2016

Jeogori, and Stories About Materials

Arumjigi Culture Keepers Foundation

Hanbok that embraces both tradition and modernity

On Jeogori, and Stories About Materials
Each year, Arumjigi presents a special exhibition on either clothing, food, or housing in which it presents the outcomes of work done together by artisans and contemporary artists. The exhibition explores the beauty of traditional Korean culture in everyday living in creative ways that are suited for modern times and is intended to build heritage for tomorrow that can be appreciated by the whole world and the next generation. Arumjigi hosted its first exhibition on clothing in 2004 and hosts the fifth edition on clothing this year. This exhibition focuses on an item of traditional women’s clothes, jeogori, as the title clearly indicates: Jeogori, and Stories About Materials. The exhibition is divided in two parts: Traditional Women’s Jeogori and Modern Women’s Jeogori Reinterpreted as Contemporary Clothing. This first part starts with reproduction of the most beautiful traditional women’s clothing, followed by hanbok reconstructed with new materials for women today.The second part shows works by contemporary fashion designers. Each of them embodied Korean aesthetics by unique approaches after painstakingly researching traditional patterns. The exhibition seeks new possibilities for traditional Korean clothing by combining new materials with traditional design, and traditional materials with contemporary design. Also highlighted at this exhibition are materials used for hanbok that embrace both tradition and modernity. Both artisans of traditional clothing and contemporary designers focused on diverse materials: some materials showing beauty intrinsic in traditional fabrics and others serving as a bridge connecting traditional and modern clothing. Bringing together practicality and the aesthetic beauty inherent to hanbok should yield excellent possibilities for traditional clothes worn through the ages.

The Traditional Clothing Restoration Team of this exhibition referenced primarily representative paintings of each period. In developing patterns, adjustments were made to account for the average height of people today: 172 centimeters. Patterns that could show silhouettes seen in the paintings as beautifully as possible were developed.

Rediscovery of Tradition: Clothing of the Goguryeo Kingdom
In antiquity, the Koreans commonly wore baji (pants) and jeogori (jacket), over which they wore a chima (long skirt) and outer robe called jangyu or po. This was a basic outfit worn by all people of the Goguryeo Kingdom, from the King to commoners. Ancient tomb murals dating to the Goguryeo Kingdom show the style that prevailed at the time.

This is a reproduction of women’s clothing depicted in the ancient tomb mural in Susan-ri. The basic jeogori worn by Goguryeo women in the 5th century was long and covered the hips, and the flips of jeogori were tied up with a belt around the waist. The neckband, collar, and hemline of jeogori and edges of sleeves were made of fabric of a different color or pattern from that of the body of jeogori to prevent jeogori from wearing out or becoming soiled, and to accentuate its beauty. Chima (skirt) was long enough to touch the ground, and was straight pleated and flared out towards the hem.

Rediscovery of Tradition: Clothing of the Unified Silla Kingdom
The beautiful colors produced by diverse dying techniques and the luxurious materials used for clothing during the Unified Silla period show what luxury the ruling class enjoyed at the time. A long skirt worn over a short jacket with a wide sash draped over the shoulders was common in many East Asian countries.

Inspired by artifacts from ancient tombs in Yeonggang-dong and Hwangseong-dong in Gyeongju and after studying paintings dating to Tang China, the rich style of aristocratic women of the Unified Silla period is reproduced here with beautifully patterned fabric. Patterns were dyed on two kinds of silk fabric of different thickness and transparency. Jeogori was produced by overlaying the two different silk fabrics, and chima was made with lightweight silk dyed in blue and patterned with silk.

Rediscovery of Tradition: Clothing of the Goryeo Dynasty
Dress began to change in the Goryeo period, but the basic form of jeogori and chima remained unchanged. Sometimes, chima was worn over jeogori, and other times, jeogori was worn over chima. Goryeo was a Buddhist state, and rich, colorful textiles were widely used. Gold, copper, or other metal threads were interwoven into fabrics to decoratively express patterns. Fabrics of various colors into which silver threads were interwoven were also common.

Clothing of the Goryeo Dynasty

Special fabric was produced for this exhibition specifically to recreate the elegant style of Goryeo women as depicted in Buddhist Paintings of the Paradise of Amitabha dating to the Goryeo period.

Silk gauze woven with silk threads creates the gentle silhouette of jeogori and chima. In this ensemble, jeogori was made with red dyed silk fabric with a pressed pattern of clouds that truly expresses the richness of Goryeo clothing.

Clothing of the Goryeo Dynasty

To show women in the Goryeo Dynasty as depicted in the painting Water-Moon Avalokiteshvara, the silk fabric with gold threads that had been found inside the pagoda in Bongseo-ri dating to the 12th century was reproduced to make chima of this piece. The loose fitting jeogori was made of shantung silk dyed in acorn color.

Rediscovery of Tradition_Clothing of the Joseon Dynasty
The style of traditional Korean clothing as we know it today became established in the Joseon period. Jeogori became shorter; the band for tying the waist disappeared; strips and knotted bottoms appeared; and a white collar was sewn around the neckband. Over time, changes were made to the length and width of jeogori, and the silhouette of chima changed. Joseon upheld aesthetics of integrity based on Confucian ideology, and women’s clothing changed accordingly in the late Joseon period: jeogori became shorter and diverse styles of underwear developed to create the voluminous silhouette of chima.

Women’s Clothing of the 16th Century Joseon Dynasty

During the 16th century, jeogori became loose and long, and the neckband, collar, hemline of jeogori, and edges of sleeveswere ornamented with fabric of different colors. Instead of fabric into which gold threads were woven, fabric pressed with gold patterns were used for ornamentation. Chima with a front longer than the back made of red mobondan silk was worn by women of the upper class as part of their ceremonial costume in the 16th century.

Women’s Clothing of the 18th Century Joseon Dynasty 1

These clothes are a reproduction of the clothes worn by the woman depicted in the famous painting A beautiful Woman by Sin Yun-bok (1758 ~ ?). The short, tightly-fitting jeogori and voluminous chima were made of fine ramie fabric. To display the voluminous silhouette of chima, many layers of undergarments made of ramie fabric, including mujigi chima (petticoat), were worn under chima.

Women’s Clothing of the 18 th Century Joseon Dynasty 2

This is woman’s winter clothing as depicted in the painting A Secret Night Trip by Sin Yun-bok. Jeogori and arm warmers were made of silk fabric with wool and fur lining inside. Chima was made of dyed, hand-woven antique silk.

Jeogori by Contemporary Fashion Designers_ Im Seonoc
I broke from conventional methods and took an entirely different approach to the research for this project: I tried to find modern everyday dresses styled most similarly to traditional hanbok. These were the white cotton shirt, bolero, spencer jacket, rubber banded skirt, and baggy pants. I imagined contemporary clothing based on universal standards and practicality to be associated with and incorporated into images unique to hanbok.Use of polyester and pressed neoprene as materials meant that stitching could be minimized and that the clothes could be assembled mainly with glue. Black and white are the basic colors, and other colors are used as point colors to create a universally refined look while remaining faithful to the basics in everyday life.The pattern on the dress implies the Sun and moon and five peaks (Irworobongdo) with simple graphic lines as ink and wash painting onthe white po.

Korean suit for Po

This is a reinterpretation of po outfit with wing shaped skirt that draws attention to movement.

OBONG Dress

The pattern on the dress implies the Sun and moon and five peaks (Irworobongdo) with simple graphic lines as ink and wash painting on the white po.

Daily Wear

The image of a skirt and jeogori(traditional Korean jacket) are calmly embraced as spencer jacket and skirt.

Spencer Jacket and brooch

This modern jeogori combines comfort into Korean traditional clothing to impart a feeling of modernity as bolero and spencer jacket. The brooch on the collar reflects beauty and structural detail of dongjeong (thin white cloth-covered paper collar of hanbok).

Delightful Korean Wedding

This skirt restructures the imagery of the red balloon shaped hanbok skirt in a planar pattern, and the jacket is the jeogori reinterpreted with a metal ornament on the collar

Jeogori by Contemporary Fashion Designers: Jung Misun
The Korean word hyang has two meanings:1. Delicate scent, good smell of flowers, scent, and fragrance2. To suggest a new direction, advance (root of ‘forward’)The brand spirit contained in Korean clothing is…The spiritual and aesthetic values of Korean women are truly apparent in traditional clothing. The generosity of shape and form of ties that restricts the physical body as minimally as possible mirrors the open-mindedness and flexible yet strong spirit of women in leading their lives.To reconstitute the elegant spirit embodied in Korea's unique clothing culture, I focused on complementing practicality. The materials of traditional hanbok are characterized by deep beauty unique to them for being fine and tidy, but they were not very practical for socially active women today. I sought to create a modern knitted jersey that is practical and comfortable with modern materials such as wool and cotton and with uniquely Korean elegance.

HYANG_04

This dress is made of knit and naturally covers and adjusts in front. The line, coat string, and other features of hanbok were reinterpreted to impart a feeling of modernity.

HYANG_02

This skirt and top reinterprets Korean beauty to impart a feeling of modernity. By the aesthetic quality of the coat string of hanbok and adjusting shape, the material has been reinterpreted for modern clothing.

Hyang series 5

The design implies the traditional organza unlined summer jacket with a modern simple knit top.

Jeogori by Contemporary Fashion Designers: RE;CODE
RE;CODE is a brand that suggests sensible consumption rather than waste to allow for recycling and environmental preservation. It is an upcycling re-design brand with a mission of sharing culture with consumers far beyond fashion.It was at that time that RE;CODE became involved with this exhibition. We decided that we wanted to deliver the brand concept of RE;CODE, that is, a message on the full range of clothes and environmental issues. In response, Arumjigi started collecting hanbok with diverse stories through the campaign ‘Hanbok Leaving Outside.’Thus, our project started with hanbok donated by people through the campaign.Why don’t Korean people wear hanbok anymore? Why is hanbok noble?The common answers by modern people to these questions are that hanbok is made of silk, which is difficult to launder; the long, wide sleeves, the short jacket, and the long skirt limit activities; and the colors are too brilliant to be worn most days.RE;CODE developed new hanbok suitable for the modern lifestyle by minimizing the impractical features of traditional hanbok.We analyzed a woman’s jeogori and a man’s durumagi and magoja, which can be seen as counterparts to the modern jacket and shirts, and began to disassemble them. In this process, the upcycling technique unique to RE;CODE was reinterpreted such that the silhouette of the wide sleeves with a gentle curved line and voluminous pants of traditional hanbok were reassembled harmoniously with the full range of modern clothes, especially men’s suits, shirts, and sportswear.

Body Suit for baby

This baby body suit has round sleeves and is made from used hanbok.

Quilted Cotton Pants for Baby

This baby cotton pant is made from a white woman's blouse and quilted with stitches with cotton inside. (Used woman's blouse and used hanbok).

Cotton Jeogori for Baby

This baby cotton jeogori is made from a sports jumper and used hanbok and has round sleeves.

Baby tactile book

This baby tactile book is made from leftover pieces of cloth, which can help baby to develop sight, touch, and hearing. (made from parts of a sports jumper, woman's blouse, and used hanbok and buttons).

Mobile for Baby

This baby mobile emphasizes the five traditional Korean colors and is made from leftover pieces of cloth and subsidiary materials.

(L)30, 婚

This jacket is made of two men's modern jackets with used hanbok with magoja looks to impart a feeling of modernity. The pants is made of man's modern pants and hanbok baji.

(R)30, 婚

The jacket is made from two men's jackets and has jeogori sleeves. The outer skirt has a traditional Korean scarf for a belt and is pleated with a silk organza from used hanbok, and the pants are made of two women's pants, have the shape of traditional Korean loose drawers, and bear a landscape pattern.

61, 回甲

This cropped down jacket is made from a part of a sports jumper, used hanbok chima and baji with a reinterpreted gat-jeogori (Korean fur-lined short coat). The shape of the wide pants comes from the silhouette of the traditional Korean underskirt, and it is made of material from a man's suit.

100, 祭

This blouse and quilted pants are made from a man's jacket and used magoja (Korean half coat).

100, 祭

This blouse and quilted pants are made from a man's jacket and used magoja (Korean half coat).

Jacket Lining Knot Cardigan

This patched cardigan is made of mixed media with wick from a man's jacket and used hanbok chima.

Jacket Lining Sleeve One-Piece

This dress is patched with lining of a man's jacket on the sleeves and reinterprets the shape of traditional dangui to impart a feeling of modernity.

Modern Layering One-piece

This dress is made from a part of a modern wool suit and used hanbok, and the cropped vest can be layered on top.

ONJIUM Research Institute of Korean Traditional Culture Under Hwadong Cultural Foundation ONJIUM is a research institute of Korean traditional culture. ONJIUM in Korean means "make things right and perfect." It is a workshop of artisans committed to creating heritage tomorrow by upholding and taking inspiration from traditional Korean culture, specifically with regard to clothing, cuisine, and housing, and adapting it for modern society.

ONJIUM has three studios where clothes are made, food is cooked, and houses are designed. The research fellows at each studio are striving to improve the 21st century Korean lifestyle by researching uniquely Korean clothing, cuisine, and housing and applying their findings to everyday modern living. Inspired by the spirit of the seonbi, the virtuous scholar of Korea’s olden days, the Clothing Studio of In 2013, ONJIUM introduced a traditional men’s garment called po made with modern materials and by modern production techniques through the special exhibition, Po, the Seonbi Spirit in Clothing. In 2014, the Studio conducted research to develop traditional materials with the support of the Hanbok Advancement Center. In 2015, the Studio participated in Korea Now!, a special exhibition on Korea held at Musée des Arts Décoratifs in commemoration of the 130th anniversary of establishment of diplomatic relations between Korea and France. The Studio is striving to create a new clothing culture through reinterpretation of traditional clothing and by suggesting modernized ceremonial dresses for weddings and first birthday parties.

Im Seonoc established the EGO DESIGN STUDIO (EDS) in 1996, and she had her first debut stage at S.F.A.A. SEOUL COLLETION in 1998. In 2003, she launched her own label, IMSEONOC, in Korea, and it was rebranded as PartspARTs IMSEONOC with a new look in 2011. Currently, She is a creative director of PartspARTs. She was a critic professor at Samsung Art and Design Institute (SADI), Korea from 2013 to 2015. After being selected as part of SEOUL’S 10 SOUL in 2010 and 2012 in Korea, she participated in a number of
exhibitions including SEOUL’S 10 SOUL exhibition in 2010-2013 in Paris and Shanghai, The Brilliant Art Project : Dream Society in 2013 in Seoul, MMCA Art Collaboration in 2015 in Korea, and Design Spectrum 2nd : Fashion Designer IMSEONOC in 2016 at Soda Museum. Also, she devoted herself as a costume director of KNCDC, Korea National Contemporary Dance Company in 2014 for the 'Bul-ssang' and the 'Already Not Yet' performances, 'The Little Prince' performance in 2015 in Korea, and the Sochi the XXII Olympic Winter Games Korean performance in 2014. She collaborated across disciplines at establishments including KOLON RE;CODE in 2015,

Seoul Arts Center in 2015, MMCA HYUNDAI MOTORS SERIES LEEBUL in 2014, and LEEUM Samsung Museum of Art in 2012, and she was in charge of design for uniforms at events including KNCDC in 2014, Ambassador of Chonbuk National University in 2015, and costumes for the 'Microphone' performance at ARKO Art Theater in Seoul in 2011. Since 1998, Her collection has been included in Seoul Collection, and she participated in numerous fashion shows including the Korea Heritage Fashion Show in 2011, 'Madame Freedom 2012' Fashion show in cinematic performance in 2012 in SAC in Korea, and tye F/W Street Fashion Show in 2016 in Seoul. She was selected as one of the VOGUE TALENTS in Italy vogue in 2013 and won a Gold Stevie Award for New Business Service of the Year in 2014, the Korea Fashion Prize of the Prime Minister's commendations in 2014, and a main prize at the Red Dot Awards 2016 for Communication Design.


Jung Misun launched her own label, NOHKE J & Who’s next, in 2009 in France and opened her first solo exhibition at La fashion galleria in 2009
in Paris. After she officially founded her own label, NOHKE, in 2010, she opened her first flagship store in 2011 in Seoul and collaborated with Lotte Department Store in 2014. Since 2011, she has shown her collection at Seoul Fashion Week and also at Shanghai Fashion Week from 2014.

She participated in a number of exhibitions and trade shows including Osaka Live Asia Collection in 2010 in Japan, Wizard of Oz at Shinsegae Gallery in 2009 in Korea, Tranoi (Paris), Fashion Coterie (NY), Workroom (Las Vegas) in 2011, 2012, and London & Paris Fashion Week sales campaign in 2014, 2015 in London and Paris. She also received the VOGUE ‘ART TO WEAR’ Award in 2008 in Korea and opened Seoul's 10 Seoul Paris & Milan popup store in 2016 in France after she received Seoul's 10 Seoul Award three consecutive times 2014 to 2016. She recently collaborated across disciplines at events including PUMA & DAZED CONPUSED X NOHKE in 2011 in Seoul, and she was in charge of costume design at The rite of spring G, Modern ballet project in 2016 in Korea.

KOLON INDUSTRIES founded their new brand, RE;CODE in March 2012, and RE;CODE started opening their pop-up stores at six locations in Korea including Shinsegae, Lotte, and Hyundai department stores in May 2012. It opened Fashion design Experience Center at Korea JobWorld and began exporting through Select Shop in six countries including the U.S. (New York), Hong Kong, and China in 2013. It also opened Communal Art Space at Myeong-dong Cathedral in 2014 and won the grand prize at the DFA_DesignFor Asia Awards for sustainability in 2015 in Hong Kong.

RE;CODE supported a few events including the Frieze Art Fair in 2013 in London, the Green Film Festival in 2014, 2015 in Seoul, and the Seoul Eco Bridge Festival in 2014 in Korea. RE;CODE also participated in a number of overseas trade shows including Berlin Capsule and participated in Korea Brand and Entertainment Expo in 2013 in London, Eco-Expo Korea in 2014 - 2015 in Seoul, the Slow Food Asia Pacific Festival in 2015, and the Seoul Design Festival in 2015. RE;CODE was invited as a speaker for the World Forum For a Responsible Economy in 2015 in France and the Korea · EU Eco Innovation Forum in 2015 in Seoul, and was selected as a representative of Korea at Y.E.S: yoox.com Estethica Sustainability in 2015 in Hong Kong.

Arumjigi Culture Keepers Foundation
Credits: Story

Host_ Arumjigi Culture Keepers Foundation, WCO Hwadong Cultural Foundation

Sponsor_ Cartier

Exhibition Adviser_ Cho Hyo Sook, Kim So Hyun, Park Kyung Mee

Coordination_ Ko Jeong Ah, Kim Hae Jin

Hanbok Artisan_ Kim Jeong Ah, Lee Kyung Sun, Jeong Eun Mi

Contemporary Designer_ Im Seonoc, Jung Misun, RE;CODE

PR_ Kwak Eun Jung, Shin Hye Sun, Jeong Eun Joo

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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