Hanbok

The hanbok (Template:Korean) is the traditional clothing of the Korean people. The term hanbok is primarily used by South Koreans; North Koreans refer to the clothes as Template:Transliteration (Template:Korean). The clothes are also worn in the Korean diaspora.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Korean Culture and Information Service, 2018, Ministry of Culture, Sports and Tourism of the Republic of Korea</ref> Koryo-saram—ethnic Koreans living in the lands of the former Soviet Union—also retained a hanbok tradition.<ref> Template:Cite book </ref>

Koreans have worn hanbok since antiquity. The earliest visual depictions of hanbok can be traced back to the Three Kingdoms of Korea period (57 BCE to 668 CE) with roots in the Proto-Koreanic people of what is now northern Korea and Manchuria. The clothes are also depicted on tomb murals from the Goguryeo period (4th to 6th century CE), with the basic structure of the hanbok established since at latest this period.<ref name="Dead-Goguryeo Tomb Murals 2007">The Dreams of the Living and the Hopes of the Dead-Goguryeo Tomb Murals, 2007, Ho-Tae Jeon, Seoul National University Press</ref> The ancient hanbok consisted of a Template:Transliteration (top), Template:Transliteration (trousers), Template:Transliteration (skirt), and the Template:Transliteration (coat). The basic structure of hanbok was developed to facilitate ease of movement; it integrated many motifs of Mu-ism.<ref name="Springer-2021">Template:Cite book</ref>

For thousands of years, the hanbok most people wore was pure white with no ornamentation. More ornate hanbok was typically reserved for special occasions such as weddings. The color white was seen as pure.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In some periods, commoners (Template:Transliteration) were even forbidden from wearing colorful hanbok regularly.<ref name="Hongbowon-2009b">Template:Cite book</ref>Template:Rp<ref name="Gwak-2006">Template:Cite book</ref><ref name="Lopez Velazquez-2021">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> However, on the other hand, during the Joseon dynasty and the 1910–1945 Japanese occupation of Korea, there was also an attempt to ban white clothes and to encourage non-bleached dyed clothes, which ultimately failed.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Modern hanbok are typically patterned after the hanbok worn in the Joseon period,<ref name="Springer-2021" /> especially those worn by the nobility and royalty.<ref name="Hongbowon-2009a">Template:Cite book</ref>Template:Rp<ref name="Gwak-2006"/> There is some regional variation in hanbok design between South Korea, North Korea, and Koreans in China as a result of the relative isolation from each other that these groups experienced in the late-20th century.<ref name="Routledge-2014">Template:Cite book</ref>Template:Rp<ref name="Lin-2020" /> Despite this, the designs have somewhat converged again since the 1990s,<ref>Template:Cite journal</ref> especially due to increased cultural and economic exchange after the Chinese economic reform<ref name="Jin-2020" /><ref name="Routledge-2014" />Template:Rp of 1978 onwards. Nowadays, contemporary Koreans wear hanbok for formal or semi-formal occasions and for 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.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Etymology

The term hanbok appeared relatively recently and is connected with the historical context in which it appeared. The term emerged in the late Joseon period, when the Empire of Japan and other western countries competed to place Korea under their own sphere of influence. The first known use of the term is in an 1881 document from the late Joseon period entitled Template:Transliteration (Template:Korean).<ref name="Chonnam-2009">역사 속의 우리 옷 변천사, 2009, Chonnam National University Press</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> There, hanbok is used to distinguish Korean clothing from Japanese- and Western-style clothing. Hanbok was again used in an 1895 document to distinguish between Korean and Japanese clothing. These two usages predate the Korean Empire's popularization of the use of the hanja character Template:Transliteration (Template:Hanja) to describe the Korean people.

Beginning in 1900, Korean newspapers used the hanja character Template:Transliteration in words that described Korean clothing, such as Template:Transliteration (Template:Korean), Template:Transliteration (Template:Korean), and Template:Transliteration (Template:Korean). Hanbok was used in a 1905 newspaper article to describe the clothing of one of the righteous armies. Other words with similar meanings, such as Template:Transliteration (Template:Korean) and Template:Transliteration (Template:Korean), were concurrently used.

Since the division of Korea, South Korea has preferred the term hanbok while North Korea has preferred the term Template:Transliteration. This reflects the general trend of South Korea's preference for the term Template:Transliteration and North Korea's for Template:Transliteration.

Components and design

File:Hanbok scheme.svg

Template:Ubl

For women, traditional hanbok consists of the Template:Transliteration (top) and the Template:Transliteration (skirt). The ensemble is often known as Template:Transliteration. For men, hanbok consist of Template:Transliteration and loose-fitting Template:Transliteration (trousers).<ref name="KBS">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

There are also a variety of vests, jackets and coats on top of this ensemble. For women, there are Jangsam, Dansam, Wonsam, and more. For men, some examples are Template:Transliteration, Template:Transliteration, Danryeong-ui, Joong-chimak, Sochang-ui, Daechang-ui, etc.

Jeogori

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File:Korea-Busan-Beomeosa-04.jpg

Jeogori and chima

The Template:Transliteration (Template:Korean) 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.<ref name="Doosan">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref name="HanbokBritannica">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

There are various styles and types of Template:Transliteration varying in fabric, sewing technique, and shape.<ref name="Britannica" /><ref name="Jeogori Reborns with New Visions of a Thousand">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The basic form of a Template:Transliteration consists of gil, git, dongjeong, goreum and sleeves. Gil (Template:Korean) is the large section of the garment on both front and back sides, and git (Template:Korean) is a band of fabric that trims the collar. Dongjeong (Template:Korean) is a removable white collar placed over the end of the git and is generally squared off. The goreum (Template:Korean) are fabric-strings that tie the Template:Transliteration.<ref name="KBS" /> Women's Template:Transliteration may have kkeutdong (Template:Korean), a different colored cuff placed at the end of the sleeves. Contemporary Template:Transliteration are presently designed with various lengths.

Goreum

Goreum (Template:Korean) refers to the strings that fasten clothes together.

Traditionally, there are many types of goreum. Fabric goreum was 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, colourful ones were used on the outside. Since the early form of the Template:Transliteration 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 Template:Transliteration. In the 20th century, the goreum became the commonly known long and wide decorative ribbons on the front of the Template:Transliteration and was coined the Ot-goreum.

Danchu

Danchu (buttons) can also be used as an alternative to goreum.

There are many types of danchu. One example is the maedeup-danchu which was 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 look like a ball and lasso. Magoja-danchu are often big decorative metal, gems or stones buttons usually on jjokki (vest).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Chima

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Chima (Template:Korean) refers to "skirt", and is also called sang (Template:Linktext) or gun (Template:Linktext) in hanja.<ref name="EncyKorea">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Doosan" /><ref name="Britannica">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The underskirt, or petticoat layer, is called sokchima. Chima-malgi is the waistband that trims the top of the chima. Chima was typically made from rectangular panels that were pleated or gathered into the chima-malgi (waistband).<ref name="CHA">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This waistband also had goreum strings for fastening the skirt around the body.<ref name="CHA2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> From the Goguryeo to Joseon periods, chima have been striped, pleated, patchworked, and gored.<ref name="Doosan" />

Sokchima was largely made in a traditional way until the early 20th century when shoulder straps were added,<ref name="GoodPeople">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> later developing into a sleeveless bodice or "reformed" petticoat called eokkaeheorichima.<ref name="GoodPeople2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> By the mid-20th century, some outer chima also gained a sleeveless bodice, which was then covered by the Template:Transliteration.<ref name="RecycleLACMARedSkirt">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Unreliable source?<ref name="RecycleLACMA">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Unreliable source?

Baji

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Baji (Template:Korean) refers to the bottom part of the men's hanbok. It is the term for "trousers" in Korean. Compared to western style pants, Template:Transliteration 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.<ref name="asia-planet.net">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It functions as modern trousers do and the term Template:Transliteration is commonly used in Korea to refer to every kind of pants.

The baji-malgi is a waistband of the Template:Transliteration that has a long string of goreum.

Template:Transliteration can be unlined trousers, leather trousers, silk pants, or cotton pants, depending on the style of dress, sewing method, embroidery and so on.

Sokgot

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Sokgot (Template:Korean) is a collective noun for various types of traditional Korean undergarments. They were worn as part of a hanbok before the import of Western-style underwear. Women usually wore several layers of undergarments, the more layers they had the richer they were.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Undergarments were considered very important, thus it happened that the quality and material of the underwear were better than that of the visible outer layers.<ref name="hanstyle">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Deot-ot

Deot-ot refers to a category of outer layers worn on top of the Template:Transliteration. There are many varieties other than the ones listed here.

Po

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Po (Template:Korean) 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.<ref name="Encyclopedia of Korean Culture">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Korean type is a common style from the Three Kingdoms of Korea period, and it is used in the modern day.<ref name="Doosan" /><ref name="Encyclopedia of Korean Culture" /> The Chinese type consist of different types of po from mainland China.<ref name="Encyclopedia of Korean Culture" />

Durumagi is a type of po that was worn for protection against the cold. It has been widely worn as an outer robe over Template:Transliteration and Template:Transliteration. It is also called jumagui, juchaui, or juui.<ref name="EncyKorea" /><ref name="Doosan" /><ref name="Britannica1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Banbi

Banbi (Template:Korean, lit. 'half sleeve') are a type Hanfu that originated from the Tang dynasty. Banbi refers to a variety of short-sleeved garments worn on top of inner garments, typically the Yuanling pao (Chinese: 圓領袍, 'round collar robe'). Numerous outer half-sleeved Banbi can be seen in ancient Tang-era paintings, murals, and statues.<ref>Congwen Shen 沈從文. Research on Ancient Chinese Clothing 中國古代服飾研究．Hong Kong Publishing Company, 1981 香港：商務印書館，1981</ref>

Bigap

A sleeveless outer garment that was derived from Mongolian clothing worn during the Goryeo period.<ref>Template:Cite journal</ref>

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

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} The dapho (Template:Korean) is a short-sleeved men's outer garment, often part of military uniform or official uniform.

Jokki

Jokki ({{#invoke:Lang|lang}}) is a type of vest, while magoja is an outer jacket. The jokki was created around the late Joseon dynasty, as Western culture began to affect Korea.

Magoja

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Magoja (Template:Korean) does not have a git, the band of fabric trimming the collar.<ref name="KBS" /> The magoja for men sometimes has seop (Template:Korean, 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.<ref name="Britannica1" />

It was introduced to Korea after Heungseon Daewongun, the father of King Gojong, returned from his political exile in Tianjin in 1887.<ref name="Britannica1" /><ref name="Life in Korea">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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 Template:Transliteration') or magwae.<ref name="Britannica1" />

Children's hanbok

File:Korean clothing-Hanbok for children-01.jpg

Children's hanbok

Traditionally, Kkachi durumagi (literally 'a magpie's overcoat') were worn as seolbim (Template:Korean), new clothing and shoes worn on the Korean celebration of Korean New Year, while at present, it is worn as a ceremonial garment for dol, the celebration for a baby's first birthday.<ref name="EncyKorea Kkachi">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="dol">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It is a children's colorful overcoat.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref> It was worn mostly by young boys.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref> The clothes is also called obangjang durumagi which means "an overcoat of five directions".<ref name="EncyKorea Kkachi" /> It was worn over Template:Transliteration (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),<ref>The Groom's Wedding Attire Template:Webarchive Academia Koreana of Keimyung University</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> hogeon (peaked cloth hat with a tiger pattern) for young boys or gulle (decorative headgear) for young girls.<ref name="Doosan" />Template:Request quotation<ref name="tour2korea">{{#invoke:citation/CS1|citation |CitationClass=web

}}</ref>

File:Children dressed in Korean traditional clothing at the opening ceremony for Old Korean Legation - 2018 (42300672731).jpg

Children in Washington DC wearing hanbok

Foreign influences in design

The clothing of Korea's rulers and aristocrats after CE 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 Template:Transliteration from Song dynasty,<ref>Template:Cite journal</ref> gwanbok (관복 or 단령) worn by male officials were generally adopted from and/or influenced by the court clothing system of the Tang,<ref name="Yu-2006" /><ref name="Kyu-Seong-2004">Template:Cite journal</ref> Song,<ref name="Kyu-Seong-2004" /> and Ming dynasties,<ref>Template:Cite book</ref> and Court clothing of women in the court and women of royalty were adapted from the clothing style of Tang and Ming dynasties.<ref>Template:Cite book</ref><ref>McCallion, 2008, p. 221 – 228</ref> The cheolick , which originated in Mongolia, was described in 15th century Korea as gifts from the Ming dynasty or as military uniforms.<ref name="Cho">Template:Cite journal</ref>

The cultural exchange was also bilateral and Goryeo hanbok had a cultural influence on some clothing of Yuan dynasty worn by the upper class (i.e. the clothing worn by Mongol royal women's clothing<ref name="Choi-2007" /> and in the Yuan imperial court<ref name="Kim-2015" />).<ref>고려(高麗)의 원(元)에 대(對)한 공녀(貢女),유홍렬,震檀學報,1957</ref> Commoners were less influenced by these foreign fashion trends, and mainly wore a style of indigenous clothing distinct from that of the upper classes.<ref name="Daum Global">{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref>

Design and social position

File:Korean.costume-Hanbok-wedding.bride-01.jpg

Hwarot, bride clothes

The choice of hanbok can also signal social position. 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 Template:Transliteration and red chima while matrons wore green and red, and women with sons donned navy. The upper classes wore a variety of colours. Contrastingly, commoners were required to wear white, but dressed in shades of pale pink, light green, gray and charcoal on special occasions.

The material of the hanbok also signaled status. 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.<ref>Misie Lander (January 2017). Hanbok: An Introduction to South Korea's National Dress</ref>

In addition, special variants were made for officials and shamans.<ref name="asia-planet.net" />

History

Three Kingdoms of Korea

File:7th century painting of Koreans.png

7th-century Chinese Tang dynasty painting of envoys from the Three Kingdoms of Korea: Baekje, Goguryeo, and Silla

The earliest visual depictions of hanbok can be traced back to the Three Kingdoms of Korea period (57 BCE to 668 CE).<ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref name="Lee-2015">Template:Cite book</ref><ref name="KCIS2">Template:Cite book</ref> The origin of ancient hanbok can be found in the ancient clothing of what is now today's Northern Korea and Manchuria.<ref name="Greenwood2">Template:Cite book</ref> Some hypothesize that the hanbok of antiquity can trace its origin to nomadic clothing of the Eurasian Steppes (Scythian clothing), spanning across Siberia from western Asia to Northeast Asia, interconnected by the Steppe Route.<ref name="kim 7 154">Kim, Moon Ja, 2004, 7-15</ref><ref name="Lee, Kyung-Ja, 20035">Lee, Kyung-Ja, 2003</ref><ref name="스키타이 복식 유형 및 형태에 관한 연구 - 고대 한국과의 관계">Template:Cite journal</ref> 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,<ref name="Chonnam-2009" /><ref name="Kim-2021">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="한국의상디자인학회지22">Template:Cite journal</ref> such as the use of trousers and jacket for male clothing and the use of left closure in its jacket.<ref name="Chang-2020">Template:Cite journal</ref> However, although the ancient hanbok reflects some similarity with the Scythian clothing, numerous differences between the two types of clothing have also been observed which led associated professor Youngsoo Chang from the Department of Cultural Properties in Gyeongju University in 2020 to suggest that the theory about Scythian clothing being the archetype of the ancient hanbok, a theory accepted as common knowledge in Korean academia, having to be revised.<ref name="Chang-2020" /> It is also important to note that the Goguryeo tomb murals were primarily painted in two geographical regions: Ji'an (Template:Lang-zh) and Pyongyang.<ref name="NMKET-2009">Template:Cite magazine</ref>Template:Rp The former is the second capital of Goguryeo while the latter is the third capital of Goguryeo from the mid-fourth to the mid-seventh centuries.<ref name="NMKET-2009" />Template:Rp While the mural paintings found in regions Ji'an typically shows the characteristics of Goguryeo people in terms of their customs and morals; those from the regions of Pyeongyang typically show the cultural influences of the Han dynasty as the Han dynasty had governed this geographical region for approximately 400 years, including Chinese-style clothing.<ref name="NMKET-2009" />Template:Rp

Goguryeo

Early forms of hanbok can be seen in the art of Goguryeo tomb murals in the same period from the 4th to 6th century CE.<ref name="KCIS2" /><ref name="Greenwood2" /><ref name="한국의상디자인학회지22" /><ref>Nelson, 1993, p.7 & p.213-214</ref> 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,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> except for the length and the ways the Template:Transliteration opening was closed as over the years.<ref name="Lee-2015" /> The Template:Transliteration 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.<ref name="Lee-2015" /> Since the sixth century CE, the closing of the Template:Transliteration at the right became a standard practice.<ref name="Lee-2015" /> The length of the female Template:Transliteration also varied.<ref name="Lee-2015" /> For example, women's Template:Transliteration seen in Goguryeo paintings of the late 5th century CE are depicted shorter in length than the man's Template:Transliteration.<ref name="Lee-2015" />

In early Goguryeo, the Template:Transliteration 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.Template: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.<ref name="EncND-2013">Template:Cite book</ref>

Two types of hwa (shoes) were used, one covering only the foot, and the other covering up to the lower knee.Template:Citation needed

During this period, the conical hat and its similar variants, sometimes adorned with long bird feathers,<ref>Template:Cite journal</ref> were worn as headgear.<ref name="스키타이 복식 유형 및 형태에 관한 연구 - 고대 한국과의 관계"/> Bird feather ornaments, and bird and tree motifs of golden crowns, are thought to be symbolic connections to the sky.Template:Citation needed

The Goguryeo period royal attire was known as ochaebok.<ref name="Lee-2015"/> The precursor of what is now known as the durumagi was introduced during the Goguryeo period as a long coat worn by Northern Chinese.<ref name="Lee-2015" /> 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.<ref name="Lee-2015" /> In Muyong-chong murals of Goguryeo, there are male dancers in short Template:Transliteration 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 shamanic rituals.Template:Citation needed

• Goguryeo tomb mural.jpg

  A Goguryeo man in a hunting attire from Capital Cities and Tombs of the Ancient Koguryo Kingdom, 5th century CE, Jilin province, China

• Goguryeo servants.jpg

  Goguryeo servants wearing a Chima (skirt) and a long Template:Transliteration jacket, Goguryeo mural paintings in Jilin province, China, 5th-century CE

• Goguryeo tomb 07.jpg
• 수산리 고구려벽화.jpg

North-South States period

In the North-South States Period (698–926 CE), Silla and Balhae adopted dallyeong, a circular-collar robe from the Tang dynasty of China.<ref>Lee, Tae-ok. Cho, Woo-hyun. Study on Danryung structure. Proceedings of the Korea Society of Costume Conference. 2003. pp. 49-49.</ref><ref name="Nam-2000">Template:Cite journal</ref> In Silla, the dallyeong was introduced by Muyeol of Silla in the second year of queen Jindeok of Silla.<ref name="Nam-2000"/><ref name="Yu-2006"/> 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.<ref name="Nam-2000"/>

United Silla

The Silla Kingdom unified the Three Kingdoms in 668 CE. The Unified Silla (668-935 CE) 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 fashion trends 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).<ref name="Yu-2006">Template:Cite journal</ref> Based on archaeological findings, it is assumed that the clothing which was brought back during Queen Jindeok rule are danryunpo and bokdu.<ref name="Yu-2006"/> 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.<ref>Template:Cite book</ref> In 664 CE, 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.<ref name="Yu-2006"/> 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 Template:Transliteration.<ref name="Yu-2006"/><ref name="Lee-2013">Template:Cite book</ref> The influence of the Tang dynasty during this time was significant and the Tang court dress regulations were adopted in the Silla court.<ref name="EncND-2013" /><ref name="Pratt-1999">Template:Cite book</ref> 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 CE.<ref name="Yu-2006" /> The general public of Silla continued to wear their own traditional clothing.<ref name="Yu-2006" />

• Korea-National.Folk.Museum-01.jpg

  Reconstruction of Silla king's and queen's attire

• Gold Waist Belt from the North Mound of Hwangnamdaechong Tomb.jpg

  Gold waist belt used by royalty of Silla.

• 신라 토용2.jpg

  Women figures wearing Tang-dynasty style clothing, Silla

Balhae

Balhae (698–926 CE) 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.<ref name="Duncan-2012">Template:Cite book</ref> Early Balhae officials wore clothing appeared to continue the Three Kingdoms period tradition.<ref name="Duncan-2012" /> 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.<ref name="Duncan-2012" /> 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.<ref name="Duncan-2012" /> Women clothing appears to have adopted clothing from Tang dynasty (i.e. upper garment with long sleeves which is partially covered by 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.<ref name="Duncan-2012" /> People from Balhae also wore fish-skin skirts and sea leopard leather tops to keep warm.<ref name="Duncan-2012" />

Goryeo dynasty

The Chinese style imported in the Northern-South period, however, did not affect hanbok still used by the commoners,Template: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.<ref name="Koreana2">Template:Cite journalTemplate:Dead link</ref><ref name="Hanstyle2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref>Template:Cite journal</ref>

In Goryeo Buddhist paintings, the clothing and headwear of royalty and nobles typically follow the clothing system of the Song dynasty.<ref name="Park-2020">Template:Cite book</ref> The Goryeo painting "Water-Moon Avalokiteshvara", for example, is a Buddhist painting which was derived from both Chinese and Central Asian pictorial references.<ref>Template:Cite book</ref> On the other hand, the Chinese clothing worn in Yuan dynasty rarely appeared in paintings of Goryeo.<ref name="Park-2020" /> 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).<ref name="Chae-2016">Template:Cite journal</ref> However, even in the Buddhist painting of the late Goryeo, such as the Royal Palace Mandala, the courting ladies are depicted in Tang and Song dynasty-style court dress clothing, which is a different style from the Mongol Yuan court.<ref name="Chae-2016" />

• Water-Moon Avalokiteshvara (detailed view of patrons).jpg

  Details of the Water-Moon Avalokiteshvara painting shows a group of nobles (possibly the donors) dress in court clothing, Goryeo painting<ref>Template:Cite book</ref>

• Goryeohanbok.jpg

  Chima-jeogori, a noblewoman's attire in Water-Moon Avalokiteshvara, Goryeo dynasty painting, 1323 CE<ref name="Chae-2016" />

• 王宮曼荼羅図.jpg

  Court ladies wearing the Tang and Song dynasty style clothing, from the painting Royal Palace Mandala, late Goryeo

• Goryeo lady joban.jpg

  Portrait of Lady Jo ban (1341–1401 CE), Goryeo dynasty

• Korea-National.Treasure-110-Yi.Jehyung-portrait-NMK.jpg

  Portrait of Yi Je-hyeon (1287–1367 CE) 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.<ref name="Yu-2006"/><ref name="Lee, Kyung-Ja, 20035" /><ref name="koreanculture.org">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A total of seven women from the Yuan imperial family were married to the kings of Goryeo.<ref name="Kim-2015" /> The Yuan dynasty princess followed the Mongol lifestyle who was instructed to not abandon the Yuan traditions in regards to clothing and precedents.<ref name="Yu-2006"/> 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.<ref name="Yu-2006"/> The Yuan clothing culture which influenced the upper classes and in some extent the general public is called Mongolpung.<ref name="Kim-2015" /> 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.<ref name="Yu-2006"/> After the fall of the Yuan dynasty, only Mongol clothing which were beneficial and suitable to Goryeo culture were maintained while the others disappeared.<ref name="Yu-2006"/> As a result of the Mongol influence, the chima skirt was shortened, and Template:Transliteration was hiked up above the waist and tied at the chest with a long, wide ribbon, the Template:Transliterationg (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.Template: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.<ref>Kim, Ki Sun, 2005. v. 5, 81-97.</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> However, this influence on the Mongol court clothing mainly occurred in the last years of the Yuan dynasty.<ref>Template:Cite book</ref><ref name="Kim-2015">Template:Cite journal</ref> 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.<ref name="Kim-2015" /><ref>Template:Cite journal</ref> About 2000 women from Goryeo were sent to Yuan as kongnyo against their will.<ref name="Kim-2015" /> 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.<ref name="Kim-2015" /> 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.<ref name="Kim-2015" /> 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.<ref name="Kim-2015" /> 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).<ref name="Kim-2015" /><ref name="Choi-2007">Template:Cite journal</ref> However, so far, the modern interpretation on the appearance of Mongol royal women's clothing influenced by Goryeo is based on authors' suggestions.<ref name="Choi-2007"/> 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."<ref>Template:Cite book</ref>

Joseon dynasty

Template:More citations needed section 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.<ref name="Hongbowon-2013">Template:Cite book</ref> Social values such as the integrity in men and chastity in women were also reflected in how people would dress.<ref name="Hongbowon-2013" /> 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.<ref name="Chosun Ilbo2">Template:Cite news</ref>

Women's everyday wear

File:밀양고법리박익벽화묘1.jpg

Ordinary people's clothing,<ref name="Chae-2016" /> Mural tomb of Bak Ik in Gobeop-ri, Miryang. Bak Ik was a civil official who lived from 1332 to 1398 CE, Early Joseon

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);<ref>Miryang gobeomni bagik byeokhwamyo (Mural tomb of Bak Ik in Gobeop-ri, Miryang) Template:Webarchive. Cultural Heritage Administration. Accessed 15 July 2009.</ref> the murals from the tomb of Bak Ik are valuable resources in Korean archaeology and art history for study of life and customs in early Joseon.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref name="Welters-2018">Template:Cite book</ref> During the Joseon dynasty, the chima or skirt adopted fuller volume, while the Template:Transliteration or blouse took more tightened and shortened form, features quite distinct from the hanbok of previous centuries, when chima was rather slim and Template:Transliteration baggy and long, reaching well below waist level.

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.<ref>Template:Cite book</ref> Neo-confucianism also influence women's wearing of full-pleated chima, longer jeogori, and multiple layers clothing in order to never reveal skin.<ref name="Murray-2020">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the 15th century, women started wearing of full-pleated chima which completely hide the body lines and longer-length jeogori.<ref>Template:Cite book</ref><ref name="Murray-2020" /><ref>Template:Cite book</ref> The 15th century CE chima-jeogori style was undoubtedly a clothing style introduced from China consisting of longer Template:Transliteration and pleated chima.<ref name="Murray-2020" />

• 영의정하연부부영정4.jpg

  15th century lady

• 영의정하연부부영정2.jpg

  15th century lady

However, by the 16th century, the Template:Transliteration 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.<ref>Keum, Ki-Suk "The Beauty of Korean Traditional Costume" (Seoul: Yeorhwadang, 1994) Template:ISBN p.43</ref><ref name="Contemporary Artwork of Women2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Chosun Ilbo2" /> In the 16th century, women's Template:Transliteration was long, wide, and covered the waist.<ref name="저고리2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The length of women's Template:Transliteration 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.<ref name="저고리2" /> A Template:Transliteration (Template:Korean) or Template:Transliteration (Template:Korean) was worn to cover the breasts.<ref name="저고리2" /> The trend of wearing a short Template:Transliteration with a heoritti was started by the gisaeng and soon spread to women of the upper class.<ref name="저고리2" /> 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.<ref>Template:Cite journal</ref> As there was an excessive preference for boys in the Joseon dynasty, the deliberate exposure of breast eventually became a cultural practice and an indicator of women's pride and status symbol in having given birth to a son and thus she would "proudly bare her breasts to feed her child, deliberately provoking the envy of other women".<ref name="Lee-2013" /> During the 17th and 18th centuries the fullness of the skirt was concentrated around the hips, thus forming a silhouette similar to Western bustles. In the 18th century, the Template:Transliteration 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.<ref name="Welters-2018" /> The Template:Transliteration continued to shorten until it reached modern times Template:Transliteration-length; i.e. just covering the breasts.<ref name="Murray-2020" /> 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.

• Chimajeogori002.jpg

  Women's hanbok consists of chima skirt and Template:Transliteration shirt by Shin Yunbok

• 18thcentury maid.jpg

  Full skirt and tight Template:Transliteration were considered fashionable (18th century)

• Yangban.jpg

  A rare painting of yangban women. Yangban ladies were sensitive to "fashion fads" which worried Seonbi scholars (18th century)

• 18thcentury innerwear.jpg

  Soksokgot, similar to a petticoat, is shown under the woman's skirt (18th century)

• Hyewon-Ssanggeum.daemu.jpg

  Dancing together with two swords

At the end of the 19th century, as mentioned above, Heungseon Daewongun introduced magoja, a Manchu-style jacket, which is often worn over Template:Transliteration to this day.

A clothes reformation movement aimed at lengthening Template:Transliteration experienced wide success in the early 20th century and has continued to influence the shaping of modern hanbok. Modern Template:Transliteration are longer, although still halfway between the waistline and the breasts. Heoritti are sometimes exposed for aesthetic reasons.

Men's everyday wear

File:Interior 1, Unhyeongung - Seoul, Korea.JPG

Male aristocrat dress: a gat (a horsehair hat) on the head and yellow dopo (overcoat)

Men's hanbok saw little change compared to women's hanbok. The form and design of Template:Transliteration and Template:Transliteration 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 split 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 side 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.<ref name="Pyun-2018">Template:Cite book</ref> Under the 1884's decree of King Gojong, only narrow-sleeves traditional overcoats were permitted; as such, all Koreans, regardless of their social class, age and their gender started to wear the durumagi or chaksuui or ju-ui (周衣).<ref name="Pyun-2018" />

Hats were an essential part of formal dress and the development of official hats became even more pronounced during this era due to the emphasis on Confucian values.<ref name="Choe-2012">Template:Cite book</ref> The gat was considered an essential aspect in a man's life; however, to replace the gat in a more informal setting, such as their residences, and to feel more comfortable, Joseon-era aristocrats also adopted a lot of hats which were introduced from China, such as the banggwan, sabanggwan, dongpagwan, waryonggwan, jeongjagwan.<ref name="Choe-2012" /> 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.<ref name="Choe-2012" /> In 1895, King Gojong decreed adult Korean men to cut their hair short and western-style clothing were allowed and adopted.<ref name="Pyun-2018" />

• 18thcentur man.jpg

  A man wearing jungchimak, 18th century

• Malehanbok002.JPG

  The "fluttering" effect, 18th century

• Joseon-Portrait of Heungseon Daewongun-01.jpg

  Waryonggwan and hakchangui in 1863

• Koreans oldest pic 3.jpg

  Photograph taken in 1863

• Koreans oldest pic group.jpg

  Photograph taken in 1863

• Joseon-Portrait of Heungseon Daewongun-02.jpg

  Bokgeon and simui in 1880

• Joseon-Portrait of Heungseon Daewongun-03.jpg

  Black bokgeon and blue dopo in 1880

• Korea-Min Sangho-1898-Hubert Vos.jpg

  Jeongjagwan on the head

• A Corean in mourning clothes.jpg

  A Korean in mourning clothes

• COREANS.jpg

  Korean men, 1871

• Corean man. Middle class.jpg

  Young Korean man of the middle class, 1904

• Korea-History-1910-1920-Korean.mother.child-Carpenter.Collection.jpg

  Korean mother and daughter, 1910–1920

Material and color

File:Joseon-Portrait of Cha Jegong-Black danryeongpo.jpg

Heuk dallyeongpo 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 the chima showed the wearer's social position and statement. For example, a navy color indicated that a woman had a son(s). Only the royal family could wear clothing with geumbak-printed patterns (gold leaf) on the bottom of the chima.

Headdresses

File:Miindo-Yun.family.of.Haenam-d1.jpg

A woman wearing a wig, or gache

Both men and women wore their hair in a long braid until they were married, at which time the hair was knotted. A man's hair was knotted in a topknot called sangtu (Template:Korean) 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 (Template:Korean), 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. Women also wore a ribbon known as a daenggi (Template:Korean) to tie and 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 kisaeng 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.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

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 that 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).<ref>Template:Cite journal</ref>

Later development

Modern hanbok is the direct descendant of hanbok patterned after those worn by aristocratic women or by the people who were at least from the middle-class in the Joseon period,<ref name="Pratt-1999" /><ref>Template:Cite book</ref> 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 is now considered 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.

Modern usage

Hanbok was featured in international haute couture; on the catwalk, in 2015 when Karl Lagerfeld dressed Korean models for Chanel, and during Paris Fashion Week in photography by Phil Oh.<ref>Template:Cite news</ref> 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.<ref>Template:Cite news</ref>

Hanbok is also popular among Asian-American celebrities, such as Lisa Ling and Miss Asia 2014, Eriko Lee Katayama.<ref name="KIMM-2022">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref>Template:Cite news</ref>

South Korea

The South Korean government has supported the resurgence of interest in hanbok by sponsoring fashion designers.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Domestically, hanbok has become trendy in street fashion and music videos. It has been worn by prominent K-pop artists like Blackpink and BTS, notably in their music videos for "How You Like That" and "Idol."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Unreliable source?

In Seoul, tourist's wearing of hanbok makes their visit to the Five Grand Palaces (Changdeokgung, Changgyeonggung, Deoksugung, Gyeongbokgung and Gyeonghuigung) free of charge.

In Busan, the APEC South Korea 2005 provided hanbok for delegates of the 21 member economies of the Asia-Pacific Economic Cooperation.

North Korea

Template:Multi image Hanbok is also worn in present-day North Korea where it is known as Template:Transliteration (Template:Korean).<ref name="KBSW-2022">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Template:Transliteration thus highlights the identity of the Korean ethnic and has been more actively promoted under the rule of Kim Jong Un.<ref name="KBSW-2022" /> The Template:Transliteration is currently typically worn during special occasions, e.g. weddings,<ref name="Nam-2020">Template:Cite book</ref>Template:Rp and when North Koreans celebrate the 60th, 70th, and 80th birthdays of their parents.<ref name="KBSW-2022" /> It is also mandated that women wear Template:Transliteration when attending National events, such as Kim Jong Il's birthday (16 February), International women's day (8 March), Kim Il Sung's birthday (15 April), Foundation Day (9 September).<ref name="Nam-2020" />Template:Rp White colored hanbok is often used as the color white has been the traditionally favored by the Korean people as the symbolism of pure spirit.<ref name="KBSW-2022" />

The Template:Transliteration remains the clothing of women, including female university students who are required to wear it as part of their university school uniforms.<ref name="KBSW-2022" /> The uniform of female university students has been a black-and-white Template:Transliteration since the early to mid 2000s.<ref name="KBSW-2022" /> The Template:Transliteration can often be found at a length of about 30 cm from the ground for practical purposes in order to facilitate movements and to ensure that women could wear it during their daily workday with ease and comfort; this decrease in skirt length also gives a sense of modern style.<ref name="Nam-2020" />Template:Rp

The Template:Transliteration patterns also have special meanings which are given by the North Koreans.<ref name="KBSW-2022" /> Generally, young people in North Korea like floral prints and bright colours, while the older generations favour simple styles of clothing and solid colours.<ref name="Yonhap-2002" />Template:Rp The Template:Transliteration in North Korea is sometimes characterized by its use of floral patterns which are often added to the sleeves of the Template:Transliteration and to the Template:Transliteration.<ref name="KBSW-2022" /> Azaleas, in particular, are favoured in Yongbyon due to their association with the emotional poem Azaleas (《Template:Korean》) by Kim So-wol.<ref name="KBSW-2022" /> Men occasionally wear Template:Transliteration.<ref name="KBSW-2022" />

However, Template:Transliteration are typically more expensive than ordinary clothing, and renting is available for people who cannot afford to purchase one; some are available for purchase at US$20 while the Template:Transliteration made in China with South Korean designs and fabrics are more expensive and can cost approximately US$3000.<ref name="KBSW-2022" /> The mid-2010s also saw the increased popularity of children dressing in Template:Transliteration by their parents.<ref name="KBSW-2022" />

The custom of Korean costume was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage by North Korea in 2024.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

History

The 1950s and 1960s also saw women from the upper-class wear Template:Transliteration made out of rayon while a black-and-white Template:Transliteration consisting of a black long-length Template:Transliteration and white Template:Transliteration were used in the 1950s and 1960s where it was generally worn by women;<ref name="GNK-2022">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> this style can, however, be traced to a typical clothing style used in the Joseon period.<ref name="KBSW-2022" /> This combination is still representative of the ideal woman and remains the official outfit for women in North Korea to this day.<ref name="Nam-2020" />Template:Rp In the 1980s, the Template:Transliteration became the official attire of women when attending ceremonies while western-style clothing became the everyday, ordinary clothing.<ref name="GNK-2022" />

After the mid-1990s due to extreme economic contractions, women could purchase their Template:Transliteration in private markers and were allowed to choose their desired colours and designs.<ref name="KBSW-2022" />

In 2001, Lee Young-Hee, a South Korean hanbok designer visited Pyongyang to hold a fashion show at the Pyeongyang Youth Center on 4 and 6 June;<ref name="Yonhap-2002">Template:Cite book</ref>Template:Rp and since the 2002, North Korea have held their own fashion show in Pyongyang every spring.<ref name="GNK-2022" /> Since 2001, there have been an increase of shops specialized in the customization of Template:Transliteration in Pyongyang which was reported by the KBCS.<ref name="Yonhap-2002" />Template:RpThis increase was due to a project implemented by the public service bureau of the Pyongyang People's Committee to increase Template:Transliteration tailoring shops.<ref name="Yonhap-2002" />Template:Rp These shops are typically found in large cities, such as Pyeongyang and Gaesong but are rarely found in small cities and villages.<ref name="Yonhap-2002" />Template:Rp

Modern usage by Korean diaspora

China

File:연변문예 표지 이미지.jpg

Illustration of vintage Template:Transliteration on the Yanbian Literature & Art magazine cover, China, 1975–1983

In China, the hanbok is referred as Template:Transliteration (Template:Lang-zh; Template:Korean) and is recognized as being the traditional ethnic clothing of Template:Transliteration (Template:Lang-zh) in China. Template:Transliteration is an official term and is recognized as one of the official 55 ethnic minorities in China.<ref name="Jin-2020">Template:Cite thesis</ref> People of the Template:Transliteration ethnic group are not recent immigrants to China, but have a long history having lived in China for generations.<ref name="Routledge-2014"/>Template:Rp They share the same ethnic identity as the ethnic Korean people in both North and South Korea, but are counted as Chinese citizens by nationality under the Constitution of China. Their traditions are not entirely the same due to their unique historical experiences, geographical location and mixed identities.<ref name="Jin-2020" /> The term Template:Transliteration literally corresponds to Template:Transliteration (Template:Korean), a non-official derogatory term in South Korea, to refer to Template:Transliteration (Template:Literally), which is the actual legal term in South Korea.<ref name="Ahn-2022">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the Yanbian Korean Autonomous Prefecture, where most Template:Transliteration reside,<ref name="Jin-2020" /> the Template:Transliteration was mostly worn on special occasions in the past;<ref name="Routledge-2014"/> however, by 2019, they had regained popularity and have become fashionable.<ref name="Jin-2020" />

Since the Chinese economic reform of China, there have been more exchanges with both Koreas leading to both the development and changes in chaoxianzu-style Template:Transliteration in China;<ref name="Jin-2020" /> some of designs of the chaoxianzu-style Template:Transliteration have been influenced and inspired by both South Korean and North Korean hanbok designs.<ref name="Routledge-2014" />Template:Rp

Template:Transliteration people originally preferred to wear white as it represented cleanliness, simplicity, and purity; however, since the 20th century, the colours started to become brighter and more vivid as woven fabrics, such as polyester and nylon sateen, started to be introduced.<ref name="Jin-2020" /> The "reform and opening up" of China also allowed for more exchanges with both Koreas, which lead to the both development and changes in the Template:Transliteration of China.<ref name="Jin-2020" /> Following the Template:Transliteration tradition, the Template:Transliteration has an A-line in silhouette to give it the appearance of a mountain as per the tradition, women are the host of the family, and thus, women holding the household need to be stable; the Template:Transliteration also covers the entire body.<ref name="Jin-2020" /> The Template:Transliteration have developed their own style of hanbok<ref name="Lin-2020">Template:Cite journal</ref> due to the isolation for about 50 years from both North and South Korea.<ref name="Routledge-2014" />Template:Rp As a result, the styles of hanbok in South Korea, North Korea, and China, worn by the Korean people from these three countries have developed separately from each other. For example, Yemi Hanbok by Songok Ryu, an ethnic Template:Transliteration from the Yanbian Korean Autonomous Prefecture, is unique in both style and business model as it can operate in both South Korea and North Korea.<ref name="Routledge-2014" />Template:Rp In terms of Template:Transliteration design, Yemi Hanbok designs are based on Chinese-style designs.<ref name="Routledge-2014" />Template:Rp Over the years, the women's Template:Transliteration also changed in length for the Template:Transliteration, Template:Transliteration, and Template:Transliteration and changed in width for the Template:Transliteration, Template:Transliteration, sleeves, and Template:Transliteration. The Template:Transliteration and Template:Transliteration have evolved from straight to curve patterns. The wrinkle arrangement, length, and silhouette of the Template:Transliteration have also evolved; some of the skirts were sometimes decorated with gold embroidery or gold leaf at the bottom hem.<ref name="Lin-2020" /> The colours used were also very varied; for example, feminine colours such as pink, yellow, and deep red could be used.<ref name="Lin-2020" /> The 1990s saw the use of gold leaf, floral prints, embroidery on the women's Template:Transliteration; the use of gradient colours also emerged.<ref name="Lin-2020" /> For men, their Template:Transliteration, Template:Transliteration, and sleeves were made longer; their Template:Transliteration also became wider. The Template:Transliteration continues to be worn, and the Template:Transliteration and Template:Transliteration are worn frequently in present-days.<ref name="Lin-2020" />

On 7 June 2008, the Template:Transliteration were approved by the State Council of China to be included in the second layer of national intangible cultural heritage.<ref name="Jin-2020" /> In 2011, the Template:Transliteration was officially designated as being part of the intangible cultural heritage of China by the Chinese government; while the announcement was welcomed by the Template:Transliteration people in China as a proud indicator of their equal membership in a multi-ethnic and multicultural country such as China, it received negative criticism from South Koreans who perceived it as a "scandalous appropriation of the distinctive national culture of Koreans".<ref>Template:Cite book</ref>Template:Rp In 2022, a girl from the Template:Transliteration ethnic group wore a Template:Transliteration on the 2022 Beijing Winter Olympics opening ceremony leading to an uproar from South Koreans who accused China of cultural appropriation.<ref name="Ahn-2022" />

Social status

Especially from the Goryeo dynasty, the hanbok started to determine differences in social status (from people with the highest social status (kings), to those of the lowest social status (slaves)<ref name="Clothing, Traditional - Korea">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>) and gender through the many types, components,<ref name="Clothing, Traditional - Korea" /> colours,<ref name="DeLong-2012">Template:Cite book</ref>Template:Rp and characteristics.<ref name="Characteristics of the Korean Costume and Its Development">Cho, Woo-hyun, "Characteristics of the Korean Costume and Its Development" Template:Webarchive, "Koreana", 1995</ref> 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.<ref name="Characteristics of the Korean Costume and Its Development" /> For example, farmers and commoners were not allowed to wear colour garments in their daily lives, excluding some categories of people, such as the shamans, gisaeng, and children, who were allowed to wear colourful clothing despite their social status.<ref name="DeLong-2012" />Template:Rp Occasions when all people were allowed to wear colourful clothing were for special ceremonial occasions (e.g. wedding, birthday, holidays).<ref name="DeLong-2012" />Template:Rp

Clothes

Hwarot

Template:Transliteration or Template:Transliteration 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.<ref name="Cho Eun-ah's Hanbok Story(26)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Popular embroidered patterns on Template:Transliteration 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.<ref name="Official/Court Clothing">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Each pattern represented a different role within society, for example: a dragon represented an emperor while 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.<ref name="Cho Eun-ah's Hanbok Story(26)" /> All these patterns throughout Korean history had meanings of longevity, good luck, wealth and honor.<ref name="Cho Eun-ah's Hanbok Story(26)" /> Template:Transliteration 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.<ref name="Cho Eun-ah's Hanbok Story(26)" /> Template:Transliteration was worn over the Jeogori and skirt.<ref name="Cho Eun-ah's Hanbok Story(26)" /> A woman also wore her hair in a bun, with an ornamental hairpin and a ceremonial coronet.<ref name="Cho Eun-ah's Hanbok Story(26)" /> A long ribbon was attached to the ornamental hairpin, the hairpin is known as Template:Transliteration (Template:Korean).<ref name="Cho Eun-ah's Hanbok Story(26)" /> In more recent times, people wear Template:Transliteration on their wedding day, and so the Korean tradition survives in the present day.<ref name="Cho Eun-ah's Hanbok Story(26)" />

Wonsam

Wonsam was a ceremonial overcoat for a married woman in the Joseon dynasty.<ref name="Cho Eun-ah's Hanbok Story(25)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref name="Nam-2000" /> 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.<ref name="Cho Eun-ah's Hanbok Story(25)" /> The empress wore yellow; the queen wore red; the crown princess wore a purple-red color;<ref name="DeLong-2012" />Template:Rp meanwhile a princess, a king's daughter by a concubine, and a woman of a noble family or lower wore green.<ref name="Cho Eun-ah's Hanbok Story(25)" /> 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.<ref name="Cho Eun-ah's Hanbok Story(25)" /> Lower-class women wore many accompanying colored stripes and ribbons, but all women usually completed their outfit with onhye or danghye, traditional Korean shoes.<ref name="Cho Eun-ah's Hanbok Story(25)" />

Dangui

Dangui or tangwi 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.<ref name="Official/Court Clothing" /> The materials used to make Template:Transliteration varied depending on the season, so upper-class women wore thick Template:Transliteration in winter while they wore thinner layers in summer.<ref name="Cho Eun-ah's Hanbok Story(27)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Template:Transliteration came in many colors, but yellow and/or green were most common. However the emperor wore purple Template:Transliteration, and the queen wore red.<ref name="Cho Eun-ah's Hanbok Story(27)" /> In the Joseon dynasty, ordinary women wore Template:Transliteration as part of their wedding dress.<ref name="Cho Eun-ah's Hanbok Story(27)" />

Myeonbok and Jeokui

Myeonbok

Myeonbok were the king's religious and formal ceremonial robes while jeokui were the queen's equivalent during the Goryeo and Joseon dynasties.<ref name="Myeonbok">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Myeonbok was composed of Myeonryu-Gwan (Template:Korean) and Gujang-bok (Template:Korean).<ref name="Myeonbok" /> Myonryu-Gwan had beads, which hung loose; these would prevent the king from seeing wickedness.<ref name="Myeonbok" /> 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 out of the Twelve ornaments, which all represented the king:<ref name="Myeonbok" />

1. Dragon: A dragon's appearance paralleled how the king governed and subsequently brought balance to the world.<ref name="Myeonbok" />
2. Fire: The king was expected to be intelligent and wise to govern the people effectively, like a guiding light represented by the fire.<ref name="Myeonbok" />
3. Pheasant: The image of a pheasant represented magnificence.<ref name="Myeonbok" />
4. Mountain: As a mountain is high, the king was on a par in terms of status and was deserving of respect and worship.<ref name="Myeonbok" />
5. Tiger: A tiger represented the king's courage.<ref name="Myeonbok" />
6. Monkey: A monkey symbolized wisdom.<ref name="Myeonbok" />
7. Rice: As the people needed rice to live, the king was compared to this foodstuff as he had the responsibility of protecting their welfare.<ref name="Myeonbok" />
8. Axe: This indicated that the king had the ability to save and take lives.<ref name="Myeonbok" />
9. Water plant: Another depiction of the king's magnificence.<ref name="Myeonbok" />

Jeokui

Jeokui or tseogwi (Template:Korean) was arranged through the use of different colors as a status symbol within the royal family.<ref name="Jeokui">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The empress wore purple-red colored Jeokui, the queen wore pink, and the crown princess wore deep blue.<ref name="Jeokui" /> "Jeok" means pheasant, and so Jeokui often had depictions of pheasants embroidered onto it.<ref name="Jeokui" />

Cheollick

Cheolick (Cheollik; Template:Korean) was a Korean adaptation of the Mongol tunic Terlig. The first recorded reference to the Terlig in Korea dates to the 15th century during the Joseon period. They were described as presents from the Ming dynasty or as military uniforms. A Joseon publication of a Goryeo period song Jeongseokga in the Akjang Gasa used the term Telik, referring to an officer's uniform. However, in surviving Goryeo literary sources, there is no reference to a term for clothing similar to Terlig in sound. Due to Mongol influence, some Korean vocabulary including official titles, falconry, and military terms originated in the Mongol language.<ref name="Cho"/>

The Cheolick, 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. 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. A unique characteristic allowed the detachment of the Cheolick's sleeves which could be used as a bandage if the wearer was injured in combat.<ref name="Cheolick">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Ayngsam

Ayngsam was the formal clothing for students during the national government exam and governmental ceremonies.<ref name="Aengsam">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref name="Aengsam" /> If the highest-scoring student was young, the king awarded him with red-colored Aengsam.<ref name="Aengsam" /> It was similar to the namsam but with a different colour.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Accessories

File:Hanbok accessories.jpg

Hanbok accessories

Binyeo

Binyeo was a traditional ornamental hairpin, and it had a different-shaped tip again depending on social status.<ref name="Binyeo">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 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.<ref name="Cho Eun-ah's Hanbok Story(21)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Binyeo was a proof of marriage and considered a woman's expression of chastity and decency.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Daenggi

Daenggi is a traditional Korean cloth ribbon used to tie and decorate braided hair.

Norigae

Norigae was a typical traditional accessory for women; it was worn by all women regardless of social ranks.<ref name="Norigae">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Yi-2005">Template:Cite book</ref> However, the social rank of the wearer determined the size and material of the norigae.<ref name="Yi-2005" />

Danghye

Danghye or tanghye (Template:Korean) were shoes for married women in the Joseon dynasty.<ref name="Danghye">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Danghye were decorated with trees bearing grapes, pomegranates, chrysanthemums, or peonies: these were symbols of longevity.<ref name="Cho Eun-ah's Hanbok Story(11)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Danghye for a woman in the royal family were known as kunghye (Template:Korean), and they were usually patterned with flowers.<ref name="Cho Eun-ah's Hanbok Story(11)" />

Danghye for commoner women were known as onhye (Template:Korean).<ref name="Cho Eun-ah's Hanbok Story(11)" />

Characteristics

Material

In Hanbok, various cotton fabrics are used as materials, and with the entry of Western civilization, the range of fabrics such as mixed fabrics has expanded. The use of materials also varies slightly depending on the jeogori and pants, and there is a big difference in the season.<ref>아름다운 한복도 예절에 맞게 입어야 Template:Webarchive 오마이뉴스 2002-09-20</ref> In the case of jeogori, there are more than 10 types of general materials such as silk, jade, and general wool, and they use ramie or hemp in summer, and silk or Gapsa, Hangra, and Guksa cloth in spring and autumn.<ref>(그여자네)한복, 강렬한 원색 곱구나 Template:Webarchive 경향신문 2007-02-15</ref><ref>추석 한복 멋내기 Template:Webarchive 서울신문 2007-06-28</ref> The material used evenly throughout the four seasons was sesame, and silk, both ends, and silk were often used in the durumagi for adult men.<ref name="우리나라옷">석주선, 《우리나라옷》, 광문출판사, 1966년, 10쪽</ref> In the case of silk, which is one of the most widely used materials due to differences in lining and outer material, most of the silk jeogori was lined with silk, and if it was not possible, only the inside of the collar, the tip, and the sap were lined with silk. If this situation did not work out like this, the fine-grained cotton was used. In fact, more than half of the materials identified in the jeogori study were silk, followed by cotton and hemp.<ref name="장인우">조선초기 저고리의 복원적 고찰 Template:Webarchive 장인우, 숙명여자대학교 대학원 의류학과, 1985년, 72, 77, 78쪽</ref> In some cases, silk and cotton were lined with a mixture. When the jeogori was torn or broken, most of them were sewn with the same fabric, and a large piece was added to the elbow and sewn.<ref name="장인우"/> Just as in the fact that silk was used a lot in jeogori, silk, cotton, and literary arts were evenly used in various clothes, ranging from red ginseng, skirt, beoseon, and pants.

See also

• List of Korean clothing
• Hanfu - a Chinese equivalent.
• Vietnamese clothing - a Vietnamese equivalent.
• Wafuku - a Japanese equivalent.

References

• An, Myung Sook (안명숙); Kim, Yong Ser (김용서) Template:In lang 1998. Hanʼguk poksiksa (한국복식사). Seoul. Yehaksa (예학사) Template:ISBN
• Kim, Ki Sun (김기선). Template:In lang 2005. Information about Mongolian pigtail 몽골의 辮髮에 대하여 Template:Webarchive. The Institute of Asian Ethno-Forms and Culture. v. 5, 81–97
• Kim, Moon Ja Template:In lang, 2004. A study on the Source of Hanbok in ancient times and the position of Hanbok on the Globalism Template:Webarchive (고대 한복의 원류 및 세계화 속의 한복의 위치), Society of Korean Traditional Costume, v. 7.1, 7–15
• Lee, Kyung-Ja (이경자) Template:In lang, 2003, Uri ot ŭi chŏnt'ong yangsik (우리옷의 전통양식 The Traditional Style of Korean Clothes) Ewha Womans University Press. Template:ISBN
• Template:Cite book
• McCallion, Aleasha; Condra, Jill. 2008. The Greenwood Encyclopedia of Clothing Through World History. Greenwood Publishing Group. p. 221 – 228, Template:ISBN
• Nelson, Sarah. 1993. The archaeology of Korea. Cambridge University Press. Template:ISBN
• You, Soon Lye (유순례) Template:In lang 2006, Comparative Research on the Costume Aesthetic Korean & Mongolia (몽골과 한국의 전통복식 미의식 비교에 대한 연구), Society of Korean Traditional Costume, v. 6, 183–185

External links

• Template:Commons category-inline
• Hanbok History Evolution
• Hanbok History Infographic
• History of Hanbok Template:In lang
• Information about Hanbok Template:In lang
• Traditional Korean Clothing - Life in Korea
• Official Korea Tourism Organization - Hanbok Clothing Template:Webarchive