• Journal of the Korea Fashion and Costume Design Association
• /
• v.11 no.3
• /
• pp.143-151
• /
• 2009

This paper starts with the assumption that in order for the popularization of hanbok leading to greater interest among the public for Hanbok and its uses in everyday life, the period for Hanbok events each year must be solidified, making it a standardized provide opportunities for participation regardless of demographic. Globalization of Hanbok most occur through a combination of related academic fields, division of roles in fields of expertise, and a scientific understanding of Hanbok. Thus various Hanbok-related programs such as contests, fashion shows, experience centers and exhibitions should be provided in one unified setting. Government sponsored Hanbok cultural events have generally been aimed at foreigners or foreign human residency, while events in Korea hae generally been carried out by a more diverse rage of groups, making it difficult for the general population to obtain information or participate actively. In order for hanbok to maintain its tradition as the national costume of Korea, Long-term develop plans must be set. Along with popularization in order to bring hanbok into everyday life, methods for the globalization of hanbok must be explored, providing opportunities to spotlight the diversity and characteristics of Korean costumes, in various events which promote participation, festival-forming and globalization of hanbok culture considering elements such as time (yearly, monthly etc.) and audience (age group, social level etc.).

• International Journal of Costume and Fashion
• /
• v.8 no.1
• /
• pp.75-84
• /
• 2008

This paper starts with the assumption that in order for hanbok to be made known to the world as a cultural code representing Korean beauty, it must first be made familiar among Koreans with opportunities for widespread use of hanbok in a way which forms an understanding with the fashion sense of young generations, and that wearing hanbok must be promoted. We observe the contents and problems of past hanbok festivals and provide methods to promote the wearing of hanbok among the population, creating an occasion for mingling with various cultures in hanbok events which may be experienced by the general population, and developing hanbok as a tourist item and promoting the hanbok industry through standardized hanbok festivals. Globalization of hanbok most occur through a combination of related academic fields, division of roles in fields of expertise, and a scientific understanding of hanbok. The re-creating of traditional hanbok will allow for affirmation of Korean image, a rediscovery of the value of Korean culture, and the establishment of cultural identity. The development of such global designs will form a foundation for hallyu wave culture within popular culture.

• The Research Journal of the Costume Culture
• /
• v.28 no.4
• /
• pp.463-479
• /
• 2020

The purpose of this study identify the types and characteristics of Hanbok worn in lunar new year parade and Korean parade in New York over the past three years. As for the research method, I first collected domestic news articles, overseas Korean news articles, and literature reviews about the history of the Korean parade in New York and the events of each year. Second, I conducted a case study on Hanbok worn in the six parades from 2017 to 2019 using photo data collected through direct surveys, 'YouTube' video footage and news article photos. Third, I interviewed people related to the New York parade about the route of buying and renting the Hanbok in the New York area. The types of Hanbok shown in the Korean parade in New York can be largely classified as ceremonial, performance, and daily costume. There were 65 ceremonial costumes in all, with men wearing Dallyeong (official's robe) and Gorlyongpo (dragon robe) and women wearing Dangui (woman's semi-formal jacket), Wonsam (woman's ceremonial robe), and Hwarot (princess's ceremonial robe). A number of performance costumes were also worn by the Chwitasu bands, Nongak ensembles and fan dancers. Finally, of the 210 daily Hanbok, most men wore Baji (pants) and Jeogori (jacket), and women wore Chima (skirts) and Jeogori. The parade attempts to showcase the beauty of Hanbok, but the costumes repeat year after year, which can feel monotonous to onlookers. This research can be used as a reference to effectively utilize Hanbok in future Korean cultural events.

• Journal of Fashion Business
• /
• v.22 no.3
• /
• pp.109-121
• /
• 2018

Recently, it is one of the popular fashion and cultural events that people of the younger generation put on a hanbok and take a picture together with communicating by SNS. For this reason, the rent-hanbok market takes a big part of the Korean traditional costume market. Therefor, the recognition of hanbok is changed from the style of uncomfortable and ceremonial clothes, to becoming popular as everyday dress in the younger generation. The various designs of the rental hanbok show two different opinions. One is the increasing popular and general public interest and demand for wearing and showing off traditional hanbok fashions in a positive outlook. Another is the case of the wrong stereotype and knowledge for traditional costume which results in a negative outlook for this type of fashion statement. This study is to look into renting hanbok jeogori for women in Seoul and in Junju. There are 39 styles available in joegori. That being noted, the traditional jeogori has seop and git with dongjung. But it is seen that rental jeogoris do not have the seop, or have the dongjung position as similar to the Po as seen on the men's coat. The showy and colorful materials feel bad and are poorly ventilated. And excessive price competition causes a decreased quality of renting hanbok. Now the rental hanbok business needs to change; to have to make renting hanbok with the correct historical understanding, and it is necessary to have to stop the indiscriminate acceptance of foreign culture.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.19 no.4
• /
• pp.139-155
• /
• 2017

This paper identified the values and awareness of Koreans in 20s regarding Hanbok, the traditional clothing of Korea, and proposed an approach to promote the traditional clothing culture. The subject of the survey were male and female Koreans in their 20s who wear modern street clothes in places people frequently visit including in the metropolitan area and Chungcheong-do as well as those who wear Hanbok in Seoul and Jeonju, Jeollabuk-do. In accordance with the analysis of the survey, Koreans in their 20s rented Hanok rather than buying it. The respondents wore Hanbok for events, festivals or national holidays or while travelling. Elements to improve in Hanbok rental services were designs, materials, washing and stains. The decision factors for renting Hanbok were 'personal tendency' and 'advice from an expert.' While Koreans in their 20s had a positive awareness of Hanbok, they thought it was difficult to buy, rent and put on Hanbok and that it was not comfortable to wear. There was not sufficient opportunity and means to wear Hanbok due to insufficient accessories or shoes to match. On the basis of the analysis of the survey results, the following approach was proposed for the development of the traditional clothing culture. First of all, develop traditional clothing designers who can satisfy the personalities of Koreans in their 20s. It is necessary to develop experience-focused and participatory programs that provide systematic education regarding traditional clothing to pass down this tradition. In addition, it is necessary to create a social and cultural atmosphere that enables the Koreans in their 20s to easily wear Hanbok by popularizing Hanbok.

• Journal of the Korean Society of Costume
• /
• v.60 no.2
• /
• pp.130-143
• /
• 2010

Hanbok industry is not based on a consumer-oriented market system, which is related to poor competitiveness in various areas, such as product planning, marketing, and flow of raw materials. The purpose of this paper is to design and conduct an empirical study on important aspects of consumers. experiences and perspectives about Hanbok, and thereby aims to provide much-needed guidance about ways to promote the Hanbok market. Out of 1065 questionnaires distributed, a total of 1039 was returned with responses and used for analyses. The respondent sample included consumers of various background characteristics in their residential areas, age, gender, education levels, and income levels. Cronbach's alpha and a factor analysis were employed for the reliability and the construct validation of the survey instrument. One-way ANOVA associated with post-hoc comparison tests was used to investigate differences across different demographic subgroups of consumers. The results show that consumers generally view Hanbok as one of the formal dresses, worn one or two times per year for traditional events or ceremonies. Consumers tend to show negative opinions about the pricing, and the inconvenience in cleaning and wearing Hanbok. However, consumers think very highly of the aesthetic values, the gracious styles, and the iconic identity of nationalism of Hanbok. This study suggests that Hanbok for modern consumers should be considered as clothing for a ritual, rather than clothing to reconstruct to be fitted to modern daily lives. Hanbok should be promoted as part of up-scaled and differentiated traditional cultures, as clothing that represents and enhances the traditional elegance and beauty unique to the Korean people.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.3
• /
• pp.80-91
• /
• 2017

This study identifies factors of Hanbok-trippers - a term for people who dress in Hanbok(Korean traditional costume) while going on a trip - who converge on Gyeongbokgung Palace by determining the characteristics of class, places to visit and preferred places. This study interprets the voluntary hobby activities of Hanbok-trippers from a viewpoint of a landscape prosumer and the meaning of the urban landscape. As a result of in-depth interviews, on-site survey, and observation surveys focused on Hanbok-trippers, there were various levels of participants. They are classified into three groups - leading group, entry group, temporary-experience group - according to their cognitions, types of Hanbok use, activities, etc. The leading group and entry group are a voluntary hobbyist class due to the ongoing tendencies of their participation. There are differences in the purpose and factors of visiting Gyeongbokgung Palace as a place for a Hanbok-trip. The leading group visited Gyeongbokgung Palace for cultural activities, regular get-together, public relations, and as a gathering place to go neighboring destinations. In this case, the main factors of the visit are the traditional landscape, convenient transportation, chances for traditional culture exhibitions and events in Gyeongbokgung Palace and its neighborhood. The entry group visits Gyeongbokgung Palace because of its traditional landscape and cultural activities nearby. The traditional landscape and many Hanbok-trippers are main factors of visiting Gyeongbokgung Palace for the Temporary-experience group. This study found that Gyeongbokgung Palace has a new sense of place of 'Introductory course of Hanbok-trip', 'Hanbok Playground' because temporary-experience group visits there to experience a Hanbok-trip for the first time. Hanbok-trippers consume places and landscape in actual places offline, producing a new landscape at the same time, and has the characteristics of a 'landscape prosumer' by producing landscape images online through their own personal or social media. Their colorful and voluntary movements contribute to the dynamism of the urban landscape and can become a new cultural asset for the city. The voluntary hobbyist class can be considered a new type of participants in bottom-up planning such as urban regeneration and place marketing. This study has significance in that it conceptualized the 'landscape prosumer' through the voluntary hobbyist class of Hanbok-trippers with the concept of the 'prosumer' that has been studied only in the consumer studies and marketing fields, and has identified the significance of the urban landscape.