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VICTORIAN
FASHION

THE UNITED KINGDOM AND THE BRITISH EMPIRE

1

THE VICTORIAN PERIOD
IN FASHION

:Facts and Historical Background

Victorian fashion consists of the various fashions and trends in
British culture that emerged and developed in the United King-
dom and the British Empire throughout the Victorian era, roughly
from the 1830s through the 1890s. The period saw many changes
in fashion, including changes in styles, fashion technology and

the methods of distribution. Various movement
in architecture, literature, and the decorative and
visual arts as well as a changing perception of
gender roles also influenced fashion.

Under Queen Victoria’s reign, England enjoyed
a period of growth along with technological ad-
vancement. Mass production of sewing machines
in the 1850s as well as the advent of synthet-
ic dyes introduced major changes in fashion.[1]
Clothing could be made more quickly and cheap-
ly. Advancement in printing and proliferation of
fashion magazines allowed the masses to partici-
pate in the evolving trends of high fashion, open-
ing the market of mass consumption and adver-
tising. By 1905, clothing was increasingly factory
made and often sold in large, fixed-price depart-
ment stores, spurring a new age of consumerism
with the rising middle class who benefited from
the industrial revolution.

The Victorian period, generally the time between
1837 and the 1890s, is named after Britain’s Queen
Victoria (1819–1901), a long-lived and highly influ-
ential monarch in an era when women had little
power or opportunity.

In those days, women lived at the largess of men—first their
fathers or guardians, then their husbands. A young lady was
expected to be meek and mild, to acquiesce to her father’s or
husband’s wishes. A woman’s intelligence and wit were restrict-
ed to social events and amusing conversation.

2

VICTORIAN
WOMAN’S

DRESS
STYLES

1830-1890

3

1830S DRESS STYLE

During the start of Queen Victoria’s
reign in 1837, the ideal shape of the
Victorian woman was a long slim torso
emphasised by wide hips. To achieve
a low and slim waist, corsets were
tightly laced and extended over the
abdomen and down towards the hips.
A chemise was commonly worn under
the corset, and cut relatively low in
order to prevent exposure. Over the
corset, was the tight-fitting bodice
featuring a low waistline. Along with
the bodice was a long skirt, featuring
layers of horsehair petticoats[4] worn
underneath to create fullness; while
placing emphasis on the small waist.
To contrast the narrow waist, low and
straight necklines were thus used.

1840S DRESS STYLE

In the 1840s, collapsed sleeves, low As a result, the middle of the decade
necklines, elongated V-shaped bodic- saw sleeves flaring out from the el-
es, and fuller skirts characterized the bow into a funnel shape; requiring
dress styles of women. undersleeves to be worn in order to
cover the lower arms.
At the start of the decade, the sides
of bodices stopped at the natural Skirts lengthened, while widths in-
waistline and met at a point in the creased due to the introduction of
front. In accordance with the heavily the horsehair crinoline in 1847; becom-
boned corset and seam lines on the ing a status symbol of wealth.
bodice as well, the popular low and
narrow waist was thus accentuated. Extra layers of flounces and petti-
coats, also further emphasized the
Sleeves of bodices were tight at the fullness of these wide skirts. In com-
top, because of the Mancheron, but pliance with the narrow waist though,
expanded around the area between skirts were therefore attached to
the elbow and before the wrist. It bodices using very tight organ pleats
was also initially placed below the secured at each fold. This served as
shoulder, however; this restricted the a decorative element for a relative-
movements of the arm. ly plain skirt. The 1840s style was per-
ceived as conservative and “Gothic”
compared to the flamboyance of the
1830s

Mid-1840s day dress

4

1850S DRESS STYLE 1856 cage crinoline

A similar silhouette remained in the
1850s, while certain elements of gar-
ments changed.

Necklines of day dresses dropped even small waist; along with the corset. The innovation freed women from the
lower into a V-shape, causing a need to cage crinoline was constructed by join- heavyweight of petticoats and was a
cover the bust area with a chemisette. ing thin metal strips together to form a much more hygienic option.
In contrast, evening dresses featured circular structure that could solely sup-
a Bertha, which completely exposed port the large width of the skirt. This Meanwhile, the invention of synthetic
the shoulder area instead. Bodices be- was made possible by technology that dyes added new colours to garments
gan to extend over the hips, while the allowed iron to be turned into steel, and women experimented with gaudy
sleeves opened further and increased which could then be drawn into fine and bright colours. The technological
in fullness. The volume and width of wires. Although often ridiculed by jour- innovation of the 1860s provided
the skirt continued to increase, espe- nalists and cartoonists of the time as women with freedom and choices.
cially during 1853, when rows of flounc- the crinoline swelled in size, this
es were added.

Nevertheless, in 1856, skirts expanded
even further; creating a dome shape,
due to the invention of the first arti-
ficial cage crinoline. The purpose of
the crinoline was to create an artificial
hourglass silhouette by accentuating
the hips and fashioning an illusion of a

1860S DRESS STYLE

During the early and middle 1860s, crinolines began de-
creasing in size at the top, while retaining their ampli-
tude at the bottom. In contrast, the shape of the crino-
line became flattered in the front and more
voluminous behind, as it moved towards the back since
skirts consisted of trains now. Bodices on the other hand
ended at the natural waistline, had wide pagoda sleeves,
and included high necklines and collars for day dress-
es; low necklines for evening dresses. However, in 1868,
the female silhouette had slimmed down as the crinoline
was replaced by the bustle, and the supporting flounce
overtook the role of determining the silhouette. Skirt
widths diminished even further, while fullness and length
remained at the back. In order to emphasize the back,
the train was gathered together to form soft folds and
draperies

1860s cage crinoline

5

1870S DRESS STYLE 1870s
tournure
The trend for broad skirts slowly disappeared during the 1870s, as women started
to prefer an even slimmer silhouette. Bodices remained at the natural waistline,
necklines varied, while sleeves began under the shoulder line. An overskirt was
commonly worn over the bodice, and secured into a large bow behind. Over time
though, the overskirt shortened into a detached basque, resulting in an elongation
of the bodice over the hips. As the bodices grew longer in 1873, the polonaise was thus
introduced into the Victorian dress styles. A polonaise is a garment featuring both an overskirt and bodice
together. The tournure was also introduced, and along with the polonaise, it created an illusion of an exag-
gerated rear end. By 1874, skirts began to taper in the front and were adorned with trimmings, while sleeves
tightened around the wrist area. Towards 1875 to 1876, bodices featured long but even tighter laced waists
and converged at a sharp point in front. Bustles lengthened and slipped even lower, causing the fullness of
the skirt to further diminish. Extra fabric was gathered together behind in pleats, thus creating a narrower
but longer tiered, draped train too. Due to the longer trains, petticoats had to be worn underneath in order
to keep the dress clean.

However, when 1877 approached, dresses moulded to fit the figure, as increasing slimmer silhou-
ettes were favoured. This was allowed by the invention of the cuirass bodice which functions
like a corset but extends downwards to the hips and upper thighs. Although dress styles took
on a more natural form, the narrowness of the skirt limited the wearer in regards to walking.

1880S DRESS STYLE
The early 1880s was a period of stylistic confusion. On one hand, there is the over-ornamented silhouette with contrasting

texture and frivolous accessories. On the other hand, the growing popularity of tailoring gave rise to an alternative, severe

style.[7] Some credited the change in silhouette to the Victorian dress reform, which consisted of a few movements includ-

ing the Aesthetic Costume Movement and the Rational Dress Movement in the mid-to-late Victorian Era advocating natural

silhouette, lightweight underwear, and rejecting tightlacing. However, these movements did not gain widespread support.

Others noted the growth in cycling and tennis as acceptable feminine pursuits that demanded greater ease of movement in

women’s clothing.[1] Still, others argued that the growing popularity of tailored semi-masculine suits was simply a fashionable

style, and indicated neither advanced views nor the need for practical clothes. Nonetheless, the diversification in options

and adoption of what was considered menswear at that time coincided with the growing power and social status of women

in the late-Victorian period.

The bustle made a re-appearance in 1883, and it featured a further exaggerated horizontal protrusion at the back. Due to the

additional fullness, drapery moved towards the sides or front panel of the skirt instead. Any drapery at the back was lifted

1885 bustle up into poufs. Bodices on the other hand, shortened and ended above the hips. Yet the style remained tailored but was more
structured.

However, by 1886, the silhouette transformed back to a slimmer figure again. Sleeves of bodices were thinner and tight-

er, while necklines became higher again. Furthermore, an even further tailored look began to develop until it improved

in the 1890s.

1890S DRESS STYLE

By 1890, the crinoline and bustle was fully abandoned, and skirts flared away naturally from the wearer’s tiny waist. It evolved into
a bell shape, and were made to fit tighter around the hip area. Necklines were high, while sleeves of bodices initially peaked at
the shoulders, but increased in size during 1894. Although the large sleeves required cushions to secure them in place, it narrowed
down towards the end of the decade. Women thus adopted the style of the tailored jacket, which improved their posture and
confidence, while reflecting the standards of early female liberation.

6

5 WAYS VICTORIAN
FASHION STILL INSPIRES

OUR STYLE TODAY

When Queen Victoria ascended to the throne in 1837, the
world looked to the young royal for far more than a political
standpoint and a line of succession. At 18 years old, Victoria

represented a new era for regal fashion and inspired
everyone from the court to the common woman.

The extravagance of Victorian velvets might seem out of place in a time where
athleisure and nonchalant style reigns supreme, but two centuries later, drama is
definitely back on the agenda. The evidence? Alberta Ferretti, Valentino and Erdem
all showed AW17 collections with elements of Victoriana, while Alexander McQueen,
Vivienne Westwood and Rodarte reference gothic romance in their designs season
after season.
The renaissance of ruffled blouses and lace-up boots for 2017 is in part thanks to
ITV’s Victoria. The sumptuous drama sees Jenna Coleman swan around Bucking-
ham Palace in opulent gowns, lush lace and historic gemstones. So inspired by Vic-
toria, we’re delving into the influence of Victorian trends on modern fashion, and
five ways you can wear the look today.

7

Today, corsets come in the form of lace-up 01
belts and structured strapless bustiers worn
over untucked white shirts. Leave the vintage Corsetry
glamour to Dita von Teese and tone down the
look by pairing yours with distressed denim or Designed to slim the waist and give the illu-
relaxed suiting. sion of a bigger bust and curvier hips, the
corset was a Victorian style staple. Originally
known as a stay, the bodices of the early 1800s
were stiffened with steel boning for evening
and everyday wear, highlighting the sensual
shape of a woman’s body even under layers
of lace and long-sleeved dresses.

Nearly 200 years later, the corset has shift-
ed shape somewhat, but is still a mainstay in
modern fashion. Take Madonna’s iconic Jean
Paul Gaultier conical corset in 1990, Vivienne
Westwood’s Rococo painted corsets from the
same year and Alexander McQueen’s contin-
ued exploration of a restricted bodice in met-
al, leather and lace.

02 While a wedding isn’t an everyday occurrence,
it’s easy to take inspiration from Queen Vic-
White dresses toria’s nuptials for the last days of summer.
Look out for white poplin dresses and lace
At a time when most brides were married in blouses to wear with layered gold jewellery
coloured dresses, Queen Victoria’s choice of a for a modern take on a white wedding.
white silk satin gown wasn’t meant to change
wedding trends for centuries to come. The vir- 8
ginal hue wasn’t picked to represent purity,
but instead was meant to boost the strug-
gling lace industry by showcasing the detail
and quality in Victoria’s Honiton lace trim.

Ever since, white wedding gowns have be-
come an iconic style for brides from every
background, royal or otherwise. Take Kate
Middleton in custom Alexander McQueen for
her wedding to Prince William, or Gwen Ste-
fani’s twist on the trend with her pink-dipped
wedding dress from 2002.

For everyday, shoulder grazing earrings aren’t 03
completely out of the question. Stay on the
right side of Pat Butcher with statement ear- Heirloom
rings in metallic tones, or wear your mem- jewellery
ories around your wrist with a customised
charm bracelet. Queen Victoria had a passion for jewel-
lery, teaming diamond crowns and sapphire
04 brooches with personal pieces collected
throughout her reign. Victorians favoured
Luxe fabrics sentimental and symbolic pieces and the
Queen was no exception, popularising the
If there’s one word to describe Queen Vic- charm bracelet by presenting her inner circle
toria’s wardrobe, it’s rich. Her silk and satin with a new charm each New Year. After her
evening gowns were trimmed with lace and beloved husband Albert’s death in 1861, Victo-
velvet (Russian velvet was particularly sought ria’s mourning jewellery of fossilised coal or
after), while dresses, blouses and skirts were driftwood, known as jet, also sparked a trend
fastened with pearl buttons and gemstone for inky chains, crosses and earrings.
brooches. The introduction of synthetic dyes Victorian-inspired jewellery has been seen on
in 1860 also gave way to vivid hues of bold the catwalk in supersized proportions. Ricar-
magenta, electric blue and extravagant yel- do Tisci’s SS12 couture collection for Givenchy
low. adorned models with crystal-encrusted sep-
tum rings and collarbone-skimming earrings,
Tactile textiles are nothing new for autumn, revisiting these styles in jet for AW15, while
so it wasn’t a surprise to see Balenciaga, Saint Dolce & Gabbana are known for their religious
Laurent and Valentino make use of luxe Vic- iconography and gem-encrusted jewellery.
torian textures for their AW17 collections. Fab-
ric took a moodier turn at Erdem, where the These textures will dominate the high-street
designer filled his resplendent collection with come September, but transitional pieces like
rich velvets, moody lace and extravagant em- velvet kimonos or bomber jackets and em-
broidery. broidered bags will add an element of luxury
to your look in an instant.
9

When trying this look for yourself, play with 05
proportion - team a voluminous blouse with
skinny cigarette trousers or straight-leg jeans Detailed
and brogues. For a 2017 twist on the look, shop blouses
balloon sleeved knitwear in primary colours.
When not dressed up in jewel-toned taffeta
evening gowns, Victorian women adopted a
more casual daytime look of laced-up boots,
a long black bustle skirt and, the most iconic
item of all, a white blouse with long sleeves,
high neck and ruffles. Worn over tightly-laced
corsets, leg of mutton sleeves ballooned out
at the upper arm before tapering to a tight
fit.

The Victorian shirt has shown up on the cat-
walk in a variety of styles: Temperley London
showed both high-necked pieces with ruffles
and lace-up details, while Emilia Wickstead
focused on voluminous sleeves, luxe textures
and gothic fabrics for AW17.

QUICK FACTS ABOUT
VICTORIAN FASHION

- AN HOURGLASS SILHOUETTE WAS ACCENTUATED BY TIGHT CORSETS.
- EXTREME STYLES INTRODUCED HOOP SKIRTS AND BUSTLES TO FASHION.
- THE CREATION OF SYNTHETIC DYES LED TO BRIGHT, WILD COLORS.
- HIGHLY ORNAMENTAL FASHIONS INCLUDED RUFFLES, LACE, AND DRAPING.
- THE AESTHETIC AND RATIONAL DRESS MOVEMENTS QUESTIONED THE DICTATE OF FASHION.

10

KOREAN TRADITIONAL
FASHION

“Hanbok”

11

KNOW ABOUT

HANBOK

The hanbok (in South Korea) or Chosŏn-ot
(in North Korea) is the traditional Korean
clothes. The term “hanbok” literally means

“Korean clothing”.

The hanbok can be traced back In modern times, “hanbok” usually re-
to the Three Kingdoms of Korea pe-
riod (1st century BC–7th century AD), fers to clothes worn and developed during
with roots in the peoples of what is
now northern Korea and Manchuria. the Joseon Dynasty by the upper class.
Early forms of hanbok can be seen in
the art of Goguryeo tomb murals in Generally, the clothes of Korean rulers and
the same period, with the earliest mu-
ral paintings dating to the 5th centu- aristocrats were influenced by foreign and
ry. From this time, the basic structure
of the hanbok consisted of the jeogori native styles. As a result, some styles such
jacket, baji pants, chima skirt, and the
po coat. The basic structure of han- as Simui from the Song Dynasty of China,
bok was designed to facilitate ease of
movement and integrated many mo- gwanbok worn by male officials and roy-
tifs of shamanistic nature. These basic
structural features of the hanbok re- al court ladies were modified from royal
mains relatively unchanged to this day.
However, present days hanbok which is figures.The clothes of the Ming Dynasty
worn nowadays is patterned after the
hanbok worn in the Joseon dynasty. of China cultural exchanges were also bi-

lateral and Goryeo Hanbok had a cultur-

al influence during the Yuan Dynasty.The

commoners were less influenced by those

foreign fashion trends and most wore folk

clothes different from those of the up-

per class.

Koreans wear the hanbok for for-
mal or semi-formal.In 1996, the South Ko-
rean Ministry of Culture, Sports and Tour-
ism established “Hanbok Day”to encourage
South Korean citizens to wear the hanbok.

12

Construction& Design
“Traditionally, women’s hanbok consist of the jeogori
(a blouse shirt or a jacket) and the chima (a full, wrap-
around skirt). The ensemble is often known as ‘chima

jeogori’. Men’s hanbok consist of jeogori and loose fit-

ting baji (trousers).”

Jeogori Chima

The jeogori is the basic upper Chima refers to “skirt,” which is also
garment of the hanbok, worn by both called sang in hanja.According to
men and women. It covers the arms ancient murals of Goguryeo and
and upper part of the wearer’s body. an earthen toy excavated from the
The basic form of a jeogori consists of neighborhood of Hwangnam-dong,
gil, git, dongjeong, goreum and sleeves. Gyeongju, Goguryeo women wore a
Gil is the large section of the garment chima with jeogori over it, covering
on both front and back sides, and git is the belt.
a band of fabric that trims the collar. Although striped, patchwork,
Dongjeong is a removable white col- and gored skirts are known from the
lar placed over the end of the git and Goguryeo and Joseon periods, chima
is generally squared off. The goreum were typically made from rectangu-
are coat-strings that tie the jeogori. lar cloth that was pleated or gath-
Women’s jeogori may have kkeutdong, ered into a skirt band.This waist-
a different colored cuff placed at the band extended past the skirt fabric
end of the sleeves. Jeogori and chima itself and formed ties for fastening
The form of Jeogori has changed the skirt around the body.
over time.Women’s jeogori dramat- Sokchima was largely made in
ically shortened during the Joseon a similar way to the overskirts until
dynasty, reaching its shortest length the early 20th century when straps
at the late 19th century. However, due were added, later developing into
to reformation efforts and practical a sleeveless bodice or ‘reformed’
reasons, modern jeogori for women petticoat.By the mid-20th century,
is longer than its earlier counterpart. some outer chima had also gained
Nonetheless, the length is still above a sleeveless bodice, which was then
the waistline. Traditionally, goreum covered by the jeogori.
were short and narrow, however mod-
ern goreum are rather long and wide.
There are several types of jeogori vary-
ing in fabric, sewing technique, and
shape.

13

Koreanswear the hanbok for formal or semi-formal occa-
sions and events such as festivals, celebrations, and
ceremonies. In 1996, the South Korean Ministry of Culture, Sports and Tourism
established “Hanbok Day”( Oct. 21 has been marked as Hanbok Day since 1996 )to en-
courage South Korean citizens to wear the hanbok.

Baji Po is a generic term re- Jokki
ferring to an outer robe or and
Baji refers to the overcoat. There are two gener- magoja
bottom part of the men’s al types of po, the Korean type
hanbok. It is the formal and the Chinese type. Jokki is a type of vest, while
term for ‘trousers’ in The Korean type is a magoja is an outer jacket. Al-
Korean. Compared to common style from the Three though jokki and magoja were
western style pants, it Kingdoms of Korea period, and created at the end of the Jo-
does not fit tightly. The it is used in modern day.A belt seon dynasty (1392–1897), direct-
roomy design is aimed was used until it was replaced ly after which Western culture
at making the cloth- by a ribbon during late Joseon began to affect Korea, the gar-
ing ideal for sitting on dynasty. Durumagi is a variety ments are considered tradition-
the floor.It functions as of po that was worn as protec- al clothing. Each is additionally
modern trousers do, but tion against cold. It had been worn over jeogori for warmth
nowadays the term baji widely worn as an outer robe and style. Magoja clothing was
is commonly used in over jeogori and baji. It is also originally styled after the cloth-
Korea for any kinds of called jumagui, juchaui, or juui. ing of Manchu people, and was
pants. There is a band The Chinese type is dif- introduced to Korea after Heu-
around the waistline of ferent styles of po from Chi- ngseon Daewongun, the father
a baji for tying in order na. Starting from north–south of King Gojong, returned from
to fasten. states period, they were used his political exile in Tianjin in
Baji can be un- through history until na- 1887.Magoja were derived from
lined trousers, leather tion-wide adoption of the Ko- the magwae he wore in exile
trousers, silk pants, or rean type durumagi in 1895. because of the cold climate
cotton pants, depend- there. Owing to its warmth and
ing on style of dress, Po ease of wear, magoja became
sewing method, embroi- popular in Korea. It is also
dery and so on. called “deot jeogori” (literally
“an outer jeogori”) or magwae.

14

Occasions

Hanbok is classified according to its purposes: everyday dress, ceremonial
dress, and special dress. Ceremonial dresses are worn on formal occa-
sions, including a child’s first birthday, a wedding, or a funeral. Special

dresses are made for shamans and officials.

15

Hanbok was worn daily up un-

til just 100 years ago, it was orig-
inally designed to facilitate ease
of movement. But now, it is only
worn on festive occasions or spe-
cial anniversaries.It is a formal
dress and most Koreans keep a
hanbok for special times in their
life such as wedding, Chuseok
(Korean Thanksgiving), and Seoll-
nal (Korean New Year’s), Children
wear hanbok to celebrate their
first birthday etc. While the tra-
ditional hanbok was beautiful
in its own right, the design has
changed slowly over the gener-
ations. The core of hanbok is its
graceful shape and vibrant col-
ors, it is hard to think of hanbok
as everyday wear but it is slowly
being revolutionized through the
changing of fabrics, colors and
features, reflecting the desire of

people.

The color of hanbok symbolized social position
and marital status. Bright colors, for example, were
generally worn by children and girls, and muted hues
by middle aged men and women. Unmarried wom-
en often wore yellow jeogori and red chima while
matrons wore green and red, and women with sons
donned navy. The upper classes wore a variety of
colors. Contrastingly, commoners were required to
wear white, but dressed in shades of pale pink, light
green, gray and charcoal on special occasions.


Also, the status and position can be identified by the
material of the hanbok. The upper classes dressed in
hanbok of closely woven ramie cloth or other high
grade lightweight materials in warmer months and
of plain and patterned silks throughout the remain-
der of the year. Commoners, in contrast, were re-
stricted to cotton. Patterns were embroidered on
hanbok to represent the wishes of the wearer. Pe-
onies 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 offi-
cials.

16

SOCIAL STATUS

“Especially from the Goryeo Dynasty, the hanbok started to determine differ-
ences in social status through the many types, components and their characteristics-
from people with the highest social status (kings), to those of the lowest social status
(slaves).Although the modern Hanbok does not express a person’s status or social po-
sition, Hanbok was an important element of distinguishment especially in the Goryeo

and Joseon Dynasties.”

CLOTHES

Hwarot or Hwal-Ot was Wonsam was a cere- Dangui or Tangwi Jeokui or Tseog-
the full dress for a prin- monial overcoat for a were minor cere- wi was arranged
cess and the daughter married woman in the monial robes for through the use of
of a king , formal dress Joseon dynasty.It was the queen, a prin- different colors as a
for the upper class, and mostly worn by royal- cess, or wife of a status symbol with-
bridal wear for ordi- ty, high-ranking court high ranking gov- in the royal family.
nary women during the ladies, and noblewom- ernment official The empress wore
Goryeo and Joseon dy- en and the colors and while it was worn purple-red colored
nasties. A woman usu- patterns represented during major cer- Jeokui, the queen
ally wore a scarlet-col- the various elements emonies among wore pink, and the
ored skirt and yellow or of the Korean class sys- the noble class in crown princess wore
green-colored Jeogori, tem. The empress wore the Joseon dynas- deep blue. “Jeok”
a traditional Korean yellow; the queen wore ty. The materials means pheasant,
jacket. Hwal-Ot was red; the crown princess used to make var- and so Jeokui often
worn over the Jeogori wore a purple-red color; ied depending on had depictions of
and skirt. A woman meanwhile a princess, the season, so up- pheasants embroi-
also wore her hair in a a king’s daughter by a per-class women dered onto it.

bun, with an ornamen- concubine, and a wom- wore thick in win-
tal hairpin and a cere- an of a noble family or ter while they wore
monial coronet. A long lower wore green.All the thinner layers in
ribbon was attached to upper social ranks usu- summer. Dang-Ui
the ornamental hairpin, ally had two colored came in many col-
the hairpin is known as stripes in each sleeve- ors.Ordinary wom-
Yongjam. In more re- but all women usually en wore Dang-Ui as
cent times, people wear completed their outfit part of their wed-
Hwal-Ot on their wed- with traditional Korean ding dress.

ding day shoes.

17

Binyeo

Binyeo or Pinyeo was a traditional ornamental hairpin, and it had a different-shaped
tip again depending on social status.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.And Binyeo was a proof of marriage. Therefore, to a woman, Binyeo
was an expression of chastity and decency.

Accessories

N Daenggi
o
r Daenggi is a
i traditional Ko-
g rean ribbon
a made of cloth
e to tie and to
decorate braid-
Norigae was a typical tradi- ed hair.
tional accessory for women; it
was worn by all women regard- Danghye or
less of social ranks.However,
the social rank of the wearer Tanghye were
determined the different sizes
and materials of the norigae. shoes for mar-

ried women in

the Joseon dy-

nasty. Danghye

were decorat-

ed with trees

bearing grapes,

pomegranates,

chrysanthe-

mums, or pe-

onies: these

Danghye were symbols

of longevity.

18

“MODERN
TIME”

19

Although hanbok is a traditional costume,
it has been re-popularized in modern fashion.
Contemporary brands, such as the Modern
Hanbok of the “Korean in Me” and Kim MeHee,
have incorporated traditional designs in their
upscale modern clothes. Modern hanbok has
been featured in international haute couture;
on the catwalk, in 2015 when Karl Lagerfield
dressed Korean models for Chanel, and during
Paris Fashion Week in photography by Phil Oh.
It has also been worn by international celebri-
ties, such as Britney Spears and Jessica Alba,
and athletes, such as tennis player Venus Wil-
liams and football player Hines Ward.

Hanbok is also popular among Asian-Amer-
ican celebrities, such as Lisa Ling and Miss Asia
2014, Eriko Lee Katayama. It has also made ap-
pearances 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.

The South Korean government has sup-
ported the resurgence of interest in hanbok
by sponsoring fashion designers. Domestical-
ly, hanbok has become trendy in street fash-
ion and music videos. It has been worn by the
prominent K-pop artists like Blackpink and BTS,
notably in their music videos for “How You Like
That” and “Idol.” As the hanbok continues to
modernize, opinions are divided on the rede-
signs.

“I can feel the attitude
toward hanbok has really

changed in five years”

“But this does not mean
that we are losing our
tradition. We are actual-
ly getting back in touch

with tradition.”

- Choi Ji-won -

20

中
国
时
尚
CCHHIINNEESSEE
TTRRAADDIITTIIOONNAALL
FFAASSHHIIOONN

21

Chinese traditional

fashion. In each China’s ma-
jor dynasties have a differ-
ent style for example, Tang
dynasty is the most prosper-
ous and culturally signifi-
cant times in Chinese history.
Ming dynasty. Qing dynasty
and Han dynasty.

This article, will focus on
Han dynasty (206 BEC - 220 CE)
was China’s second imperial
dynasty. At the present, en-
tertainment industry of Chi-
nese expand to other country
it’s soft power that make peo-
ple all over the world
interest about chinese trend
more than ever.

The untamed is famous
series even it already end
since 2019. But most of people
still interst in this series so
it’s affect they’re fashion that
people wear “hanfu”. Costume
of character in The untamed.

22

汉
服 Hanfu

is the traditional styles of
clothing worn by the Han peo-
ple in China. There are sev-
eral representative styles of
hanfu such as “the ruqun” (an
upper-body garment with a
long outer skirt), “the aoqun”
(an upper-body garment with
a long underskirt), “the beizi”
(usually a slender knee-length
jacket) and “the shenyi” (a
long, belted robe with wide
sleeves), and “the shanku”
(jackets and trousers).

Traditionally, hanfu is con-
sisted of a robe, or a jacket
worn as the upper garment
with a skirt commonly worn
as the lower garment. In ad-
dition to clothing, hanfu also
includes several forms of ac-
cessories, such as headwear,
footwear, belts, jewellery such
as yupei (jade pendants) and
handheld fans.

23

Moreover, hanfu able to 里
waer in many style whether 衣
the occasion will be formal,
informal or semi-formal. It 24
can adapt some of pieces to
made the garment suit with
that occasion.

Firstly, inner garment
consist of “Zhongyi” or Liyi
is the shirt of East Asian tra-
ditional clothing (Hanfu, ki-
mono, Hanbok, etc.), which
is worn between underwear
and outerwear, mainly to
match and set off. Most of
them are white and made
from pure cotton, cotton
hemp, chiffon and mono-
chrome satin.

The typical set of infor-
mal wear consists of two or
three layers. The first layer
is mostly zhongyi (中衣). The
next layer is the main layer
which is mostly closed at the
front. There can be an op-
tional third layer which is of-
ten an overcoat called a zha-
oshan which is open at the
front.

HANFU for semi-formal

Generally, this form of wear is
suitable for meeting guests or going
to meetings and other special cul-
tural days.

This form of dress is often worn
by the nobility or the upper-class as
they are often expensive pieces of
clothing, usually made of silks and
damasks. The coat sleeves are often
deeper than the shenyi to create a
more voluminous appearance.

A piece of ancient Chinese clothing
can be “made semi-formal” by the
addition of Chang (裳): a pleated
skirt. Bixi (蔽膝): a cloth attached
from the waist, covering front of
legs. Zhaoshan (罩衫): long open
fronted coat

25

For confucian rit- a bottom red chang,
uals, important sac- a red bixi (which can
rifices, religious ac- have a motif and/or be
tivities or by special edged in black), an op-
people who are en- tional white belt with
titled to wear them two white streamers
such as officials and hanging from the side
emperors. They will or slightly to the front
use formal hanfu for called peishou (佩綬),
this occasion. and a long black guan.

The most formal Additionally, wear-
dress civilians can ers may carry a long
wear is the xuanduan jade gui (圭) or wood-
(sometimes called yu- en hu (笏) tablet (used
anduan 元端),which when greeting royalty).
consists of a black This form of dress is
or dark blue top gar- mostly used in sacrifi-
ment that runs to cial ceremonies such as
the knees with long Ji Tian (祭天) and Ji Zu
sleeve (often with (祭祖), etc., but is also
white piping), appropriate for state
occasions. The xuan-
duan is basically a sim-
plified version of full
court dress of the offi-
cials and the nobility.

26

Upper Garment ;

- Yi衣(Open cross-collar
shirt.)

Outer garment ; -Ru 襦(Open cross-collar
shirt, only worn by women.)

- Ao 袄 (Multi-layer open Lower Garment ;
cross-collar shirt or jacket.) -Ku 裤(Trousers or pants.)
-Chang 裳(Skirt for men.)
-Shan衫 (Single-layer open
cross-collar shirt or jacket.)

-Banbi半臂(A half-sleeved -Qun 裙 (Skirt for women.)
waistcoat.)
Full-body cloth
-Bixi 蔽膝 (A cloth attached
from the waist, covering -Pao 袍(Closed full-body
front of legs.) garment.)

-Dou Peng斗篷(Cape.) -Chang ru 长襦 (Long skirt,
-Pi feng 披风 (Cloak.) only worn by women.)

-Pibo披帛(A long silk scarf,
however not used to cover
neck. Sometimes covering
shoulders, other times just
hanging from elbow.)

-Zhao shan罩衫(Cloaking
coat. Usually open at the

front.)

27

28

BEAUTY STANDARD

In different countries the beauty standard or
beauty in ideal of people in each country will dif-
ferent too. In west tanned sexy skin tone large hips
and breasts with small waist is pfect things that
they want to be. How about in China ?

In asia if you have
pale or fairer skin tone
or fairer literally means:
white, rich and beautiful.
This shows the importance
of fairer skin in Chinese
society.
The desire for pale skin
dates back to Ancient Chi-
na when only rich people
had fair skin because they
didn’t have to work in the
fields like peasants would.
This ideal still exists in
China today with white,
smooth skin being a sure
indication that you’re not
lower class.
for now pale skin is
firmly set as one of the
ideal Chinese beauty stan-
dards.

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