Acknowledgement

Thanks for visitng my blog and I look forward to seeing your comments. If you don't find this blog interesting enough, I can transfer you to my personal blog, which is http://andrenang.spaces.live.com/

hope you enjoy both and I am so proud to have a blog of one's own.

Regards,

Andrena

References

Dear all,

Instead of pasting a 5000 word essay on one page, I have separated it into different sections. This is more easier for you to read as they have been classified into different sections. To read the whole essay, you have to scroll down to the very bottom, which is the beginning of the essay. The following are the references that I have used in this essay:

• "sari." Wikipedia: The Free Encyclopedia. 28 February 2007. 8 March 2007 http://en.wikipedia.org/wiki/sari.
• "cheongsam." Wikipedia: The Free Encyclopedia. 28 February 2007. 8 March 2007 http://en.wikipedia.org/wiki/cheongsam.
• "kimono." Wikipedia: The Free Encyclopedia. 28 February 2007. 8 March 2007 http://en.wikipedia.org/wiki/kimono.
• "hanbok." Wikipedia: The Free Encyclopedia. 28 February 2007. 8 March 2007 .
  lhttp://www.japan-zone.com/culture/pix/kimono.gif
• Seoul Searching - Korean Traditional Clothing (Hanbok).htm. http://www.seoulsearching.com/
• The Hanbok--Korea's National Costume - Jehovah's Witnesses Official Web Site. http://www.jehovahcostume.com/
• "Indian sari”The Indian Sari - Fashioning the Female Form http://www.bookrags.com/notes/met
• Official Site of Korea Tourism Org_ Traditional Clothing
• http://www.koreatourism.org

Epilogue

Represtation of national costumes

• Identity and nationhood: every country has its national costume which represents its own particular culture and identity. The costumes usually relate to a geographic area and they carry a significant meaning. But first of all, once it is worn, it highly reflects the national identity of the person. It serves as a signifier which signifies the nationality of a person. Therefore, we can see that it is worn during special occasions. For instance, every year during the Miss World Competition, contestants will wear their own national costumes during the competition. This is a show of identity. During summits, delegates and representatives from different countries will also wear national costumes. The country which holds the summit will also invite the delegates to wear the holding country's national costumes to promote friendship. National costume does not only mean to differentiate a country from the other, it also helps to uphold the dignity of the country as well as preserve its own value and culture.
• A reflection of social, marital and religious status: national costumes serves a special purpose. They reflect the marital status of women, especially for hanbok and kimono. In the past, class hierarchy was also reflected in terms of clothing. The costumes were used as an indicator for the background of a person. This is a subtle but also direct way to show the distinction between classes. The more well-off wore more glamourous costumes, which were more sophisticated and made out of expensive material like silk. For the normal working class, they usually wore plain ones which were made of cotton. National costumes also reflect the religions of the people.
• Culture and value: national costume reflects the culture of a country in a subtle way. It also impresses others to learn about their culture. It embodies the culture and value which passes on from generation to generation. Traditional costumes occupy one of the most important places because of their role in everyday life, their significance for ethnic identity, and their value artistically and aesthetically. They are known mostly because of the costumes which have been saved from the past to present, characterised by a great diversity in form and decoration. This variety and richness is present in both men's and women's costumes. Each region has its own special form of dress. According to the way a person is dressed, one could distinguish not only where they are from, but also of which nationality they are in multi-ethnic milieus. Various national costumes with manifold significance among the people were exposed to a wide range of influences in the history of their development. Thus, they incorporated a variety of elements from preceding periods, together with the features of the period when they were made and worn. The national costumes of China, Japan, Korea and India have all survived till today, which shows that the value of these costumes are highly respected by the people. People usually wear them during rituals, festivals and even during marriage ceremony. This shows that national costumes play a very significant role in their daily lives.
• Symbolism: almost on the day when costumes appeared, people had integrated into costumes their social status, customs, aesthetic interests and all kinds of cultural notions. The appearances of costumes are the most direct and realistic reflection of styles and features of social history. From this sense, the history of costumes is also a vivid civilization development history. In China, a multiple-nationality country composed of 56 nationalities, with the integration between nationalities, the style of clothing and dressing customs keeps evolving. In the history, not only the costumes of different dynasties have obvious differences, but also in different periods of the same dynasty costumes had obvious changes; but people, especially foreigners, will regard cheongsam as the national costumes of China.
• Representation of gender: From what we have seen, we find that the women's costumes have demonstrated a kind of conformity or submission. In the past or even nowadays, Women cannot wear what they like or what they feel comfortable with. The costumes have many restrictions to their movements and some are not comfortable, like the hanbok or kimono. They require a lot of time to dress up and they hide the female bodies without exposing their figures. The hanbok even intends to make all women look as if they are pregnant! It serves as a kind of protection for them. Modesty is clearly shown in these costumes. Femininity is displayed when women put up these costumes. How women are supposed to act is somehow restricted once they have put them on. In China, there are many minorities, but most people only regard cheongsam as national costume, especially foreigners. Why? The issue of orientalism can be applied. This is how the west sees the east. Cheongsam is conventional but it is also very suggestive because it reveals the body shape and the legs of a woman. This is similar to the sari, which exposes the waist of a woman. This is also subject to the men's gaze or sexual desire. Gender representation is a big issue in terms of national costumes, and that's why I have focused on women's costumes instead of men's. In a patricarchal society, it's inevitable that women become the objectification of men. However, as time progresses, we find that modern fashion have replaced national costumes and women no longer have to wear that except for certain occasions. This shows that society has changed and people's value judement has also changed. But the spirit of national costumes will never fade.

Sari in popular culture

The sari has been internationalised by flight attendants' uniform like this one modelled by an Indian Airlines mannequin.

This is a Bollywood movie star in sari. In these movies, women often dance in saris. Some people criticise that female bodies have become the object of male's gaze because of the erotic dances.

This is a painting of a woman in sari.

This is another painting which portrays the myth of sari.

Beautiful saris

The functions and representations of sari

• As part of India's aesthetically rich and politically complex textile tradition, saris are abundantly endowed with "the social life of things" as well as participating in the language of clothes. The sari can serve simultaneously as a sign both of the nation and of Indian womanhood while its rich array of associations has made it a valuable focal point for a number of Indian writers, both when representing major political events and when portraying the complexities of personal relationships and family life. The saris most favoured by Indian women originate from three regions - Varanasi in northern Uttar Pradesh state, Chanderi in central Madhya Pradesh and Kancheevaram in southern Tamil Nadu.
• The sari was seen as a dress for all seasons - be it in the home or at the office, weddings or parties. The only differentiation was in the texture, fabric and the heavy embroidery. The sari is not under threat of extinction even though Indian women are wearing typical western clothing and Indian alternatives such as the salwar kameez (a long shirt worn with loose pants) and kurti (a short tunic).
• The sari certainly is a multi-purpose garment. It enhances the perfect figure and covers well the not so perfect ones. In fact the Indian woman’s figure seems to fit in so much better with the sari as compared to the straight spine of her western counterpart. The sari moulds itself in perfect understanding with the situational requirements, sometimes elegant, or practical, at other times sensual adapting itself and keeping attuned to the woman, at any point of time, in any mood or frame of mind. Draped over women across the centuries, the sari assumes a wide spectrum of meaning that is manifested in practically every single one of its turns and folds.
• This flowing fabric that can spin so many silent, yet vibrant, ways of being and communicating, is a wonder in itself. The sari has been known to wipe away many a tear, whether of a despairing child or of a heartbroken woman. For years it has kept secrets of the women who peeped from within its confines, whether in anticipation or in embarrassment. The sari has taken into its folds and stride centuries of lending support to women in time of grief, or while defending, for support and even protection. This goes on.
• A gently or a hastily pulled 'pallav’ (one end of the sari that goes across one shoulder to fall down the back, which differs in look as compared to the other end of sari.) could hide either a shameful blush or a face that is steeped in deceit. And the very expression of joy has not found a better representation than a vibrant, colorful sari pallav thrown to the winds. It is amazing how much the sari can speak or convey.

Some images of sari

These are the different ways of wearing a sari. In the past, it was usually woven in silk or cotton. Nowadays, it is woven on mechanical looms and made of artificial fibers.

Steps of wearing a sari

Special features of sari

• Sari is a long piece of unstitched fabric that is wrapped around the waist and then draped over the shoulder. A typical sari can be up to nine yards (about eight meters) in length and may be made from a variety of materials, from plain cotton to silk embroidered with metallic gold.
• Saris are worn over a petticoat (called lehnga/ghagra in northern India and pavada/pavadai in the south), with a tight-fitting blouse called a choli, another staple of Indian apparel. Cholis are cropped and have a low neck, revealing the midriff and upper chest. The cropped design of the choli is just as well, for the voluminous folds of the sari can be stifling in the sultry South Asian weather. Because the traditional choli is worn without a bra, many come with padding or a soft, sewn-in brassiere for support. Office dress codes, however, prohibit cropped, sleeveless cholis; similarly, women in the armed forces, when wearing a sari uniform, don a half-sleeve shirt tucked in at the waist.
• The Sari, like so many other textiles, gives the lie to the hierarchical distinction made between fine arts and crafts. The approximate size of a sari is 47 by 216 inches. Although it is an untailored length of cloth, the fabric is highly structured and its design vocabulary very sophisticated. The main field of the sari is framed on three sides by a decorative frieze of flowering plants, figurative images or abstract symbols. The design, whether woven, embroidered, painted or block-printed, needs to maintain the proportion and balance between the actual field of the sari, the borders and the pallav. The pattern creates its own rhythm. For instance, the scattering of spot weft gold dots increase in the pallav for a denser, richer pattern and gradually and softly decrease on the actual ground of the sari.
• Jewelry is a big part of Indian apparel. Forehead ornaments, earrings, nose rings, and ankle bracelets are common for all women, while married women also wear toe rings.

Sari

The history of Sari

Sari (also spelled saree) is the traditional garment worn by many women in the Indian subcontinent. In India, women usually wear sari, even though there are also other options. There is ample evidence of the sari in the earliest examples of Indian art. Sculptures from the Gandhara, Mathura and Gupta schools (1st- 6th century AD), suggest that the sari in its earlier form was a briefer garment, with a veil, and usually no discernable bodice. Ancient Tamil poetry, such as the Silappadhikaram and the Kadambari by Banabhatta, describes women in exquisite drapery.

A charming folktale explains the origin of the Sari as follows: "The Sari, it is said, was born on the loom of a fanciful weaver. He dreamt of Woman. The shimmer of her tears. The drape of her tumbling hair. The colors of her many moods. The softness of her touch. All these he wove together. He couldn't stop. He wove for many yards. And when he was done, the story goes, he sat back and smiled and smiled and smiled". Indian myths often use weaving as a metaphor for the creation of the universe. The sutra or spun thread was the foundation, while the sutradhara (weaver) or holder of the thread was viewed as the architect or creator of the universe. The etymology of the word sari is from the Sanskrit word 'sati', which means strip of cloth. This evolved into the Prakrit 'sadi' and was later anglicised into sari. One ancient statue shows a man in a draped robe which some sari researchers believe to be a precursor of the sari.

A shiro-maku

This is a wedding kimono. It is called shiro-maku, shiro meaning white and maku meaning pure.

The functions and representations of kimono

Kimono is worn for both formal and informal occasions

• Often worn in weddings, graduations, festivals and the age ceremonies. Wrap the right side of the kimono over the body, then overlap it with the left side. Right on top of the left is only used to dress a corpse for burial.
• Its fabric reflects its formality: silk being formal and cotton being casual.
• Today, a Japanese woman usually owns only one kimono typically a furosode kimono which is worn for the coming of age ceremony on her 19th birthday. Women wear kimono when they attend traditional arts, such as a tea ceremony or ikebana class. For weddings, the complete bridal kimono and kimono apparel is usually rented. For funerals, both men and women wear plain black kimono. Kimono are also very rarely worn as every day clothing anymore. Occasionally, if you go to a small rural town in Japan or one of small islands like Okinawa, you will see the traditional every day kimono worn by elders.

Kimono reflects the marital status

• Similar to the hanbok, kimonos also reflects the marital staus of women. Young unmarried women wear kimono with long sleeves called furisode. The sleeve length can vary from slightly long to very long reaching the ankle. Young women's kimono are very vibrant, colorful and rich with patterns. Older women or those who have married, wear a kimono with short sleeves called tomesode. The kimono designs are smaller or solid and the colors are more subdued.

It embodies the culture and the image of the nation

• The kimono has had a long history in Japan and the kimono has changed over time to reflect the society and culture of that period. The Japanese word kimono means "something one wears" and they are the traditional garments of Japan. Originally, the word kimono was used for all types of clothing, but eventually, it came to refer specifically to the full-length garment also known as the naga-gi, meaning "long-wear", that is still worn today on special occasions by women, men, and children. It is often known as wafuku which means "Japanese clothes". Traditionally, the art of putting on a kimono was passed from mother to daughter. It reflects its culture of passing valuable things to the next generation. The image of the nation is also reflected in its national costume. Similar to hanbok, kimono also displays beauty, gracefulness and modesty. It is still highly valued and appreciated in the Japanese society.
  

The different parts of a kimono

Examples of kimonos

These are two young ladies wearing kimonos. Pay attention to the sleeves. They can be long to the wrist (the left one) or even to the ankle (the right one). The colours are often more vibrant.

This is a married woman wearing a kimono with shorter sleeves and more subdued colour.
















This is a pair of geta sandals.

Special features of kimono

• There are many types of kimono, each worn according to the persons age, season or the event. However, the formal kimono can be basically broken down into two main categories based on the persons age and marital status. Young unmarried women wear kimono with long sleeves called furisode. The sleeve length can vary from slightly long to very long reaching the ankle. Young women's kimono are very vibrant, colorful and rich with patterns. Older women or those who have married, wear a kimono with short sleeves called tomesode. The kimono designs are smaller or solid and the colors are more subdued.
• There are also special kimono made for ceremonies and paying respect called the tsukesage, komon and the homongi. In the spring, bright colors and spring floral kimono patterns are worn. In autumn, fall colors and fall kimono patterns are worn. In the winter, especially near the holidays, kimono patterns with designs such as the bamboo, pine trees or plum blossoms or worn for they signify good luck and prosperity.
• The kimono pattern consists of four main strips of fabric. Two patterns form the panels covering the body and two panels for the sleeves. Additional smaller strips form the narrow front panel and collar. The formal kimono and obi belts were traditionally made of silk, silk brocade, silk crepes such as cherimen and satin weaves such as rinzu.Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimono have free-style designs dyed over the whole surface or along the hem. Originally, the kimono were worn in multiple layers of different colors. Up to a dozen or more colorful layers of contrasting colored kimono would be worn. Today, the kimono is normally worn with a single layer on top of a slip style undergarment.
• Kimonos are worn with geta scandals, which are any sandal with a separate heel. Wooden geta have a slightly tapered front heal, making the person lean forward with each step. Geta sandals are not easy for some people to walk on and takes practice to walk correctly.
  

Special features of kimono

• There are many types of kimono, each worn according to the persons age, season or the event. However, the formal kimono can be basically broken down into two main categories based on the persons age and marital status. Young unmarried women wear kimono with long sleeves called furisode. The sleeve length can vary from slightly long to very long reaching the ankle. Young women's kimono are very vibrant, colorful and rich with patterns. Older women or those who have married, wear a kimono with short sleeves called tomesode. The kimono designs are smaller or solid and the colors are more subdued.
• There are also special kimono made for ceremonies and paying respect called the tsukesage, komon and the homongi. In the spring, bright colors and spring floral kimono patterns are worn. In autumn, fall colors and fall kimono patterns are worn. In the winter, especially near the holidays, kimono patterns with designs such as the bamboo, pine trees or plum blossoms or worn for they signify good luck and prosperity.
• The kimono pattern consists of four main strips of fabric. Two patterns form the panels covering the body and two panels for the sleeves. Additional smaller strips form the narrow front panel and collar. The formal kimono and obi belts were traditionally made of silk, silk brocade, silk crepes such as cherimen and satin weaves such as rinzu.Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimono have free-style designs dyed over the whole surface or along the hem. Originally, the kimono were worn in multiple layers of different colors. Up to a dozen or more colorful layers of contrasting colored kimono would be worn. Today, the kimono is normally worn with a single layer on top of a slip style undergarment.
• Kimonos are worn with geta scandals, which are any sandal with a separate heel. Wooden geta have a slightly tapered front heal, making the person lean forward with each step. Geta sandals are not easy for some people to walk on and takes practice to walk correctly.
  

Kimono

The history of Kimono

The kimono has had a long history in Japan and the kimono has changed over time to reflect the society and culture of that period. It is Influenced by a traditional clothing of China called Hanfu through extensive cultural exchange between China and Japan in the 5th century BC. During the Heian period 794-1185, the custom of elaborate layers of colored kimono robes became popular with Japanese women. Jun-hitoe, twelve unlined robes were frequently worn with the sleeve edges and collars showing the shades of each kimono. Persons of the royal court sometimes wore up to sixteen kimono layers. During the Kamakura period of 1185-1133 with the rising influence of the military class and warriors, people had no patience or need for elaborate kimono. Practicality prevailed and during this period the kosode meaning small sleeve was introduced into the kimono. In 1615, military leader Tokugawa moved the capital of Japan from Kyoto, where the emperor resided to Edo, the present day Tokyo. Confucianism was adopted and hierarchy became the guiding principle where citizens were ranked based on their class. During the Edo period, people began to define their status by their kimono clothing. During this time the greatest artistic accomplishments were made with the kimono. After 1853, the US Navy sailed to Tokyo and the beginning of Japan's commercial industry was opened to the Western world. Although Japanese people continued to wear the kimono for another hundred years, the beginning of the end of this practice was near. During the Meiji period of 1868-1912, women began working outside their homes and required different clothing to accommodate their work. The Japanese people developed techniques to compete with the machine woven cloth available from the West. Cloth from other parts of the world were bought to make the kimono and the clothing. During the Taisho period of 1912-1926, Tokyo suffered a devastating earthquake which leveled most of the homes. Many of the old kimono were lost at this time. During the Showa period 1926-1989, the japanese government curtailed silk production by taxing it to support the military buildup. Kimono designs became less complex and material was conserved. After World War II, as Japan's economy gradually recovered, kimono became even more affordable and were produced in greater quantities. Europe and America fashion ideas affected the kimono designs and motifs, but their shape remained the same. Kimono and obi colors changed with the season and with the age and status of the wearer. (The picture is the movie poster for Memoir of a Geshia, starring Zhang Ziyi).

Functions and representations of Hanbok

A reflection of the nation's climate as well as its aesthetics

• As is true with any national costume, the hanbok is a reflection of the nation's climate as well as its aesthetics. A study of the hanbok can thus provide insight into the character of the Korean people The hanbok has subtle curves and simple lines. The sleeves of the blouse open up like wings, while the skirt flares out from the bosom and flows elegantly to the floor. The hanbok has been characterized by flowing, supple lines throughout the centuries. In tang-ui, a jacket worn by court ladies during the Choson period, the curve of the front fly reverses sharply as it meets the curve of the hem, emphasizing the beauty of reversal The sharp angle thus formed at each corner is one of the aesthetic points commonly found in all forms of Korean arts.

A reflection of gender, class, profession and social status

• In olden days, hanbok differed according to the wearer's gender, class, profession and social status, with other variations depending on individual preference and lifestyle. Whereas commoners wore primary colors mainly for seasonal festivals and ceremonial occasions such as weddings, members of the privileged classes wore them anytime. The ruling class preferred primary colors because they were flattering to the wearer. Of the five cardinal colors, yellow symbolized the emperor and empress and red, the king and queen. The color of a woman's ceremonial dress was determined by the class and position of her spouse. Young women wore red chima and yellow jeogori prior to marriage and red chima and green jeogori after the wedding when bowing to their parents-in-law and when paying respect to them upon returning from the honeymoon.

It embodies beauty and harmonisation

• With straight and curved lines, the style of dress represents one of the most visible aspects of Korean culture. Many hanboks also have beautiful geometric and floral designs embroidered around the cuffs and the neckline of the blouse as well as on the skirt. The hanbok's proportions, lines, and colors all combine to make it elegant indeed. The beauty of the hanbok is enhanced by its practical design. Since the hanbok is generally made of natural fibers, it can easily be worn year-round. For instance, a hanbok that is made of plant fibers such as ramie or hemp has good ventilation, which helps keep the wearer cool during summer, even though the hanbok covers most of the body. Other types of material help to conserve body heat, making them more suitable for winter. In an era when many of the latest styles emphasize sensuality, the hanbok is a refreshing example of beautiful and modest dress.
• The diverse aesthetic elements of the hanbok embody the Korean sense of beauty. The shape and flowing lines of the hanbok are derived from the Korean preference for natural beauty and the need to be in harmony with nature. The harmony of black and white and the combinations of primary colors, the blank spaces, and the use of symbolism grew out of the process of expressing the personal character and desires of the wearer and seem to be the result of sensible reasoning and controlled sentiments. The aesthetic framework of the hanbok is based on the Korean preference for naturalness, a desire for supernatural protection and blessings, and a Confucian-inspired dress code.

Beauty of symbolism

• The hanbok is replete with symbolism, in its colors, patterns and ornaments, a quality that is still evident in taday's hanbok. At wedding ceremonies, for example, a groom's mother always wears blue or a similar color and the bride's mother always wears pink or a similar color.
• In a traditional hanbok, the purple collar of a woman's chogori symbolized a husband and the blue cuffs, a son. If a woman could wear a chogori embellished with a purple collar and blue cuffs in her old age, she was regarded as truly blessed. The combination of green chogori and red skirt was reserved for brides. An unmarried woman wore a yellow chogori and a red skirt for seasonal festivals.
• Patterns on the fabric of a hanbok were not only decorations but also expressions of the wearer's wishes. Peonies embroidered on a bridal gown were indicative of a wish for wealth and honor. The lotus flower, symbolizing nobility, was a popular motif for embroidered folding screens to be used in a woman's room in summer. Bats and pomegranates symbolized many children. As axes represented sons, a pregnant woman would wear an axeshaped pendant in a wish to give birth to a son. The use of decorations featuring dragons, phoenixes, cranes and tigers were the reserve of the privileged classes because they symbolized royalty and civil and military officials of high rank.

A representation of its culture, identity and the nature's view towards femininity

• Along with language, religion and cultural patterns such as dance, food, housing and aesthetics, apparel plays a vital role in the preservation and expression of cultural identity. In multiethnic nations such as China and America, styles of traditional attire are diverse. However, in countries such as Korea, which are occupied by a single ethnic group, traditional dress is synonymous with national dress. For this reason, the hanbok forms a highly effective expression of Korea identity. Thus, changes in hanbok design from the past to the present parallel the nation's historical development. Moreover, hanbok's form, materials and designs provide a glimpse into the Korean lifestyle, while its colors indicate the values and world view of the Korean people.
• Hanbok reflects beauty, gracefulness, modesty and elegance. When women wear them, they seem to have embodied all these qualities in them. This somehow suggests the nations' interpretation of femininity. Since Korea is also a patriarchial society, it is inevitable that national costumes of woman do represent femininity in terms of men's gaze. The way that hanbok is designed and worn reflects the nation's ideology towards femininity as well. Women had to wear them in the past because they had no options and this was also a kind of conformity.
  

Some images of Hanbok

Hanbok embodies gracefulness and harmonisation















This is a Hanbok worn during the wedding ceremony.



















A variety of sharp colours is used in the making of Hanbok.

Changes in Hanbok

• Following the Korean War (1950-53), a modernization campaign was undertaken. As a result, by the 1970’s the hanbok went out of fashion and was replaced by Western-style dress. Hanboks were worn all the time in the past. But now, they are only worn for special occasions. The Lunar New Year (late January, early February) is a good example of this.
• Nowadays skirts of two and a half widths of cloth are generally worn; however, today's cloth is about twice as wide as in ancient times. Most of today's chima have shoulder straps for ease in wearing.
• In olden days, hanbok differed according to the wearer's gender, class, profession and social status, with other variations depending on individual preference and lifestyle. Ceremonial clothes for weddings, funerals and other important occasions, especially those worn by royalty and court officials, showed the most diversity. However, it no longer defines social classes or profession nowaways.

Different parts of a Hanbok

Jeogori: It makes up the upper part of the hanbok.

Dongjeong: This is the white collar attached along the rim of the neckline.

Otgoreum (Cloth Strings): It is a women's ornamental piece, which hangs vertically across the front of the chima.


Baerae (Jeogori Sleeve): It refers to the lower lines of the sleeve of the jeogori.

Chima: It is the women's outer skirt.


Pattern: Traditional and graceful, with a combination of lines and colours

Special features of Hanbok

• Composition: Women’s hanbok is often called chima-jeogori, 'chima' being the Korean word for skirt and 'jeogori' the word for jacket. It is rich in curves and lines. The chima is a rectangular or tubular skirt with a high, pleated waistband. It is tied above the breasts with long sashes. By flowing over the rest of the body, it completely hides the female shape, strongly influenced by the Confucian society. It has no pocket so you have to carry a purse.
• Wearing: For proper appearance the chima should be pulled tight so that it presses the breasts flat and the slit should be just under the shoulder blade. The left side of the chima should be held when walking to keep it from flapping open and revealing the undergarments. Old women often hold the left side up beside the left breast. Several layers of under garments are worn to give hanbok a fuller appearance. Women put on layers of clothing because of the Confucian edict that "females should never reveal their flesh to other people." Under their skirts, women wore baggy pants over three pairs of increasingly smaller pants and a loin cloth. The layers of undergarments resulted in a voluminous lower body with a curvaceous silhouette. Because a woman wore a tight-fitting blouse under her chogori her overall appearance was of a figure with a narrow, tight upper body and a flaring, voluminous lower body. To make her skirt even more voluminous and also to support her waist, an upper-class woman would wear two kinds of underskirts when she dressed for formal occasions.
• Length:The hanbok is composed of a bolero-style blouse and a long skirt, uniquely proportioned. In some cases, the skirt is four times longer than the blouse. As a result, even a short woman looks taller in it.
• Colour: Ancient Koreans had such a great predilection for white that they were long known as "the white-clad people." White was used in both men's and women's clothing because it contrasts well with black hair. In fact, today's sartorial experts concur that black and white is one of the best color schemes for Koreans. They reason that the black and white contrast becomes Koreans because the tonal values of their hair color and skin color differ so radically. combinations of strong colors are another feature of the hanbok as evidenced by such oft-cited descriptions as "a green blouse over a red skirt," "a yellow blouse over a red skirt," and "a green blouse over a blue skirt."
• Reflection of class and status: Women wear red chima and yellow jeogori prior to marriage and red chima and green jeogori after marriage. The Yangban, a hereditary aristocratic class based on scholarship and official position rather than on wealth, wore brightly colored hanbok of plain and patterned silk in cold weather and closely woven ramie cloth or other high-grade, light weight materials in warm weather. Commoners, on the other hand, were restricted by law as well as finances to bleach hemp and cotton, and could only wear white, pale pink, light green, gray or charcoal colors.
• Beauty: The beauty of the hanbok lies in the harmony of its colors and its bold, simple lines. It is also enhanced by its practical design. Since the hanbok is generally made of natural fibers, it can easily be worn year-round. The hanbok has subtle curves and simple lines. The sleeves of the blouse open up like wings, while the skirt flares out from the bosom and flows elegantly to the floor. Accentuating the breastline is an unusual type of bow, with its two ends trailing out from the knot and down the front of the blouse, nearly reaching the ankles. Many hanboks also have beautiful geometric and floral designs embroidered around the cuffs and the neckline of the blouse as well as on the skirt.