"Hanbok" designer Kwon Hye-jin of Studio Hyeon adjusts her creations on display at the "Dreaming Hanbok" exhibition at Omae Gallery in central Seoul, Feb. 26. Korea Times photo by Choi Won-suk
Clad in a striking deep indigo jumpsuit inspired by “dansokgot” (underpants) paired with a flowing pale-yellow cape inspired by Korea's traditional "jangot" (cloak-like veil), actor Kim Tae-ri radiates an elegant harmony between the past and present. In another look, she wears a softly draped, blush-pink dress, a contemporary reinterpretation of the 16th-century ceremonial “jeobeundan chima” (folded skirt).
Both designs are the creations of "hanbok" designer Kwon Hye-jin, whose label Studio Hyeon reimagines Korea's traditional attire for modern times.
Showcased recently as part of the Ministry of Culture, Sports and Tourism's "Hanbok Wave" project in collaboration with the Korea Craft and Design Foundation, these garments highlight Kwon's two-decade journey to merge Korean heritage with contemporary style. Named Hanbok Artist of the Year in 2024, Kwon remains committed to evolving hanbok into wearable art that resonates across generations and borders.
Installation view of "Dreaming Hanbok," an exhibition by "hanbok" designer Kwon Hye-jin at Omae Gallery in central Seoul / Korea Times photo by Choi Won-suk
Rediscovering hanbok
Kim Tae-ri wearing Studio Hyeon's "hanbok" is show at New York's Times Square in December 2024 as part of "Hanbok Wave" project. Captured from Instagram
Kwon didn't initially set out to be a hanbok specialist. After studying fashion design at university and pursuing graduate studies, she found herself drawn to distinctly Korean aesthetics.
“Traditionally, [the art of] hanbok was taught from a technical viewpoint, with the designs strictly defined and emphasis placed solely on precise execution. But coming from a fashion background, approaching hanbok from a design perspective allowed me to appreciate its form, color and aesthetics as I studied history," Kwon said in an interview with The Korea Times in late February.
“As I started teaching [about] hanbok, I felt it was contradictory to teach others without regularly wearing hanbok myself. So, I first designed hanbok that I could comfortably wear as part of my everyday life.”
Kwon quickly discovered practical challenges in wearing traditional hanbok daily: the long skirts and delicate fabrics were impractical for contemporary lifestyles characterized by professional engagements.
“Back then, hanbok was mostly ceremonial and rarely seen as daily wear. Clothes are a reflection of lifestyle. As lifestyles evolve, clothing must evolve, too. We need hanbok that fits into our modern lives,” she said.
“Women's lives have fundamentally changed. Today, women lead dynamic lifestyles — they commute, carry briefcases and work professionally. Traditional hanbok wasn't practical enough for such activities.”
Kwon refers to the hanbok as “a garment that stopped evolving,” highlighting how Korea's rapid modernization during the Saemaul Movement of the 1960s and '70s disconnected hanbok from everyday life. Before that period, hanbok underwent constant adaptations, exemplified by the modernized hanbok styles popular among the “new women” of early 20th-century Korea.
“Back then, hanbok was becoming simpler and more wearable. Had this natural evolution continued, the variety and richness of hanbok today could have been even greater,” she said. “It's unfortunate that hanbok became restricted to ceremonial wear, but as someone who studied its history, I believe the future matters more than the past. I see promising signs among younger designers who are creatively experimenting with fresh, youthful designs.”
Kwon Hye-jin introduces the design worn by actor Kim Tae-ri at Omae Gallery in central Seoul, Feb. 26. Korea Times photo by Choi Won-suk
Studio Hyeon's philosophy
For Kwon, hanbok is more than clothing — it is a sculptural art form. Each design decision revolves around careful considerations of shape, color and material.
“Hanbok has a sculptural quality where materials play a crucial role in shaping the silhouette and structure. But traditional fabrics such as silk are often considered impractical for contemporary life,” the designer said.
“Although there's growing interest in hanbok, I worry traditional materials might eventually disappear. This is why I shifted my approach — focusing on preserving these authentic textiles, even if it means embracing a higher-end market.”
During the interview, Kwon was dressed in a contemporary hanbok-inspired silk vest paired casually with a black top, demonstrating her belief that hanbok can easily blend into daily fashion without the need for full traditional attire.
“A Korean 'najeon' (mother-of-pearl inlaying) artist recently visited my exhibition. She wanted a tailored 'jeogori' (hanbok top) to match her hanbok skirt for an upcoming exhibit in France. But considering her busy schedule and practical concerns, I suggested a hanbok-inspired vest paired simply with a black blouse instead. That way, she could comfortably display her Korean identity without the inconvenience of full traditional attire,” she said.
“While fully traditional hanbok certainly has its place, sometimes a single modernized piece — like a hanbok-inspired vest over a simple blouse — can gracefully express Korean identity.”
Kim Tae-ri wearing "hanbok" designed by Studio Hyeon / Courtesy of Studio Hyeon
'Hanbok Wave' project
Kwon's designs have now reached global audiences, supported by initiatives such as the Hanbok Wave project. Her first participation in 2020 involved creating pieces for the K-pop girl group Momoland, followed by designing hanbok for legendary figure skater Kim Yuna in 2022.
When Kim was chosen as the muse for the 2022 project, the designer immediately knew she wanted to create something truly special. Kwon specifically chose a beautiful fabric to create an outfit inspired by “hwarot,” Korea's traditional bridal gown.
For Kim, she designed a contemporary interpretation featuring a vivid red top paired with an elegant green “seuran chima” (ceremonial skirt).
“Hwarot traditionally pairs a red outer garment with a blue lining, symbolizing the balance of yin and yang,” Kwon explained. “Without the skirt, the silhouette might have resembled a slim-fitting outfit. Adding the seuran chima allowed me to retain an authentic Korean silhouette while showcasing hanbok's distinctive beauty.”
A lace "jeogori" (hanbok top) and pleated "hanbok" skirt designed by Studio Hyeon / Courtesy of Studio Hyeon
Road ahead
The global rise of hanbok has been largely driven by "hallyu," or the Korean wave, as K-pop idols and actors showcase it to international audiences through performances, shows and social media.
“These days, it feels like the only people wearing hanbok for traditional holidays like Seollal (Lunar New Year) or Chuseok (Korean harvest festival) are K-pop idols,” Kwon said. “Through photos and livestreams, hanbok is being seen worldwide.”
Yet, she highlights a paradox: while global audiences appreciate hanbok's beauty, its place in Korean daily life remains limited.
“In Korea, hanbok is often perceived as something to appreciate from a distance — visually stunning, but impractical and costly for everyday wear,” she explained. “Seoul Fashion Week doesn't even include hanbok, categorizing it as special-occasion attire. Sustained, meaningful institutional support [is needed as] hanbok's global potential remains limited to short-term cultural events.”
Kwon remains optimistic, inspired by younger generations who are increasingly drawn to hanbok not just as traditional wear but as a means of personal expression.
“Today's younger consumers don't just admire hanbok from afar. They are eager to wear it. It's an encouraging sign that hanbok is being embraced as a part of contemporary wardrobe, rather than just a relic of the past.”