Exhibition
dress design
Photography: Torben Geeck
Saena Chun's seventh collection, "Robes/Variation VII," pays homage to traditional Korean fashion, the Hanbok. It is influenced by the Hanbok's simple yet elegant aesthetics, emphasizing the importance of harmonious craftsmanship.
Saena Chun's seventh collection, "Robes/Variation VII," is inspired by her interest in traditional Korean fashion, particularly the Hanbok. The Hanbok, known for its simple yet elegant appearance due to meticulous dyeing processes and fabric treatments, holds a special place in Korean culture. The foundation of its creation emphasizes the importance of crafting garments with a harmonious mindset.
Chun's "Robes" collection draws inspiration from a traditional Korean overcoat called Cheollik, characterized by a straight collar and a pleated skirt. Various models of overcoats worn by kings and nobles in everyday life also influenced her design.
Three key elements that distinguish the Hanbok take center stage in this exhibition: the material, the pattern, and the sewing method.
To honor the original crafting techniques of the Hanbok, Chun prioritized finding carefully dyed and woven fabric. The uncompromising choice of material preserves the distinctive characteristics of the Hanbok. Simple designs without embellishments ensure the maximum visibility of the beauty of the creations. Traditionally, special occasions in Korea called for Hanboks made of silk, a luxurious material known for its glossy finish and smooth texture. This collection exclusively features high-quality silk woven from a silk yarn named Oksa, processed using a special weaving method. The Oksa silk imparts a natural drape and slightly firmer texture compared to other silk fabrics. To soften the texture and smooth out folds, the fabric underwent a meticulous process involving a wooden mallet, resulting in a more subtle coloration.
The pattern of the Hanbok, consisting of a simple rectangular shape, reveals the wisdom of Koreans in ancient times. Surprisingly, no paper pattern was needed; a corresponding rectangle was cut for each component of the garment, depending on the desired size. While traditional clothing adhered to a set form in terms of size and style, the design allowed for diverse variations in proportions, decorative elements, and component arrangements.
Unlike other garments with numerous curves, traditional Korean clothing minimized fabric waste due to its predominantly rectangular shape. The Koreans of old may have chosen this form to reduce fabric waste. The cutting process aimed for maximum efficiency, saving both time and materials.
The prevalent sewing method was the double stitch ("Kkaekki-Nähmethode"), where each seam was carefully stitched two to three times (Chun sewed each seam three times in her collection). Despite the double stitching, the seam appeared as a single line. Achieving this result, without the fabric tearing, required extremely precise work. This method was particularly applied to thin and transparent traditional fabrics like Mosi, Sa, and Nobang, ensuring that the seams looked beautiful both inside and out. This technique demanded two to three times more time compared to other sewing methods.
After immersing herself in the intricacies of traditional Korean attire, the designer, taking into account the aforementioned advantages of the Hanbok, has crafted ten designs for robes.
