The show marks the first time Korean textiles and fashion have been featured as the sole focus of a museum exhibition, at least outside of Korea.
is, it’s not that Korea went from traditional, unchanging and then all of a sudden with adopting Western fashion and Western modern lifestyles, all of a sudden fashion starts to appear,” he continues. “No. What I’m trying to say in thisHeo Yeong , jacket with folk painting design , Korea, 1990s. The Textile Museum Collection 2022.3.17. Gift of Dr. Young Yang Chung.
In 1893, Korea was introducing itself to a global public in its first appearance at a world’s fair, and it chose to do so with fashion.on loan from Chicago’s Field Museum that will be part of the exhibit, are, according to Talbot, “almost like Holy Grail kind of material because they have this really interesting provenance.
Bridal robe , Korea, 19th century. © The Field Museum, Image No. A113982c, Cat. No. 33159. Gift of J. F. G. Umlauff, H. Higenbotham.One of the two robes that will be on display is made of red, yellow and blue silk — a patchwork of various older garments crafted into a new one — and embroidered with symbols that would also have had meaning.
“This exhibition is so important for the public to understand the Korean color and concept and the symbolic meanings of patterns,” Chung says. “I think what [Lie Sang Bong is] doing is showing ways that Korean cultural heritage can be interpreted for the modern world. For example, some of the designers in previous generations that received some international success, such as Lee Young Hee, you look at her garments and for the most part you recognize them as Korean. If you recognize Korean garments, you can see the ancestry ofor traditional Korean clothing,” Talbot says. Lie Sang Bong? Not so much.
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