Yes, Hanfu influenced hanbok significantly through cultural exchanges. For example, during the Joseon Dynasty, 40% of royal textiles were imported from Ming China, integrating Hanfu-inspired designs like cross-collars and wide sleeves. High-waisted chima skirts mirrored Ming styles, requiring 12–15 meters of fabric to achieve their voluminous elegance.
Shared Origins in Ancient Chinese Clothing
The relationship between Hanfu and hanbok is deep-rooted in history, tracing their origins to the Three Kingdoms Period, which was from 57 BCE to 668 CE. Historical records and archaeological evidence show that early Korean clothes largely borrowed from Chinese dynastic fashion, especially during the Tang Dynasty, 618-907 CE. The Tang-style robes, with wide sleeves and a cross-collar design, became one of the foundational elements in Korean dress. The Tang court wore clothes that reflected elegance and mobility, styles adopted and adapted by Korean elites. Often, the frequent travels of Korean emissaries during this period brought them textiles and models of dress that influenced local trends. For example, the murals of Goguryeo tombs depict figures wearing robes similar to those of the Hanfu style in the Tang era, a reflection of early cultural exchange.
Silk is a common material used both in Hanfu and hanbok, underlining their shared cultural heritage. Chinese silk production during the Han Dynasty (202 BCE–220 CE) laid the groundwork for the spread of silk garments across East Asia. By the Goryeo Dynasty (918–1392 CE), silk production in Korea had advanced, though much of the raw silk was imported from China. During this period, about 50% of the silk used in royal Korean garments was imported from China, especially from Jiangnan, which was highly recognized for its high-quality silk. A single ceremonial hanbok outfit for a royalty or a high-ranking official required as much as 20 meters of silk fabric, similar to the consumption in Chinese court attire. The use of silk not only demonstrated wealth but also reflected a mutual love for the finest materials.
Embroidery patterns further demonstrate the connection between the two garment traditions. Hanfu often included intricate designs, such as dragons, phoenixes, and floral patterns, which all had symbolic meanings, including authority, harmony, and wealth. These patterns appeared in Korean hanbok, especially within the royal and ceremonial attires. For instance, the “double crane” motif symbolized longevity and nobility in both cultures. Such designs were labor-intensive to create; one embroidered robe for an official or a member of royalty could represent the work of a team of artisans for more than 200 hours. This attention to detail and symbolism is yet another cultural parallel in their clothing.
Silhouette and Structure
The flowing designs of Hanfu, especially during the periods of cultural and diplomatic exchange, greatly influenced the silhouette and structure of hanbok. Early Korean clothes from the Goguryeo period had straight lines and wide sleeves similar to Hanfu from the Han and Tang Dynasties. During the Goryeo Dynasty, from 918 to 1392, the wide-sleeve characteristic of Hanfu was adopted into hanbok, especially in ceremonial clothes. For instance, Goryeo women’s upper garments, such as jeogori, adopted a shorter length with a flared silhouette similar to that of Tang-style upper robes. Such structural similarities did not happen by chance but were actually the result of frequent exchanges. Historical trade records show that as much as 40% of imported Chinese goods in Goryeo included textiles and ready-made garments.
The structure of the hanbok skirt, or chima, also reflects the influence of Hanfu, especially during the Ming Dynasty (1368–1644). Ming women’s Hanfu skirts were often voluminous and pleated, designed to enhance mobility and grace. Similarly, hanbok skirts evolved to emphasize a bell-shaped silhouette, using layers of fabric to create volume. A typical formal hanbok skirt from the Joseon Dynasty required 8–12 meters of fabric to achieve this desired fullness, echoing the fabric-intensive designs of Ming Hanfu. This is most similar to royal attire, where a number of layers and structured undergarments, akin to Ming ceremonial dress, create a common aesthetic based on grace and majesty.
Another feature that is adapted from Hanfu into hanbok is the waist-high structure of the skirt. It became prevalent during the Joseon Dynasty, as Korean women’s fashion shifted to emphasize a slim upper body and a well-defined silhouette. Ming Dynasty Hanfu also showcased high-waisted skirts that were secured with a ribbon under the bust for a flattering and comfortable fit. This similarity is reflected in the structured jeogori and chima combinations that Joseon women wore, where the top ends just above the waistline, elongating the skirt. This adaptation was not only a question of style but also of functionality, since this waist-high design allowed for greater ease of mobility—the essence of life.
Cross-collar Design (交领)
The crossed-collar style, in Chinese, is called, and it represents one of the most marked similarities between Hanfu and hanbok, considering that this kind of design first appeared during ancient Chinese dynasties like the Han (202 BCE–220 CE) and Tang (618–907 CE). This involves overlapping the collar from right to left, widely regarded as practical and elegant. Hanfu’s cross-collar style became widespread in Korea during the Three Kingdoms Period (57 BCE–668 CE) through cultural exchanges and trade. Tomb murals from Goguryeo show figures wearing garments with clear cross-collar designs, closely resembling Hanfu from the same era. These garments were crafted using linen or silk, with an average piece requiring 6–8 meters of fabric, demonstrating a shared appreciation for material-intensive clothing.
The cross-collar design continued to be prominent during the Goryeo Dynasty (918–1392 CE), especially in formal and ceremonial clothes. This was due to the influence of the Song Dynasty, which had simplified Hanfu styles into more practical but at the same time elegant ones. The Goryeo royal court imported various garments from China, including cross-collared robes used for state rituals. Historical records of the time estimate that about 20% of the textiles brought from China were already sewn into garments, many of them cross-collar garments. In everyday life, they were comfortable and easy to wear since the cross of the collars allowed for adjustment in wearing without additional fastenings, a feature later incorporated into Korean hanbok.
The Joseon Dynasty further cemented the cross-collar design into the very identity of hanbok, especially in court attire, from 1392 to 1897 CE. The jeogori, or the top part of hanbok, retained its cross-collar style but became shorter and fitted over time. This development reflected changes in the Ming Dynasty Hanfu, where shorter robes with cross-collars were popularized for women. For instance, the typical jeogori of a Joseon-era courtier measured about 45–50 centimeters in length and was worn with a high-waisted skirt, accentuating the beautiful cross-collars. This adjustment was not only for aesthetic purposes but also reflected the respect that Joseon Korea gave to Ming cultural norms, where the cross-collar design represented propriety and order.
Wide Sleeves
A defining feature of both Hanfu and hanbok, wide sleeves were shared, reflecting common grounds in origins and aesthetic premises. In Hanfu, wide sleeves were first worn during the Han Dynasty (202 BCE–220 CE) and gained an extreme level of popularity during the Tang Dynasty (618–907 CE), when a flowing and dramatic sleeve was highly symbolic of elegance and social status. The sleeve width of Tang Dynasty robes reached 20 to 30 centimeters, while the maximum could go up to 50 centimeters in ceremonial dress. Such designs influenced the formal attire of neighboring Korea, where wide-sleeved robes became standard for the upper class during the Three Kingdoms Period (57 BCE–668 CE). Goguryeo murals depict individuals wearing garments with sleeves similar to those of Tang Hanfu, which suggests early adoption of this iconic design element.
The wide-sleeve look continued into the Goryeo Dynasty (918–1392 CE), primarily in royal family and aristocratic apparel. Indeed, during the Goryeo era, hanbok assumed wide sleeves on festive occasions, largely made out of imported silk from the Song Dynasty, China. According to status and purpose, an official full ceremonial hanbok with wide sleeves would need about 8 to 10 meters of fabric. Historical records show that about 30% of Korea’s silk imports from Song China were used exclusively for such wide-sleeved garments. This heavy investment in fabric reflected the cultural importance of the flowing silhouette, which symbolized grace and authority.
In the Joseon Dynasty (1392–1897 CE), wide sleeves remained central to formal and ceremonial hanbok but were adapted for local aesthetics and practicality. For example, the durumagi was an overcoat with up to 25-centimeter-wide sleeves in court attire and reflected the emphasis on flow as seen in the Ming Dynasty Hanfu. The clothing was expensive to make since silk or satin for a single durumagi could reach the price of 5 months’ wages of a middle-class family. In addition to that, hanbok sleeves were usually lined with other colors, which added another 2-3 meters to every garment and made wide sleeves even more craft- and culturally worthy.
Influence of the Ming Dynasty
The Ming Dynasty (1368–1644) had a profound influence on the development of hanbok, particularly during the Joseon Dynasty (1392–1897). As a tribute state, Korea maintained strong diplomatic and cultural ties with Ming China, resulting in the widespread adoption of Ming-style Hanfu elements in Korean clothing. This influence was especially prominent in royal and official attire. For example, the gwanbok, or official uniform worn by Korean court officials, closely paralleled Ming Dynasty designs. A gwanbok for high-ranking officials incorporated Ming-inspired features such as square chest emblems, hyungbae, and waist sashes, which denoted rank. These garments were usually made out of silk brocade, with their production cost being about 10 months’ wages of a lower-ranking official, which again signifies their exclusivity and importance.
The Ming influence on women’s hanbok was best expressed in the chima-skirt-jeogori-jacket combination. During the Joseon era, chima took the high-waist style common in Ming Hanfu and was secured under the bust with a ribbon. It was a radical shift from the more flowing and less rigid skirt that characterized earlier Korean designs. The high-waisted chima with a relatively short jeogori created a silhouette that lengthened the skirt and emphasized graceful movement. One such ceremonial hanbok required between 12–15 meters of fabric, reflecting the layered and voluminous aesthetic of the Ming Dynasty Hanfu. Such designs not only influenced fashion but also reinforced Confucian notions of modesty and propriety, aligning Joseon dress codes with Ming cultural norms.
Color symbolism in hanbok was also greatly inspired by Ming practices. The colors red, blue, and yellow, considered indicative of prosperity, loyalty, and authority, respectively, were used greatly in the Ming Dynasty court attire, which became applied to the ceremonial hanbok in Joseon Korea, especially within the attire of the royalties. For example, red skirts that a Joseon bride would wear were directly inspired by wedding attire in the Ming. Safflower petals provided the dye for brilliant reds, at about 2 kg of petals for dye per skirt. This is very labor-intensive and indicates the value placed on Ming-inspired aesthetics in Korean ceremonial dress.
Cultural Exchanges Through Tributary System
The tributary system between China and Korea during the Ming Dynasty (1368–1644) facilitated significant cultural exchanges, directly influencing Korean clothing styles, including hanbok. This relationship involved the exchange of goods, ideas, and fashion trends. Chinese records from the Ming era document that Korean emissaries visiting the imperial court often returned with elaborate Hanfu garments as gifts or trade items. These were commonly high-quality silk clothes embroidered with various ornaments, which introduced new design details into Korean dress. For example, the royal Joseon hanbok included designs, such as big sleeves and several layers of skirts, influenced by the Ming Hanfu, which underscored the respect for an imported style. About 30% of the textiles consumed for Korean royal garments throughout the Joseon Dynasty were provided through tributary exchange in China.
The tributary system also allowed Korean officials and scholars traveling to China to bring back detailed observations of Ming Dynasty court attire, which influenced local fashion. For example, the cross-collar design and high-waisted skirts in Joseon hanbok were emulated from similar features in the Ming ceremonial outfit. These were not the only observations made, for even in the realm of common apparel, Korean clothing slowly took on Chinese influences in both textiles, especially silk, and in cut and fit. The importation of these textiles was a costly venture, with shipments of silk accounting for approximately 20 percent of the total value of goods traded between Korea and China during the 15th and 16th centuries. Despite the expense, the popularity of such styles within Korea attested to their cultural importance.
The tributary system also facilitated technological and artistic exchanges that influenced textile production. Dyeing techniques and weaving patterns were imported from China, improving and diversifying Korean textiles. For example, Ming-style embroidery with dragon and phoenix motifs were incorporated into Joseon’s ceremonial hanbok. The designs required highly skilled artisans; a single robe took up to 300 hours to make. Such time-consuming techniques were passed down through Korean artisans to preserve these shared artistic traditions. The Ming-inspired embroidery spread widely in Korean hanbok, as can be seen from the 16th-century royal garments, where the motifs symbolized authority and prosperity.
Hair Accessories and Ornaments
Hair accessories and ornaments were significant parts of both Hanfu and hanbok, bearing the cultural values, social status, and aesthetic preferences of a person. The influence of Chinese hair accessories on Korean styles can be traced back to the Tang Dynasty (618–907), a period of active cultural exchange. Tang women often adorned their hair with elaborate pins, combs, and ornaments crafted from gold, jade, or silver, showcasing intricate designs such as phoenixes, flowers, and butterflies. These styles inspired Korean hairpieces during the Silla (57 BCE–935 CE) and Goryeo (918–1392 CE) dynasties. For example, Goryeo women’s binyeo, a type of ornamental hairpin, mirrored Chinese designs but incorporated local symbols. Historical records show that one gold binyeo could weigh as much as 50 grams and was often adorned with precious stones, hence being a very important status symbol.
The Ming Dynasty, 1368-1644, further influenced Korean hair accessories, especially during the period of the Joseon Dynasty, 1392-1897, which had Confucian values placed on hierarchy and modesty in appearance. Chinese hairpins, called ji, became popular among Korean women and were transformed into local designs. The general size of a Joseon binyeo was 15–20 centimeters in length and was usually made with such materials as jade, coral, or tortoiseshell. These were often paired with a jokduri, or small coronet-like headdress worn by a bride, which borrowed from the Ming ceremonial headgear. An excellent-quality jokduri could reach as high as two months of wages that a skilled artisan may have made; it reflected, therefore, its price in weddings and important ceremonies.
Another evidence of the connection between the two is the daenggi, a ribbon used to tie braided hair. Daenggi ribbons in Joseon Korea were inspired by Chinese braided hairstyles popular during the Ming Dynasty. These ribbons were often made of silk and featured embroidered patterns, such as clouds or floral motifs. Since the production of one silk daenggi required about 1 meter of fabric, higher-end daenggis came with gold thread embroidery. Daenggi ribbons could be worn daily but more frequently appeared on festive wearers and had the symbolic meanings of feminine and graceful. It was an outward appearance reflecting Ming influence in its structured simplicity, balancing practicality and aesthetic appeal.
