Exhibit explores the opulence of Joseon wedding gowns

Korean Heritage

Published: 17 Sep. 2023, 08:37

Exhibit explores the opulence of Joseon wedding gowns

This elaborately embroidered hwarot, or bridal robe from the Joseon Dynasty (1392-1910), which has been in the Los Angeles County Museum of Art’s permanent collection since 1939, is now on display at the National Palace Museum of Korea in central Seoul following a restoration. Its embroidered images include flowers and fresh, bountiful fruits, symbolizing abundance, fertility and longevity to bless the newly-weds. [YONHAP]

Pure white is the color that brides-to-be across the globe most often pick out for their bridal gowns. But back in 19th century Korea, brides preferred daehong, the deepest red available at the time, produced by dying fabric more than 10 times in safflower harvested in August.

Only the wealthy and power wore the color, the most difficult shade of red to achieve, and only for very important occasions at that.

In the Joseon Dynasty (1392-1910), daehong-colored silk was used to create the wedding gowns, or hwarot, of royal princesses. Derived from hanbok, or traditional Korean dress, the gown was worn on top of layers of skirts and jackets. It was often adorned with colorful, sophisticated embroidery using golden thread, making the garment something of an exception in an era that prized frugality, modesty and simplicity.

Sadly, only about 50 such gowns are known to have survived — 30 of them in Korea and 20 in other countries. What's more, the wearer has been identified for only one of them. The bridal robe of Princess Bogon has been part of the permanent collection at the Los Angeles County Museum of Art (Lacma) since 1939. Princess Bogon (1818-1832) was the second daughter of King Sunjo of the Joseon Dynasty.

Experts carefully brush dust off the hwarot from Lacma [CULTURAL HERITAGE ADMINISTRATION]

Visitors look at wedding gowns worn by women of the Joseon Dynasty at the National Palace Museum's ongoing exhibit, "Blooming Hwarot: Bridal Robes of the Joseon Royal Court." [YONHAP]

As part of its efforts to ensure the preservation of valuable pieces of Korea's cultural heritage overseas, the Overseas Korean Cultural Heritage Foundation supported the restoration of the gown. The foundation said the expensive project was only possible thanks to “a generous donation” made by BTS leader RM, who donated 100 million won ($75,227) for the restoration.
According to the National Palace Museum of Korea, RM told the museum that he’s “not only interested in modern art but also traditional art,” adding that he wanted to support restoring the hwarot at Lacma as he’d heard it preserves the stylistic features of Joseon court-style bridal robes and has great cultural value.

The foundation brought the gown back to Korea and recently completed the restoration work. Before sending it back to Lacma, the National Palace Museum of Korea decided to organize a special exhibit to shed light on the bridal gowns of the Joseon Dynasty.

Titled “Blooming Hwarot: Bridal Robes of the Joseon Royal Court,” the exhibit that began Friday introduces the hwarot, who wore them, how they were worn and how they were tailored. Over 110 objects relating to royal weddings and wedding gowns worn during the Joseon Dynasty are on display, including three hwarot from Korea and six from U.S. museums such as the Field Museum, Brooklyn Museum and Cleveland Museum of Art. Though the individual gowns may look the same at first glance, viewers will be surprised by the unique details in each richly embroidered piece.

The embroidery often features images of flowers and fresh, bountiful fruits, symbolizing abundance, fertility and longevity to bless the newlyweds. Egrets in pairs or phoenixes accompanying their chicks also bear wishes for lifelong conjugal happiness.

The first section of the exhibit, “The Long Red Robes: Hongjangsam and Hwarot,” explains the traditions associated with Joseon bridal robes. Bridal gowns used to be called hongjangsam, which literally means “long red robe,” but are more commonly called hwarot today. In this section, visitors can learn about the four stages of a princess's wedding ceremony. Though a festive state rite, the ceremony was relatively simple compared to those of queens or crown princesses.

Visitors can also learn about the decorative components and social significance of the hwarot and its evolution from the traditional long robe for women into an exquisite bridal robe dyed with precious flowers and embroidered and gilded with patterns to bestow blessings on the newlywed. In this section, visitors can see different types of hwarot and compare and appreciate their beautiful individual patterns.

Cushion cover that belonged to Princess Bogon (1818-1832) [CULTURAL HERITAGE ADMINISTRATION]

Stamps bearing images of egrets and phoenixes to be stamped on fabric for embroidery. [CULTURAL HERITAGE ADMINISTRATION]

In the second section, visitors can learn how hwarot were made, and how different artisans such as weavers, embroiders, dyers and gilders worked together to create a single hwarot. It also introduces how experts in different fields carried out the restoration work of the hwarot from Lacma.

The exhibit emphasizes how by the late 19th century, even commoners could wear hwarot, making it one of the few things that commoners and royalty could share. However, instead of getting theirs made by artisans, commoners rented theirs from the local government or rental shops, much like how brides-to-be rent bridal gowns today.

Steps that experts took to restore the hwarot from Lacma, beginning with, clockwise from top left, infrared imaging, cleansing, patching and removing wrinkles. [CULTURAL HERITAGE ADMINISTRATION]

“Since hwarot were rented along with ceremonial hair ornaments, modern photographic images of brides in royal and civilian weddings show little difference,” said Kim Kyoung-mi, a curator at the museum. “As both the bridal robes of the royal court and private society were tailored with precious red silk and generously adorned with beautiful embroidery. hwarot was a special garment for life events enjoyed not only by exclusive groups of people, but by women of all classes.”

The exhibit runs until Dec. 13.

BY YIM SEUNG-HYE [yim.seunghye@joongang.co.kr]