Can traditional clothes be fashionable?

Clothing can portray a history, a unified cultural identity rooted in tradition. From Kimonos to Saris, national dress tells a story about its people, their values and lifestyle. On special occasions or in everyday life, people are united through their attire, providing a sense of affinity and inclusion to their culture.

Alexander McQueen, with Sarah Jessica Parker, at the Costume Institute Benefit, 2006

I am from the land of tartan, or more specifically the kilt. From rebellious, spirited clans to highland dancers, tartan, kilts and Scotland are intertwined like Bonnie and Clyde or Tom and Jerry. When I was younger, I proudly partook in Highland dancing and I still have my heavy, blue McPherson tartan kilt to this day.

Tartan invokes many images of Scotland: male camaraderie at weddings, trousers in the 70s worn by the Bay City Rollers (my dad refused to wear his after the Rollers became famous), musician Rod Stewart, woollen scarves as well as the traditional kilt.

Yet, tartan has transcended Scotland and pervaded many areas of culture. Over recent years, it has been heavily utilized by the world of fashion. From Alexander McQueen and Vivienne Westwood in the 90s to one of the major autumn/winter trends of 08/09, tartan is a recurring print again and again. Tartan is so pleasing for designers as it can facilitate many colours or fabrics, from wool to chiffon. It can present gothic glamour, grunge, the 70s or lady like chic in every manner of apparel, from billowing gowns to shift dresses to shirts.

Both photographs are designs by Alexander McQueen

Tartan is so adaptable and accommodating that it can be a fashionable trend or a wardrobe staple. I admit I will not be rocking the streets with my McPherson tartan kilt. It is not fashion forward and it is now, perhaps, reminiscent of a pleated, school girls skirt. It was made when I was 12, I'm now 24. So, in its traditional form, the kilt, tartan may not be fashionable but as a print it certainly is. Kilts may not be timeless outside of Scotland, but tartan is now a classic print. One only has to look to Burberry who have built their brand on their beige, black and red version.



So, if Scotland's traditional attire can be fashionable, can the same be said for Korea? Hanbok, literally meaning Korean clothing, consists of a bolero style blouse known as a jeogori and a long, full skirt known as a chima. Simple lines and curves are contrasted with detailed, highly wrought embroidery and vibrant colour. It is worn for special occasions, specifically Korean Thanksgiving and Lunar New Year.



Hanbok has evolved over time, changing with trends and influences throughout history. Originally a simple, two piece unisex outfit in the Three Kingdom era, Hanbok was then heavily influenced by the Chinese Tang dynasty with the additions of silk and hairpins. Subsequently, during the Josean period, blouses became shorter and skirts became fuller around the knees and ankles, creating a triangular shape and resembling Western bustles. Furthermore, colour gave an indication of status. Royalty and upper classes wore bright, vivid colours with beautiful, intricate embroidery. Ceremonial headwear, Jokduri and Hwagwon, complimented this. Lower classes were restricted to white and pastel pinks and greens for special occasions.

Today, the abundant material and simple shape of hanbok provide great inspiration for Korean designers. One of the most renowned is Lee Young Hee of Maison de Leeyounghee. Over recent years, she has showcased her modern interpretations of hanbok in Paris, New York and Seoul to fascinated audiences. Admiringly, Lee Young Hee incorporates visionary designs and modern silhouettes with tradition. Her haute couture hanbok is intricately embroidered and meticulously hand painted whilst her designs are rooted in symbolism, culture and spiritual belief.

The designs, above, are from her recent S/S 11 collection in Seoul. The inspiration for this collection was plants. Pine trees, orchids, bamboo and plum-blossom portray beauty, integrity, hardship, toughness and loneliness. Traditional Korean fabric, hansan mosi, was dyed in natural hues, emphasising the collection's inspiration. The classic hanbok shape was modified into modern silhouettes, cut at the bust or shortened. Yet, many of the designs retained a full skirt and highly wrought embroidery, significant elements of traditional hanbok.

Designers, like Alexander McQueen and Lee Young Hee, prove elements of traditional clothing can be adapted and interpreted to progress with modernity and in doing so, they become fashionable. Although the shape and pleating of a kilt is not fashionable, tartan, as a fabric, has permeated fashion and culture thoroughly. Hanbok is still evolving and gaining recognition and exposure in other countries. A selection of Lee Young Hee's designs are exhibited in a museum in New York. So, perhaps, hanbok will inspire many other designers outside Korea and its embroidery, full skirt and vibrant colour will permeate fashion to the same extent as tartan. In Korea, however, hanbok certainly is fashionable and more importantly, a symbol of Korea's national pride, culture and history.

On a final note, here is a Korean celebrity modelling a modern adaptation of the kilt. Scotland's traditional attire has even reached Korea. Hopefully, Hanbok will reach Scotland one day. Maybe, I should take a design home with me...