Interview'Perfect Crown' costume designer reimages hanbok as 'quiet luxury'

Byeon Woo-seok wearing "cheollik" (military robe) in this scene from MBC drama "Perfect Crown" / Courtesy of MBC

Cho Sang-kyung is more than just a costume designer. She is a visual storyteller whose threads weave together the very fabric of Korean films and dramas.

Costume designer Cho Sang-kyung

From the gritty aesthetics of Park Chan-wook’s "Oldboy" (2003) and the haunting elegance of "The Handmaiden" (2016) to the global phenomenon "Squid Game" (2021-2025), Cho has defined the "look" of K-content for over two decades.

Known for her meticulous research and bold reinterpretations, she possesses a rare ability to honor tradition while breaking its boundaries. In her recent project, "Perfect Crown," the designer moves beyond historical reproduction to showcase hanbok as a versatile, high-fashion statement.

By seamlessly blending traditional silhouettes with contemporary sensibilities, she invites global audiences to see hanbok not just as a costume, but as a masterpiece of enduring elegance. Below is an excerpt from the interview with Cho.

The most carefully chosen tone was used for I-an’s grand ceremonial sash. Courtesy of MBC

Q. I-an’s first appearance in "cheollik" (military robes) was striking. Why did you choose that specific garment for his introduction, and what impression did you want to leave on the audience?

A. The script actually specified the cheollik. He shows up at the King’s birthday banquet straight from the hunting grounds and a quick shower. Traditionally, the cheollik was often worn as an undergarment beneath formal robes, so wearing it alone to a banquet suggests he’s not "properly" dressed.

It’s a deliberate choice — a bit threatening, a bit rebellious. I wanted that first step to show exactly how far this character is willing to go. It’s the kind of entrance that makes the next day's headlines.

Q. Instead of the traditional "obangsaek" (the five cardinal colors: white, black, blue, red and yellow), you used a very subtle, cool-toned palette. How did you design the colors to reflect the characters' inner shifts?

A. I started by finding colors that complemented the actors, as well as obangsaek and "oganseak" (secondary colors of violet, teal, ochre, green and burnt orange). For the palace royals, I used traditional tones like crimson and jade, but with a twist.

The most carefully chosen tone was the teal used for I-an’s grand ceremonial sash on the promotional poster. If it was too blue, it would look detached on screen; if it was too red, it would distract from the actor. The shade makes the actor truly shine. Some might see it as "Tiffany blue," but it’s a deeply Korean color."

Byeon Woo-seok poses for promotional posters for MBC drama "Perfect Crown." Courtesy of Varo Entertainment

Q. You’ve said that designing hanbok is about "selective picking" from history. Were there any specific artifacts you modernized or any non-traditional materials you used?

A. Keep an eye on how the queen dowager wears the "magoja" (outer jacket). She just drapes the magoja over the skirt instead of a traditional "jeogori" (blouse). It’s perfect for spring or summer. I kept the traditional curved sleeve lines, but experimented with materials like lace and sequins. Also, I-an’s shirts are designed with different collar variations so they look natural and stylish without a tie. I personally love the natural wrinkles that form in Korean silk as the wearer moves.

Q. Is there one specific outfit or scene that you hope stays in the audience's memories?

A. While I usually care more about the emotions a scene evokes rather than the clothes, I’m particularly fond of the wedding scene between Hee-joo and I-an. They wear traditional wedding attire and I hope the audience finds that moment as beautiful as I did.

Q. What is the one thing you never compromise on?

A. My rule was: if a scene requires a traditional hanbok, we stick to tradition. We are obsessed over the invisible details — the curve of the sleeves, the hemline, the length of the "dangui" (traditional royal garments for women) and the color layering. Currently, trendy hanboks are too linear and body-conscious. To me, that doesn't fit the dignity and grace of a royal family. I insisted on those subtle, elegant curves that define true hanbok.

The queen dowager's hanbok, decorated with lace and sequins, is seen in a scene from MBC drama "Perfect Crown." Courtesy of MBC

Q. You once said, "If we don't recognize it ourselves, Hanbok has no place to stand." Is there a "secret tip" to making hanbok feel like something people actually want to wear?

A. Unlike the Chinese qipao or the Japanese kimono, women’s hanbok is characterized by the distinct separation of the jeogori and "chima" (skirt), offering a wide variety of styles. You can evoke the elegance of hanbok simply by layering a jeogori over a sleeveless dress. When worn loosely and open — similar to I-an’s style — it takes on the sophisticated flair of a trench coat.

While traditional etiquette calls for hanbok to be neatly fastened with ribbons — a skill that has to be learned — modern styling allows for more freedom. A simple vest layered over a shirt, as seen on palace staff, or pairing traditional shoes with everyday socks can create a look straight out of a photoshoot. Even wearing beoseon (traditional socks) with sandals works beautifully.

Although hanbok have become a rare sight even on special occasions, I wanted to show that incorporating even a single traditional item into a modern wardrobe can be incredibly effective.

Byeon Woo-seok in a scene from MBC drama "Perfect Crown" / Courtesy of MBC

Q. Thanks to BTS and "KPop Demon Hunters," hanbok is now seen as sexy and cool around the globe. What do you hope viewers take away from the hanbok featured in this drama?

A. A sense of true nobility. There was a time when the "old money" style was trendy, and I would be thrilled if people viewed hanbok in a similar light — not as something loud or flashy, but as the epitome of "quiet luxury."

Q. From "Oldboy" to "The Handmaiden" and "The Royal Tailor," you’ve led so many iconic projects. Do you have a personal "unwritten rule" you follow for every new work?

A. I have this obsession with trying to "enchant" the audience so they will watch the work. I must help the actors immerse themselves in their roles so that the creators can collectively believe in and empathize with the world we’ve built. Ultimately, the goal is to surprise viewers by crafting entirely new images for the actors.

Q. You’ve said the goal of Gomgom Costume Studio is to nurture talent. What’s next for the studio?

A. Korean content is becoming so diverse, which means we’re constantly being asked to do the impossible. We live in a world where AI could probably handle the design, but our work — dealing with actors and human emotions — is ultimately about people. That’s why I value handmade work. Even if it’s a bit rough or slow, I want us to keep working with our hands, our heads and our hearts.

Byeon Woo-seok in a scene from MBC drama "Perfect Crown" / Courtesy of MBC