Finally, I want to express my heartfelt gratitude to Huh Dong Hwa, the president of the Museum of Korean Embroidery, whose vast collection of and ardent advocacy for the craft of bojagi has not only given bojagi the spotlight it deserves but enlightened us all about its beauty as an art form and narrative. Furthermore, I am deeply appreciative of his permission to use his materials as references and samples in this book.
Please note: The projects in this book were designed and executed using metric measurements. Imperial measurements to the nearest eighth of an inch are provided in the instructions, but these are approximate. Using the more precise metric measurements is strongly recommended.
Terminology
There are many finishing techniques associated with bojagi, and the resulting style will differ depending on the combination of how seam allowances are handled for certain construction methods. To avoid confusion, the techniques and construction methods will be called out in Korean for each project.
Style (Construction Methods)
Hopp—single-layer bojagi
Kyoppo—two-layer bojagi with a top piece and backing piece
Sompo—more of a traditional quilt with two layers of bojagi sandwiching a layer of batting. Also known as Nubi.
Finishing Techniques
Komsul—Seam allowance is pressed open. Typically used in a two-layer construction method.
Samsul—Similar to a flat-felled seam, the raw edges of the seam allowance are folded over each other and sewn down. Used in single-layer construction method.
Kapsul (Keki)—The raw edges are separately folded toward the wrong side and stitched into place with a series of running stitches. Used in a single-layer construction method.
Hatsul—The seam allowance is pressed to one side and secured with backstitches from the right side of the fabric.
Choi Yangsook
References
“Colors and Shapes of Korea: Traditional Korean Textile Crafts” by Jiaodong. Published by Kyotoka Institute for Culture and Art, the Korea Museum Association, and the Japan-Korea Cultural Exchange Project Implementation Committee. “Embroidery and Cloth in the Yi Dynasty Period: an Hommage to Nameless Artists”. Published by the Kyotoka Foundation, International Art and Culture Promotion Committee.
HOME DECORATIONS
Light and Wind
Bojagi is pieced together from old fabric odds and ends and is infused with blessings of fortune, longevity and good health. Traditionally meant for wrapping and covering, these projects can be certainly used in that way, but they could be beautiful and modern as window coverings or room partitions as well. Happiness is the glow of sunrays filtered through mindfully stitched scraps.
Tapestry
Lightweight silk in hues of pinks, blues and green patched together. When the light hits the finished seam allowances, it casts layers of lovely shadows.
26” x 19½” (66 x 49.5 cm) ❖ Fabric: lightweight silk ❖ Style: Hoppo ❖ Finishing technique: Samsul ❖ Instructions on page 66
Antique Bojagi Replica
Here we’ve replicated a 19th-century square Chogakpo bojagi*. The seam allowances vary in size, and the shadows create an interesting design. This versatile bojagi can be enjoyed and displayed in any direction.
22½” x 22½” (57 x 57 cm) ❖ Fabric: silk (nobang, okusa) ❖ Style: Kyoppo ❖ Finishing technique: Hatsul ❖ Instructions on page 67
*Bojagi’s Simple Elegance by Dong-hwa-hur, published by the Museum of Korean Embroidery. Reproduction of 19th century Chogakpo, page 225.
Chinese Lantern Plants
With the red berry peeking through the gauzy pod, these fabric Chinese lantern plants look like the real deal. Even the seams that connect the fabric pieces perfectly mimic the actual plant.
Approximately 4” x 2” (10 x 5 cm) ❖ Fabric: ramie ❖ Instructions on page 68
Machine-stitched Chogakpo
This machine-stitched Chogakpo has fabric pieces called chikaranuno secured on all four corners. With the help of a sewing machine*, even a larger size that could serve as a curtain can be assembled in relatively little time.
59½” x 59½” (151 x 151 cm) ❖ Fabric: ramie ❖ Style: Hoppo ❖ Finishing technique: Samsul ❖ Instructions on page 69
*Refer to “Using the sewing machine” on page 62 11
Café Curtain
Flowers and leaves formed by the kamon stitching method adorn this bojagi. The thin silk panels flutter in the wind and the diaphanous pale tones diffuse the light beautifully.
35½” x 15¾” (90 x 40 cm) ❖ Fabric: silk (sha) ❖ Style: Hoppo ❖ Finishing technique: Samsul ❖ Instructions on page 70
Sagappo
The piecing method of starting at the center and expanding outward is very similar to American quilting. The simple design with the striking indigo color creates an attractive combination.
22½” x 22½” (58 x 58 cm) ❖ Fabric: ramie ❖ Style: Hoppo ❖ Finishing technique: Samsul ❖ Instructions on page 72
Tapestry
The juxtaposition of the plain fabric with the pastel colors enhances the overall design. The ties are doubled up on the corners for better functionality.
Piecework: 14” x 39½” (35 x 100.5 cm) ❖ Fabric: silk (sha) ❖ Style: Hoppo ❖ Finishing technique: Samsul ❖ Instructions on page 73
Fettepo
The curved seams make a strong statement while the warm tones are soothing and harmonious to the eyes.
14⅜” x 34⅝” (36.5 x 88 cm) ❖ Fabric: silk (okusa) ❖ Style: Kyoppo ❖ Finishing technique: Hatsul ❖ Instructions on page 74