Impressionism, Shin Yun-bok, and Traditional Crafts: The Colors that Enrich "Scandal"

Youngjin Kim of Chaikim Shares Her Costume Design Process
"Historical Research Is the Starting Point... New Perspectives and Imagination Must Be Added"

Still cut from the Netflix series 'Scandal'.

Another way to read the Netflix series "Scandal" is through its use of color. The colors of the hanbok change according to the characters' emotions. The elaborate design comes from Youngjin Kim, CEO of Chaikim, a hanbok designer who has worked on costumes for films such as "Love, Lies" and dramas like "Mr. Sunshine," as well as opera, theater, and pansori stages.

In a recent written interview with The Asia Business Daily, Kim explained, "When I first encountered the script for 'Scandal,' I immediately thought of impressionist paintings.” The strong personalities of the main characters—including Lady Cho (Son Ye-jin), Cho Won (Ji Chang-wook), and Huiyeon (Nana)—left a strong impression. Kim envisioned scenes in which each character’s distinct individuality would be expressed through color, while still achieving overall harmony in costume design.

She focused on the facial expressions and clothing lines in works by Monet, Renoir, and Manet. In particular, drawing on Monet’s attention to how light alters colors, Kim designed the hanbok so that its coloring would shift as characters' emotions intensified.

Still cut from the Netflix series "Scandal."

Western painting was not the only source of inspiration. Kim also referenced depictions of commoners and street scenery from Shin Yun-bok’s works such as "Wolhajeongin," "Yeonsodapcheong," "Juyucheongang," "Wolya Milhoe," and "Yageummohaeng." Kim explained, "Rather than simply recreating costumes, I wanted to design outfits that could bring the atmosphere of the characters and spaces in these paintings, as well as their underlying sense of vitality, to the screen."

This vision was further specified through individual character interpretation. Kim described Lady Cho as "a woman ahead of her time in a closed society—strong-willed, creative, and artistically talented." As someone capable of raising silkworms and creating her own silk, she was portrayed not in ornate clothing, but in costumes that emphasized individuality and artistic sensibility. Five traditional materials—myeongju, sugosa, saenggosa, saengcho, and jamisa—were used in the costumes.

A hanbok embroidered with plum blossoms was custom-made for the silkworm-raising scene. Kim explained, "Plum blossoms traditionally symbolize the scholar, but for Lady Cho, they were a perfect motif to express her boldness and unique sensuality."

Still cut from the Netflix series 'Scandal'.

If Lady Cho is an artist, Cho Won is a stylish trendsetter. As the character’s desire to flaunt his status and wealth grows, Kim expressed his refined taste using late 18th-century hats with expanded forms and a variety of fine belts (sejodae) naturally dyed in vibrant colors. The character's free-spirited, wandering nature was highlighted by cloud motifs and lightweight, fluttering fabrics such as saenggosa, saengcho, and myeongju.

For Huiyeon, a young widow, Kim aimed to convey stillness, simplicity, and a sense of depth. Using ramie, cotton, and muslin created a subdued texture, while a monotone palette shaped the restrained impression. Kim explained, "I wanted to express a plaintive, sorrowful lyricism by using different materials for each inner layer of clothing."

So-ok’s mother, Bunhee (Han Sunhwa), who runs the tobacco shop, was interpreted as glamorous and trendy, open to diverse cultures and styles. Kim adopted patterns from lacquerware crafts for the embroidery on the her myeongju top, so the jacket itself would resemble ornate, lacquered mother-of-pearl furniture. Kim notes, "She is the character who displays the most patterns throughout the series."

Youngjin Kim, CEO of Chaikim.

She unified various materials and motifs through color. Kim said, "Color is the element that most intuitively visualizes a character’s personality and changes in emotion," adding, "I wanted to depart from the colors commonly seen in historical dramas and use a new color language that reflected the characters and their emotional arcs."

Kim assigned each main character a representative color palette. Lady Cho’s motif is the green family, while Cho Won’s is blue. Huiyeon starts with naturally colored hanji (traditional paper), undyed white fabric, and ramie shades; but after removing her mourning attire, her colors shift to those reminiscent of bellflowers, wild chrysanthemums, and lotus blossoms.

Bunhee’s palette consists mainly of vibrant reds—safflower, sappanwood, gardenia yellow, pagoda tree—with accents of silver, gold, and black. So-ok’s look focuses on high-chroma, high-luminance hues such as peony and safflower red. Lady Jeongkyung (Kang Ji-eun) utilizes sappanwood, natural wood, coptis, rouge, chestnut, and navy tones. Inho (Kang Chanhee) is chiefly captured in soft hues such as rouge pink, pale rose, and jade green.

Still cut from the Netflix series "Scandal."

Characters’ emotional trajectories were also visualized by color. As a child, Lady Cho (as Cho Yoon) is pure, energetic, and creative. Her feelings for Cho Won are unattainable, which gradually warps into desire and deepens her inner complexity. Kim noted, "The colors start out clear and light, but as emotions grow deeper, they become increasingly dark and heavy." Likewise, Cho Won’s faint blue shade grows more intense as his relationship with Lady Cho develops.

This meticulous planning extended to props. Kim said, "Rather than using traditional crafts as mere decoration, I wanted each item’s history and the artisan’s touch to become part of the characters themselves." By using items as they appeared—complete with the visible traces of accumulated time—the artistry of the craftspeople resonated in the depth of the characters.

Five artisans participated in this work. Lady Cho’s norigae ornament is the creation of Nomi Ja, a Seoul Intangible Cultural Heritage master of maedeup (traditional knots), and has been part of Kim’s personal collection for 25 years. Ornaments featuring coral, jade, and Chunchon jade were made by Yeonghee Kim, a National Intangible Cultural Heritage okjang (accessory crafts master), and Um Ikpyeong, a Seoul Intangible Cultural Heritage master of okjang. Cho Won’s heuknip (black bamboo hat) was made by Park Changyoung, a National Intangible Cultural Heritage master of gatil (bamboo hat craft), while his gatsin (traditional shoes) and tanghye (women’s shoes) were crafted by An Haepyo, a Busan Intangible Cultural Heritage master of traditional shoemaking.

Netflix series 'Scandal' still cut.

Kim was cautious not to let all this painstaking research become mere replication. "A genuinely new work only emerges when the creator’s perspective and imagination are added," she said, citing Emily Bronte’s "Wuthering Heights" as an example—how even the same original story can be transformed into something new by different directors, actors, or costume designers.

She considers this the reason for continually making new historical dramas. "Historical research is just the starting point for creation," she said. "The role of a costume designer is to complete characters and stories visually by adding new perspectives and imagination to that foundation."

Kim’s new approach is also aimed at international audiences. She noted, "I hope hanbok will be seen as more than just traditional Korean clothing, but as a form of poetry encapsulating the lives, emotions, and desires of each character." She added, "I believe that sowing new differences within traditions will lead to change and innovation."

This content was produced with the assistance of AI translation services.