In addition, I have included the Nubi style (and “Colored-thread” Nubi), which is the Korean equivalent of quilting. An entire book dedicated to Nubi could be written, but I focused on just a few small projects that will make using the traditional methods easier. These beginner-friendly projects will establish a solid foundation for more advanced techniques for those interested.
The more you practice the making of bojagi, the more you will find depth and richness from which to learn. Inherent to bojagi is the appeal of gently wielding needle and thread and fabric in a way that has traversed time and countries, honoring the generations of Korean women finding small moments to create a sense of elegant beauty and self-expression. I hope you too, will find pleasure through this heartfelt needlecraft.
Choi Yangsook
Thoughts on Patchwork
When I became enamored with the art of dyeing, I traveled from Korea to Japan to learn about the various Japanese dyeing techniques. Over two decades later, I am still here. In my quest to master dyeing, I have acquired many materials and methods and have delighted in the splendor of textiles. As I contemplated how to bring out the best in each textile, I was reminded of the fabrics that my mother and grandmother sewed when I was a little girl. No scrap was too small and nothing was ever wasted. Stitch by stitch, layer by layer, the women in my family created simple yet beautiful piecework filled with gentle love.
After many years of living in away from my homeland, I established an atelier in Japan where I was able to gradually incorporate and teach the traditional Korean piecework style called “bojagi”. I believe this return to my roots is a gift from my mother and grandmother and the generations before them.
The History of Bojagi
The custom of wrapping things in fabric—such as food or tableware—is a deeply embedded one in Korean culture, and the fabric itself is called “bojagi.” Versatile and multi-functional, historical records show that was also frequently used as room dividers as well as floor and wall coverings.
In a typical, small Korean dwelling, bojagi would often be used to wrap bedding or other household goods when not in use. Because bojagi could be quite large when spread out but can be folded into a compact size, it is reminiscent of the Japanese furoshiki. However, furoshiki fabric tends to have standardized dimensions, whereas bojagi can range anywhere between 12 inches (30 cm) square for small items, to about 2 yards or meters square to encase bedding/blankets. Another differentiation between furoshiki and bojagi is that bojagi often included ties on the corners, which furoshiki don’t have.
It is unclear when the name bojagi came into being. In ancient literature, there are references to the word “獣” (“pok”), which means “fabric with which to wrap”. Pok has a Korean homonym that means “fortune,” so bojagi is considered a bearer of luck, and a home with bojagi-wrapped items would be blessed with well-being and prosperity.
In Japanese kanji, the word “bojagi” translates as “樅子 器” (insulator), abbreviated to “略” (po) The kanji “褓” is also pronounced “mutsuki” in Japanese which could be translated to mean a garment for bundling babies.
My grandmother affectionately called the ubiquitous patched fabrics “po” or “boja”. Additionally, when the bojagi was used to swaddle babies, she called it “bojai” (diaper). I imagine that in generations past, as a child grew the scraps and cuttings from his or her clothing became the patchworked bojagi.
The application of fabric patches for upcycling clothes and kimonos and creating separate quilts is a long-held tradition in Japan as well, using traditional mending techniques such as “hyaku-hagi” (100 patches, also knowns as yose-gire, which roughly translates as gathering tears or rips). Gradually, the patches became less random, with planned color combinations and symmetry/balance emerging as part of the mending process. The mender increasingly infused her own tastes and creativity into the patchwork.
Similarly in Korea, women incorporated their individual color and design preferences into their bojagi. Most importantly, by bundling babies in these meticulously pieced together bojagi, there is a deep and resonant wish for children to grow into strong and healthy humans.
In both Japan and Korea, giving fabric new life through patchwork and mending is a humble virtue. I’ve been struck by how the seemingly simple activities of stitching reveals a spiritual, beautiful connection between people across different countries of origin.
Bojagi Styles
Bojagi is divided into two main styles: Kumpo and Mimpo. There are subcategories within those two depending on construction methods and application purposes.
The Kumpo style is associated with the aristocratic class and the ways in which bojagi was used in court rituals (including mourning) and for preservation of objects, usually made from silk in red hues.
The Mimpo style has strong associations with the “common people”. Mimpo bojagi has had many uses and was made from materials such as Ramie, cotton, linen, gauze, paper, etc.
Another way to classify bojagi is based on construction methods known as Hoppo, Kyoppo, and Sompo. Hoppo is a single layer bojagi. Kyoppo includes a backing or lining, thus making it a two-layer bojagi. Batting is included between two layers of Sompo bojagi, which makes this style effective for wrapping breakables and to prevent water damage.
There are also distinctive embellishment and production techniques for bojagi such as Suuppo, Kungpokpo, Klimpo, Nubipo (similar to Japanese Sashiko), and Chogakpo. Of these, Chogakpo is considered particularly representative of the Mimpo style. Reminiscent of the Japanese “hyaku-tsugi” (100-piece patchwork), fabric scraps are piece together into continuous rows. Chogakpo is my own personal favorite style and this book heavily features projects using the Chogakpo method.
Lightweight fabrics like gauze lined with silky, textured fabrics work well for Chogakpo. Delicate but sturdier fabrics like Ramie and linen can be constructed in a single layer. The most quintessential Chogakpo is a single layer version made from linen, beautiful with its tidy and geometric design. On a side note, the fabric ramie is called “karamushi” in Japanese and the textile derived from the fibers of a type of nettle plant. I love the symbolism of meticulously processing the plant fibers to create an intricate and lovely fabric and have named my studio as such in the hopes of creating works of beauty with exquisite attention to details.
The Colors of Bojagi
In Korea’s 5,000-year history, the overarching philosophy has been one of restraint, and overt emotional expression was deeply frowned upon. However, despite any initial impression of stoicism, there is an underlying, hidden emotional abundance ready to leap out. Once unleashed, the explosive expressiveness is almost overwhelming and this is a characteristic of the Korean culture.
As a society ruled by demanding strictures, women of the Joseon Dynasty were not allowed to be seen outside of their homes during
