Hanbok is changing and becoming a part of daily fashion through mixed and matched combinations with Western clothes due to recent inflows of young people in the industry. This study examines phenomena in which paradigm shifts have occurred, making Hanbok a fashion for everyday wear after 2010.

The analysis is based on internet articles after 2010, divided into two categories; the cases in which the Hanbok was used as contents in Culture and Arts field and the changes in the Hanbok industry in which modern sensitivity has been added. Moreover, the characteristics of Hanbok were deduced through the pictures of the Hanbok in wedding magazines and fashion magazines.

Research results were as follows. First, observations were made from cases in which the Hanbok was used as contents in Culture and Arts field. The phenomenon of using Hanbok in play culture is centered around the younger generation, rather than the older generation, who used Hanbok as formal wear. The 'Hanbok Experience' has developed around locations related to traditional cultural heritage. It is a common bucket list item of the young generation and has spread abroad. In addition, a variety of Hanbok communities have been formed voluntarily to develop activities related to Hanbok. Hanbok is used in stage costumes for K-pop, opera and as a medium of artistic expression in the areas of illustration, painting, and photography.

Furthermore, changes in the Hanbok industry are as follows. Existing Hanbok brands have launched secondary of ready-to-wear lines targeting young generations, or children and infants. In addition, brands inspired by Hanbok began to appear. In addition, the distribution channels for Hanbok have started to diversify. Hanbok select shops which collect Hanbok brands, and Hanbok distribution platforms which provide Hanbok-related information have appeared. Pop-up stores or formal locations in department stores have also been attempted.

Lastly, characteristics of the Hanbok were deduced through analyses of wedding magazines and fashion magazines. The first is 'changes in patterns'. While it was general for traditional Hanbok to use cutting methods that left a lot of extra space, the Hanbok is changing with the adoption of cutting methods that fits to the body, which are mainly used in Western clothing. Second, with 'changes in material and color', lace, which is the main material in wedding dresses, is being used in the Hanbok. While traditional color arrangements mainly uses primary colors, the use of white-based color arrangements has increased. Third is 'changes in use'. Traditional inner garments that were generally worn inside outer garments are being used as outer garments. Fourth is 'changes in ways of wear'. Hanbok is displays ways of wear in which they are mixed and matched with Western clothing and the Jeogori has also been worn over wedding dresses. Fifth is 'the adoption of Western fashion concepts'. Moving away from the traditional image of the Hanbok, Hanbok is being used in Western fashion concepts such as nomad and street fashions. Sixth is 'gender boundaries ambiguity'. While Hanbok types were fixed depending on the gender, they have become an element that expresses 'genderless' concepts in the modern age. Hanbok is not fixated in its form of the past, but it is constantly changing according to the new trends. This study will be used as basic data for the direction of Hanbok in the future so that we can continue the renaissance of Hanbok.