The debate over the origins of the Futou (幅巾), a headwear often seen in Korean dramas, has resurfaced as it appears on Korean banknotes. While many assume it to be a Korean cultural element due to its frequent portrayal in K-dramas, the Futou is, in fact, a traditional Chinese accessory with a history dating back centuries. Its design has remained largely unchanged, yet it is rarely featured in Chinese period dramas set in the Ming Dynasty, sparking curiosity and debate.
Historical Roots of Futou
The earliest mention of Futou is found in the Houhanshu (后汉书), specifically in the biography of Zheng Xuan (郑玄), who chose to wear Futou instead of official court attire when receiving guests. Initially, Futou resembled a simple headwrap, similar to a scarf. However, by the Song and Ming Dynasties, it evolved into a popular headwear style, typically made from a square piece of silk measuring three chi (尺) in length and width. The Futou was worn by wrapping it around the forehead and tying it at the back, with the ends hanging down to the shoulders or even the back.
During the Song and Ming Dynasties, Futou became deeply associated with Confucian culture, often worn during rituals and ceremonies to honor ancestors and Confucius. Scholars and elites adorned themselves with Futou, Shenyi (深衣, a traditional robe), and square-toed shoes to demonstrate their respect for tradition. By the late Ming Dynasty, Futou also gained popularity among women who embraced masculine fashion, such as the renowned scholar Liu Rushi (柳如是), who saw it as a symbol of elegance and intellect.
Korean Adaptation
The Korean version of Futou, influenced by Ming Dynasty styles, was primarily worn by children and students, while adult scholars preferred the Chengzijin (程子巾). Interestingly, the 1,000-won banknote features Toegye (退溪), a prominent Korean Confucian scholar, wearing Futou despite his personal dislike for it, as he found it resembled Buddhist headwear. The 5,000-won note depicts Yi Er wearing Chengzijin, a more exaggerated version of the Chinese Dongpojin (东坡巾) and Chengzijin styles.
Despite its rich history, Futou remains underrepresented in Chinese historical dramas, highlighting a gap in the promotion of traditional attire. While Korean media has embraced and popularized it, its Chinese origins often go unnoticed. This oversight calls for greater awareness and appreciation of China’s sartorial heritage.
