We Know K-pop and K-beauty. Now, Let’s Talk Fashion.

“Hallyu” (한류) or in English, the “Korean wave” has been steadily taking over the West for the last decade. If this all sounds new to you, I don’t know where you’ve been because whatever I Google lately, it’s K-everything. Sure, it began with K-pop, but it’s everything from food, beauty, films, dramas…a lot of random YouTube trends like Mukbang, (which then hit a new level with Mukbang ASMR), and other weirdly addictive videos like ‘a Korean housewife’s weekly lunchbox menu.’ So, with all the obsession and fascination surrounding Korean culture, it got me thinking — what about fashion?

To understand where we’re at, let’s cover the brief history of the rise of Korean culture in the West: K-pop arrived and Wonder Girls were the first to enter the Billboard100 chart in 2008 with ‘Nobody,’ followed by Psy’s ‘Gangnam Style,’ and others like 2NE1 and Bigbang have all had their moment, but no group has quite been as sensational as BTS or Blackpink. The introduction of K-pop opened new doors between the East and West, and naturally, the fashion industry caught on. Former artistic director of Diesel and Mugler, and a self-proclaimed K-pop fan, Nicola Formichetti was one of the first, working with G-Dragon from Bigbang as well as Moschino creative director, Jeremy Scott, who collaborated extensively with 2NE1, and particularly, with the group leader CL, who was and still is his muse.

Nowadays, partnerships between luxury houses and K-pop idols are nothing less than common (take note of the Blackpink members alone; Lisa with Celine, Rosé with Saint Laurent, Jennie with Chanel and Jisoo with Dior.) After all, the K-pop industry is one of the most economically profitable generating billions in annual revenue, and the ‘idols,’ with their Midas touch, leave a trail of gold for those associated with their name. Then, recent titles like Parasite (2019), Minari (2020), and Squid Game (2020) propelled the popularity of Korean culture even further, not to mention the cult status of K-beauty. The Korean wave is starting to feel more like a tsunami.

Of course, we know that Korean brands and designers do exist, and yes, articles like the ‘Hottest Korean brands right now’ spotlight some of the emerging talents, but with so much attention on pop culture that intersect with fashion, it’s no wonder the Korean brands and designers are overlooked. In the end, no one’s really to blame, because what even is ‘Korean fashion’ anyway? Grouping the designers and brands under one singular identity of ‘Korean fashion’ would be limiting — but, in seeing how much the Korean identity has developed in the last decade, and ultimately, its creatives, it’s one worth talking about and moreover, from the designers’ own perspective.

What’s unique about the history of fashion in Korea is that Western clothing was only introduced around a century ago. As Madame Woo, the founding designer of Paris-based label WOOYOUNGMI and Solid Homme explains, “while the West has constantly worn and evolved Western fashion throughout history and through the Industrial Revolution, Koreans have made [changes] in just 100 years.”

Madame Woo, who first started her contemporary menswear brand, Solid Homme in Seoul in 1988 is a pioneer in menswear fashion, and one of the first fashion houses in Korea that have seen international success. She later relocated to Paris, where she started her namesake label, WOOYOUNGMI, presenting her collections at Paris fashion week since. Reflecting on her early days, she says, “when I first debuted in Paris in 2002, there was no image or perception at all about Korean fashion” and now with the global spread of Korean culture, it’s been seen with more curiosity. “Korean fashion [today] is like a melting pot. Its tremendous diversity makes it impossible to define it as a single identity.”

Jay Song, designer and son of one of “Korean fashion’s ‘first generation'” labels Songzio says, “personally, I feel like Korean fashion is [always] evolving. We are a very future-focused country, and so is our fashion. However, Koreans do have a very strong attachment to our national identity and history, so it is something Korean designers tend to express in their own forward-thinking way.”

As Madame Woo and Jay Song pointed out, it’s not something that can be easily pinned down. “It’s hard to define. For everyone else outside of Korea, it might be easier to ‘define,’ because you see things from afar and can identify a movement. But, I’m just one designer,” says Antwerp-trained designer Hyein Seo, who debuted her collection at VFiles Made Fashion show during New York Fashion Week back in 2014 while still in her graduate programme, and was awarded Best Designer at the British Fashion Council’s International Fashion Showcase for Emerging Talent. “I also don’t like to define it by nationality like, ‘Antwerp scene’ or ‘Japanese fashion’ because smaller designers won’t be noticed and for a designer, these groups are constricting.”

Seo, who has based her studio in Seoul after her initial success in Europe has also been impressed by the artists and talents in Seoul. “In the beginning, I didn’t know who would wear Hyein Seo, I just wanted to make it and see who it would reach. Now I see artists around my city are wearing my clothes, so now I’ve started designing with these people in mind.” On the rise of Korean culture in the West, she notes that what makes this period more interesting is the experimentations that are emerging as a result of the interest. “K-pop and underground artists are now collaborating together to further define and evolve in the identity of Korean culture.”

Speaking to the different generations of designers with varying stories of their own, one commonality does stand out — the duality of cultures Koreans possess. As a country that has admired Western culture and was influenced greatly by it throughout history, many designers have adapted the aesthetics and ideas of both the East and West. For Song, he recalls growing up between France and Korea and the two cultures that are rooted in his brand identity, “I used to try to find a singular design and a singular style, but this inherent dual culture of mine naturally leads me to explore dualities in aesthetics and ideas.”

Similarly, the ability to represent both cultures is what makes WOOYOUNGMI and Solid Homme unique. “Origin doesn’t matter,” says Madame Woo. “Journalists in Paris tell me, ‘Woo Young Mi is more Western than any other designer from Asia and more oriental than any other Western designer.’ The feel and atmosphere of my designs are on the border between the East and the West. We are living in a borderless and genderless era.”

Seo agrees that her studies in Europe have had an influence but fundamentally, what makes the DNA of Hyein Seo is attitude; what you select to be a reflection of you. “I reflect on the current situation of my environment. Attitude is what makes Hyein Seo.” Then there is also the internet, which has been credited for reshaping the minds of Korean creatives, “before we were heavily influenced by the West but now in the internet era, designers are understanding more that they can look for talents, models, artists, within their own networks and communities.”

JICHOI, who is part of the new wave of Korean designers says, “JICHOI is one of the means of expressing myself as clothes. Clothes that tell a very personal story. Rather than getting influenced from outside, I tend to focus on what I need and want to wear.” She continues, “I prefer practicality and [clothes that] can be worn by anyone.” Assessing the cross-cultural influences, the designers collectively agree that the heart of their designs is the spirit, rather than glamour.

So, what’s next for Korean fashion and its designers? Song says, “we are just getting started.” He refers to the same drive and motivation that has seen the country’s economic growth. “Who knows what will happen, but Koreans never get satisfied and we always try to impress; It is in our national identity and spirit.” However, with its growth, he highlights that the fashion industry hasn’t received as much support as others to cultivate more talent. “But in these evolving times where creativity is [being[ appreciated, [the] nationwide support allowing designers a greater creative freedom would foster newer opportunities.”

Hyein Seo also highlights the need for a change in the educational system, as well as Madame Woo, “There needs to be a more creative environment, innovation in education and more on-the-job experiences. Although the Internet has expanded access to global sales networks, I think basic education needs to be strengthened.” Though, she reminds us of the existing potential of the city, “Seoul is an international city, and Korea has already become an important market for global brands. A brand that survives here can attempt to go global and make a success.” For JICHOI, it’s more straightforward, “remembering our root” she says. “If you want to make authentic clothes, you follow your own ideas.”