Deux Hommes Issue 3 "The Korea Issue"

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The Global Issue

Korea

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The Global Issue

Korea

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The Global Issue

Korea

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deuxhommesmag.com

...is a digital fashion platform that features a curated list of emerging designers in the luxury sportswear, avant-garde and high-end streetwear markets.

Founded by Jared Robin and Carlos Basora, Deux Hommes brings to light designers who are frequently overshadowed by mainstream fashion brands.

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LENA MELCHER in Yao Yu; SOLROMON KIM in PLAC; HEEJEONG PARK in KAAL.E.SUKTAE . . . . . . . .

Covers

OUR MISSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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TABLE OF CONTENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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MASTHEAD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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EDITORS’ LETTERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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KOREA HISTORY & CULTURE by Jennifer Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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. . . . . . . . . . . . . . . .A NEW CULMINATION Editorial.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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RISING STARS: WHO’S ON NEXT by Chinwe Onuoha. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18-19

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SIRIUS ASPIRATIONS, THE-SIRIUS INTERVIEW by Tori Douglas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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FOREPLAY, BOURIE INTERVIEW by Ana Callahan-Roman .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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INTO BLOOM, JI OH INTERVIEW by Suzette Dorrielan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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. . . . . . . . . . . . . . . .STELLAR OPTICS, LUCKY SELECTISM INTERVIEW by Suzette Dorrielan.. . . . . . . . . . . . . . . . . . . . . . . . .

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HOT LIST: PIONEERS by Amy Vosejpka. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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KAALIBRATION, KAAL.E.SUKTAE INTERVIEW by Amy Vosejpka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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GUTS & GLORY, BYUNGMUN SEO INTERVIEW by Malcolm Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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BEYOND THE SHADOWS, MOOHONG INTERVIEW by Ana Callahan-Roman . . . . . . . . . . . . . . . . . . . . . .

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TAILORED DREAMS, MUNSOO KWON INTERVIEW by Malcolm Thomas . . . . . . . . . . . . . . . . . . . . . . . .

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D-GENERATION, D.GNAK INTERVIEW by Jennifer Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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SEXTORIALISM, J KOO INTERVIEW by Ana Callahan-Roman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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MADE: PLAYTIME IS OVER, PLAC INTERVIEW by Chinwe Onuoha. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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ART & MUSIC: FERTILE GROUND by Jennifer Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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THE CORE, DONGDAEMUN DESIGN PLAZA FEATURE by Jennifer Stevens. . . . . . . . . . . . . . . . . . . . . . . .

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ON TEMPO, VIXX INTERVIEW by Jennifer Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Carlos Basora

Jared Robin

Editor in Chief

Creative Director FASHION

Managing Editor Amy Vosejpka Associate Fashion Editor Jennifer Stevens Assistant Editor Chelsea Hood

Contributing Editor Ana Callahan-Roman Fashion Advisor Brent Chua ART

Design Director Socrates Gomez Art Director James Mao MARKETING/PUBLIC RELATIONS

Pubic Relations Director Bari Suzuki Public Relations & Social Media Associate Anna Witt Marketing Associate Kyung Choi TECHNOLOGY

Director of Technology Peter Ligeiro

CONTRIBUTING WRITERS Alexander Cao, Suzette Dorrielan, Tori Douglas, Gabriela Herstik, Anu Kumar, Destiny Ly, Chinwe Onuoha, Antonella Saravia, Malcolm Thomas

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editors’ letter MY STORY WITH KOREA

started as a child where my idea of their culture came from a neighbor in my New Jersey town who went to summer school eight hours a day, was extremely talented in math and science and had a very hardworking and strict Korean father. As somebody that stayed within the “societal norms,” especially within fashion, Korea was literally and figuratively a foreign place to me, and stayed that way through my college years.

Take Carlos’ story. After growing up in the Bronx, where Korean culture was something unknown, he found himself studying design at Parsons The New School surrounded predominantly by Korean classmates, seeing the future unfold before his eyes.

The writing was on the wall for the future of fashion, and he knew it.

As we matured, our tastes evolved as well. Inevitably, we were drawn to Korean fashion as the garments were amongst the edgiest. As we found ourselves fascinated with

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Korean labels, we craved to learn more about this culture that had been mysterious to us for almost our entire lives.

Which brings us to today.

Korea is producing some of the most diverse garments and has seen major brands move major operations, yet still seems relatively under the radar to most of the world.

It is through this issue that

we bring to light not only the amazing talent that is being developed, but also what an overall extraordinary country Korea is; we hope to tell our story of two friends that evolved together with an incredible culture supporting and inspiring us in our growth, and in turn, pay it forward by supporting them as well. For us, the meaning

of Korea is one of growth — of personal growth and of a nation. We hope you’re as captivated by this as we are.

Jared and Carlos DEUX HOMMES

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W he t th er n w e e fr o m e a st i n e l o r A ly g. T ok en s i 1 9 r at an 0 ad t T te co 0s itio he G his rin a un wi n his of b wa g S tr th al c to re o R s p ou ie an lo ry fo ef a th s fo rm or rt (in in thi of K W rei m icu o i cl cre ng fa s r t s ud a hi es gn b sh an in larl ea t s in sin eg ion cu to er cu d 18 y r in g g a ltu ry niz ltu m 94 el pu Ko nu n t in ev r od re w at re K s m t r i ea b o s or er ha an ui in th ion . In n er ee ea ni t t d t o th in a s w st C , u f e fa s w um hi of a s it id as rin the fo sh n e fo h a i s ea as g rm io ell , W r “ se e ke qu n s sa th Ko ) ign up ite o f st a s m e st as ul e r an e cu art o rn w ted pe ean d wo in d e rio D ltu ed e fa R rk l b l us e r y s a d ra to n re s a si rs o l a e ity hio a t m f a c h n . n ss e om th .” im tw Fiv ca in e b m i e fl n ila e t ux ina tio w ho e t of tio n. ith us o s n W W an ym es e d bo y s te te e li rn rn ar ze cl c s o ot lo f he th s ing in

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fa bo shi To ld on — da er sc th y, for ho e Ko ay ol in re s s i t i a a st Ko al ’s br ar an re ex fa oa ted a Eu d n pl sh d m ro it b ) w or io th to or pe e as er n d an m ga a e s an esi be ke au an n wh w d gn for di d A to at en m sp K th er e. an hic e s ce e re -P in d h m ric a op s t ‘n a he e d w a a s ll ith ve n an . M ac ta to ew o r s a ve or ro rte on y th ge ge t t r t e ss d e s e r i o n h at W e c the ne , an h an io al a t e ve lot r t rat d ot us re he (r hin o d ion he re fle in w ef g ev ’ — or r. la ct du c er cu e A tio io st u l re lt lo ar to ltu d w po n ns ry d ur p e se ris re er w shi ar to e. ne wo er p e lli e. , a e c as Th w rk ng F nd o fu l “H e K ide ing an ash Ko nsu m al or as i m im on re ju ea ly e in u” an ag is a’s ing in dg sur i e e in K i e m ng an m s o t a o se ag re d an co to t n a e tr uf he ti b n en ac un ol, w ally eg ds tu try fa o rld ab an et rin ’s shi tin g co on ou , t g. , co mp is W ns e us hi um tit ed iv le Ko pti ene to o re n ss a

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coat & top YAO YU

a new culmination Photography By Hyuna

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Shin

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top & pants YAO YU footwear FEIT

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coat & dress KIMBERLEY JENNESKENS

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dress KIMBERLEY JENNESKENS top LINIE footwear BERENIK

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coat + top + footwear BERENIK pants YAO YU

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top LINIE pants YAO YU footwear FEIT

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creative director CARLOS BASORA assistant stylists KEVIIN KANG + LEO CHANG photography assistant TORY ROY AT CREATIVE SHIN makeup SEONG HEE PARK hair ISAAC DAVIDSON (WILHELMINA) model LENA MELCHER (IMG)

sweater BERENIK skirt KIMBERLEY JENNESKENS

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coat YAO YU top KIMBERLEY JENNESKENS footwear BERENIK

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next b R I S I N G

T A L E N T

who’s on

BEING NOTED AS A rising star in the fashion industry is no small feat, but the four designers that we have featured below have managed to push their way through the crowd to land in between the pages of Deux Hommes for reasons none other than their exceptional talent.

Take Lucky Selectism. Their innovative eyewear designs are for the “working class heroes”, the 9-to-5 go-getters that aren’t interested in

taking the conventional routes that life has to offer.

They are risk takers, just like Carolyn Han and Heewon Kim, the creators of the brand, who opted to challenge themselves by using creative techniques to develop their resin frames.

Next in line is The-Sirius, whose designer Younchan Chung aims to redefine basic menswear by integrating opulent but muted details, such as leather piping, grommets and geometrical shapes to him collections,

thereby creating a 3D effect, which has managed to stand out more than the brightest star on Earth.

Taking a subtler route is Ji Oh, whose minimalistic aesthetic has never failed to integrate romanticism and erotic sensibilities as she captures the essence of feminism with a quiet but definitive spirit. Bourie, on the other hand, focuses on contradictory elements, which Jo EunHye has disseminated seamlessly thanks to her love of radicalism

and music. Her emphasis on creating identities and characters are evident not only through the bold embellishments seen in her collections, but also through the people who wear her clothes.

It is these designers that have shown monumental promise through their vivid concepts to the way they’ve executed their designs season after season.

Now, this is your opportunity to see their greatness for yourself. —CHINWE ONUOHA

SIRIUS ASPIRATIONS, THE-SIRIUS By Younchan Chung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

FOREPLAY, BOURIE By Jo EunHye. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

INTO BLOOM, JI OH By Ji Oh. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

STELLAR OPTICS, LUCKY SELECTISM By Carolyn Han and Heewon Kim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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SIRIUS ASPIRATIONS

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FOREPLAY

INTO BLOOM

STELLAR OPTICS

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sirius aspirations R I S I N G

T A L E N T

w

Interview By Tori

Douglas Photography By Brent Chua

DESIGNER NAME: Younchan Chung LABEL: The-Sirius ESTABLISHED: 2015 BRAND PHILOSOPHY: To create a high-end

contemporary brand with elegant and luxurious clothing

Why did you create your own label?

The-Sirius is a brand I originally created for a project in my second year at SADI (Samsung Art and Design Institute). This project was first started under the assumption of launching a brand. Back then, I earnestly engaged myself in the project, which continued through graduation and up to now.

For two years, it has been constantly worked on and developed into its complete form and current state.

I had wished to create a brand for people who love an elegant and social lifestyle as well as for those who have a passion for art and fashion. My biggest aim was to deliver luxurious,

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refined clothing — and culture — for contemporary men and women and to demonstrate the dignity and lifestyle of their message. In addition, my intentions were to show people how to complete their own style and appearance as well as how attractive it is to dress in this contemporary, elegant style with a heighten sensibility.

What does “The-Sirius” mean, and why did you name your label this?

I have always been highly interested in stars and the Universe. The night stars used to be my source of selfconfidence, energy, boldness and determination. So, I decided to choose a brand

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THE-SIRIUS FALL/WINTER 2015 deuxhommesmag.com + ARTICLE NUMBER FOOTWEAR (THROUGHOUT)

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name related to stars.

The meaning and notation of The-Sirius comes from the constellation, Sirius, which is the brightest star in the sky. Furthermore, the key value of the brand is to “be serious” which has a similar pronunciation and notation as the star. It is for this reason that the final decision was made to name

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the brand ‘The-Sirius.’

Throughout your inaugural collection, you put an emphasis on movement and innovation. How did that idea remain present in your design aesthetics?

Through the works shown in the first collection, titled ‘Movement Timeless’, I

intended to show not only elegance and luxury, but also the undeniable trace of novelty. With the title, I wanted to emphasize the directionality of the collection, and I believe it shows my intention well.

“Movement” was derived from watch movement, which was used to highlight the concept of the collection.

“Timeless” was chosen for its representation of a never changing value beyond time.

Through this corresponding significance of excellent material and earnestness of craftsmanship, it accentuates the future and innovative sense of the collection against remaining in the present.

I wanted to complete the clothes in a structural and

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architectural way, based on leather and metallic objects used for watches. Inspired by the architectural lines seen from the movement, stability and details from the exact and elaborate structure found in the tiny components of a watch, I finished the graphical form of the clothes with a calculative and architectural touch. Through a modern

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combination of different colors, I created a refined and elegant atmosphere.

In addition, I wanted to show a collection that could symbolize fashion pursuing exquisite lines and using high-end materials and perfect artistic values.

What message do you want to resonate in your

collections? How do you want your designs to speak to your audience?

My idea was to deliver joy by creating a new form of dressing through elegant and luxurious fashion. The clothes have been designed based on the beauty from the linear and calculative forms seen in watches or watch components from their architecture and

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structure. I have changed the daily clothes, such as the suit, sweatshirt, sweatpants and t-shirt — the sporty and comfortable basic items — by using high quality materials to create a collection of luxurious sportswear in a new way and by a new concept.

Furthermore, I want to redefine the future of fashion through new types of highquality materials that have exceptional craftsmanship.

Over the past couple of years, many Korean designers have decided to dip into the Western markets. Why did you feel it was important to move into the American fashion industry?

Currently, Seoul is a trendy city with worldwide attention.

In order not to lose the opportunity and value of this kind of attention, the road into the overseas market is the main task of the Korean fashion industry. It is important to display original

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and refined designs that match trends. I estimate that Korea can be easily acknowledged in the international market once diversity is recognized and support and collaboration are made among people of diverse fields, beyond the fashion industry.

You were one of H&M’s top 24 designers. How did that influence your career?

The experiences I had through the H&M Design Awards competition completely changed my attitude and future plans. After having

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been selected among the 24 candidates, I acquired more self-confidence, and it has served as a driving force to quickly prepare the official brand launch at the same time as my graduation. This award ceremony introduced me to many different media outlets and has brought good synergetic effects, and I am really delighted to have been a part of this.

This experience has also led me to have a diverse network, including the 23 additional designers I was in contact with. The stimulation I gained from them through the

conversation and competition has formed as a driving force for self-development and a more passionate life up to now. Instead of suffering from frustration by not having won the competition, I regard it as meaningful to have been selected as one of the candidates. This experience contributed to setting higher goals. For this reason, I am always deeply grateful that I had this experience.

Why was SADI such a good school to study fashion?

Korea still lacks specialized

fashion schools that can provide a high quality education. In the current situation, schools are not prepared enough to offer education based on practical working levels of the business world and, even worse, is deficient in fostering creative designers. I can say with conviction that SADI does not fall behind in comparison with other worldwide design schools, thanks to the support of Samsung and the differentiated curriculum and teaching system. The thorough curriculum and different types of assignments

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are incomparable with other schools. This gives students willpower and motivation, in addition to the minority competition system, which motivates students to seek higher goals and demands students to achieve constant development.

How do you hope to impact the fashion industry?

Through The-Sirius, I want to deliver more mature fashion to the industry in terms of vision and expression. What I want to create are clothes as an object of admiration and longing by captivating youngsters’ hearts and showing them a new type of luxury that can be embraced not only as clothing, but also as nostalgia, art and joy as a whole.

What are your plans for the future?

For me, life refers to efforts and study. My experiences make me complete and give me knowledge. Since my days of preparation at SADI, my expectation of future development with The-Sirius is much bigger than its concerns. Based on my growth and wisdom from my experiences with many different people, The-Sirius, as a new perspective brand, will surely put forth a lot of effort toward improvement and will contribute to creating unique styles and gain the attention of the global fashion market.

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creative director CARLOS BASORA assistant stylist LEO CHANG photographer assistant DMITRY BRYLEV grooming MATTHEW TUOZZOLI USING ORIBE HAIR CARE model KEISUKE ASANO (RE:QUEST)

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R I S I N G

T A L E N T

foreplay Interview By Ana

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Callahan-Roman Photography By Jun Shim

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DESIGNER NAME: Jo EunHye BRAND: BOURIE ESTABLISHED: 2014 BRAND PHILOSOPHY:

y

Maintaining conceptualism FAVORITE FABRICS/MATERIALS:

Rigid fabric and wood

Your silhouettes range from the asymmetrical hyper-feminine to loose, boyish tailoring. How do you want women to feel when wearing your clothes?

I believe that people’s identities consist of diverse characters. I want people who wear BOURIE’s clothing to pull off one of them and enjoy it freely as their chosen mood.

Your use of quilting, frills, mohair and piping gives the pieces a fun-loving and playful quality. Why do you think your clothes stand out more than others with the same embellishments?

I think it is because of the work in concealing excessive details beneath the silhouette so that it looks like it is calm and moderate. The embellishment is not just one of the details but a structure consisting of the silhouette. Every detail has its own reason to be used.

What are your greatest weaknesses and strengths when you are designing a new collection?

One of the weaknesses I have in making the next collection (Spring/Summer 2016) is that I do not wear sleeveless or even short sleeves in summer.

One of my strengths is that I can provide the BOURIE ladies some happiness when wearing my garments.

Are there any personal experiences, artists or environmental aspects that shape the nature of your work?

Since I was five-years-old, I have lived with classical music instruments—piano, flute, Daeguem (Korean traditional instrument) and Samulnori (Korean traditional percussion quartet).

I also majored in Classical Music Composition. This formless art has affected me by allowing me to picture invisible things and concepts.

The “Taoism” spoken

BOURIE FALL/WINTER 2015 (THROUGHOUT)

by Zhuangzi, a Chinese philosopher, gives me the criteria of designing.

Cream, black and hues of orange make an appearance in the BOURIE collections.

Why do you like these colors?

“When she was addicted to darkness, suddenly she found it was a light.” This is the conceptual phrase of the Fall/ Winter 2015 collection. It is more of a contradictory metaphor of eroticism and

taboo. The colors of cream, black and red-orange illustrate pureness, absoluteness and something represented as taboo.

What or whom keeps you motivated?

Being able to capture an unconscious moment keeps me motivated.

Where do you hope your label will take you?

I hope BOURIE can take me to a world of absolute good.

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eyewear KUBORAUM

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When she was

addicted to darkness,

suddenly she found

it was a light.

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hair + makeup KANGHO THE RED CARPET SALON models SHIR LEY (SHS) + JI WON BAEK (ESTEEM) deuxhommesmag.com

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R I S I N G

T A L E N T

into bloom

c

Interview By Suzette

Dorrielan Photography By Hyuna Shin

DESIGNER NAME: Ji Oh LABEL: Ji Oh ESTABLISHED: 2014 BRAND PHILOSOPHY: To

produce collections for women who need not be defined by their clothes, but instead, having the clothes help to amplify their true characters that become the center stage REGRET: I don’t regret anything

Can you tell about your background and growing up in South Korea?

I was born and raised in South Korea until I was 19 [years old]. It was great, and what I learned from my parents is something I can never learn from anywhere else. It made me who I am.

Is there anything about your childhood that influences you today?

Growing up, I played with my dad’s clothes a lot. His closet had so many minimal things and it really interested me.

I still go through his closet when I visit them and bring a few pieces back to New York with me.

You cite your parents as two of your biggest

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fashion influences.

How so?

I love their style. My dad dresses very clean and keeps it simple while my mom is very humble — she would rather underdress than overdo it.

They give me the best advice and support me a lot.

What made you decide to go to London to study fashion?

[Central] St. Martins is really well known for its creativity, and London has a strong cultural character. I thought it could teach me a lot of things that I wasn’t exposed to.

Was going to school in London a formative experience for you?

My training in London focused on the creative

process, staying true to myself and recognizing my purpose as a designer.

Why did you come to New York instead of staying in London?

After studying in London, I was curious about New York and the curriculum at Parsons [School of Design]. Parsons had already accepted me when I decided to go to London. It was an experience I decided to miss but was still very curious about it. Somehow, I thought New York and I would match really well.

How does the fashion market in Asia compare to the fashion market in New York?

It’s very fast with mass market trends changing very quickly.

New York is more about identity, while in Korea, everyone’s style moves almost at the same pace depending on what is popular.

Tell us about your design aesthetic.

It is clean and androgynous.

Androgyny is something I’ve been drawn to since I was little. It has a vague line of gender, and I find it really sexy.

You put a lot of stock into “quiet beauty”.

Can you explain that philosophy?

Clothes should not only show who you are but also compliment [your body] too. For that reason, I don’t like overdoing things, so I keep it minimal. It requires

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confidence without over compensating. Clothes don’t need to be overdone to make a statement. The stronger things are usually more understated.

You’re not a big fan of high heels and even design your clothes specifically to be worn with flats. Do you think comfort is the sexiest accessory a woman can wear?

Comfort is important, but that’s not why I choose flats. If something looks great in flats, it’s going to be okay with heels, too.

I would like to give a choice to women rather than focus on feminine glamour.

Comfort is feeling confident, and that is the sexiest.

What did you want to say with your Autumn/ Winter 2015 [AW15] collection?

My inspiration for the [AW15] collection stemmed from how the transcendence of shifting attitudes in the perception of self also effects changes at home, in business and in life.

The collection is tied together by a lounging easiness to everyday dressing with humor and a nod to traditional office attire. I feel that home is a place of comfort, a space for business, a social gathering venue and a place to dream.

When you’re designing, what gets you excited or

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inspired?

People on the street and images I’ve seen; how women are evolving their own styles on their own terms. Different personal approaches excite me.

You made your fashion

week debut in February.

Describe your emotions going through it.

I’m very grateful for the team who made it happen and am glad to see people understand my concept and like it.

What is the next step for Ji Oh? I have a thousand goals to achieve! I’m still learning how to communicate with my customers through my collections and am striving to be better at that.

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ON VITA dress + jacket BEHNO footwear TRIPTYCH

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ON ASH top & Skirt ELEEN HALVORSEN footwear DANIEL MICHETTI

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ON ASH top COLINA ESTRADA pants BEHNO

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ON ASH sweater CHARLES YOUSSEF pants JI OH

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ON ASH top + coat COLLINA STRADA pants BEHNO footwear DANIELE MICHETTI

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ON VITA top JI OH shorts + jacket BEHNO footwear DANIELE MICHETTI

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ON VITA sweater BEHNO coat JI OH footwear TRIPTYCH

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ON ASH sweater + pants + coat JI OH footwear DANIELE MICHETTI

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creative director CARLOS BASORA set designer + assistant stylist KEVIIN KANG photography assistant TORI ROY (CREATIVE SHIN STUDIO) makeup WEE JAE JOUNG hair MATTHEW TUOZZOLI USING ORIBE HAIR CARE models VITA AND ASH (NEW YORK MODELS)

ON ASH coat JI OH top BEHNO ON VITA dress + coat + fur stole BEHNO

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stellaroptics R I S I N G

T A L E N T

Interview By Suzette Dorrielan Photography By Sung Sohn +

t

Unknown

DESIGNER NAME: Heewon Kim & Carolyn Han LABEL: Lucky Selectism ESTABLISHED: 2014 BRAND PHILOSOPHY: We aim to provide the world

the ability to find the key to one’s individuality through our innovative studies and development of various eyewear designs Tell me how you started. What came first: love or sunglasses?

(Everyone laughs) Carolyn: Love, first! (Laughs) Heewon: Well, we’re both from South Korea. I came to Chicago in 1996, and then to New York in 2003. I started as a Communication Arts major at New York Institute of Technology (NYIT). During this time, I actually worked at MTV as a part-time intern.

MTV, really? That is interesting!

H: At the time, I really wanted to be a producer. But, my dream totally changed after I got married.

How did you two meet?

C: We used to be good friends during our student years. I was studying and working here, but I went back to Korea for a couple of years. And, during a vacation,

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I came to New York and met him again at like a friends’ reunion. We just clicked.

So, you came from Korea to the States?

C: Yeah, I was living in the States for a while. After I graduated from the Fashion Institute of Technology [FIT], I was a womenswear designer in New York and Korea for a long time. When I got married, I changed my focus to eyewear. So, both our focuses were different.

What made you decide to go into accessories?

C: Even though I was doing Ready-to-Wear, I was also designing accessories. So, I did clothing and accessories together.

H: My family is one of the manufacturers doing production in Korea and has been for the last 18 years.

We are working with Ray-Ban

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and Lanvin. My family is in Korea and China, so they have two places for production. I was in New York, and I went to China and Korea for a trip.

I saw the factories there, and I saw them producing. When I saw the production, it made me so happy. I thought, ‘I can make my own brand.’

C: He was collector of eyewear. So, he used to love sunglasses!

H: Yeah, I love like vintage stuff. So, I was thinking maybe I can use this factory to make something different because I wanted to be a contemporary designer. I love Ray-Ban. I love Tom Ford. I respect them, but it’s not for me. So, I told my parents that I wanted to make my own brand. In the beginning, they were like, “Why?” (Laughs) Five years ago, I went to Asia — Japan, China, all over the place — to see the manufacturing and production. I feel like there’s a lot of fake production, meaning they got the material from China and assemble it in Italy and say, “Made in Italy.” I respect that too, but why does it have to be made in Italy? I’m from Korea.

I’m Asian. I like to do my own thing. I love Italian production — it’s very high quality production. But, we could do Asian production with design in New York.

Because, I love designing in New York.

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And you were on board, Carolyn?

C: Yeah, we were working together. And, we were both the designers in the beginning.

H: When we started our brand, we were fighting each other.

C: Our character and personalities are totally opposite. He’s more conservative, and I’m more free. When we are working together, everything is opposite. But now, we’ve gotten to know each other, so it’s getting better and better.

Tell us how you come up with the name “Lucky Selectism”?

H: I like to select. I like to collect things.

C: And also, we are not only doing eyewear. Every season we do additional items. For example, in the beginning, we did bowties paired with eyewear, matching together.

And, the second one was hats and eyewear. And, for our third one, we will be doing scarves and eyewear.

So, it’s like giving the people selections to coordinate together. This is why we use ‘Selectism’ as the name. And, ‘Lucky’ is because we like all the lucky charms like seven, clovers or a key. So, we put it together and it became Lucky Selectism.

Can you explain your tagline “to find the lucky key to one’s individuality”?

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C: We are giving you a key to open your individual look and select your fashion. When we were making our meaning of the symbol and the meaning of the brand that was kind of our philosophy.

Like the key is in your hands to be who you want to be?

C: Exactly.

Your label has a really industrial vibe. Are you naturally more inclined to the rustic, rougher type of aesthetic?

C: Our concept started from industry vintages. We get inspired from industrial vintages, but we use very modern materials. All the finishes are kind of matter finishes. So, it’s kind of intertwined: the industrial vintages and modern ways.

What materials do you use for your frames?

C: They are actually shiny acetate, like in other glasses.

But, we developed this new texture. And it’s all handcrafted. We’re scratching the surface of the acetate, so it’s starts off shiny. And we make it matte. People think it’s wood or horn, but we tried using those materials and they would break. For acetate, if I give it heat, it’s easy to bend and fix.

Do you think it’s your craftsmanship that makes you stand out?

C: Yes, because in all of our collections we only use this technique, so that’s one our identifying features. People see this texture, they know that’s us. There’s a similar material done by machine.

But the machine made and handcrafted looks different.

Can you tell us a little about the Working Class Hero concept?

H: We started in Williamsburg [Brooklyn], and I saw a lot of professional workers. I went into their shops — had coffee with them. This is what I want to have as our brand model.

Representing the working class people?

H: Oh, yes. I’m from a different country, so when I saw them at work it kind of felt like home.

Is that because you come a working class family?

H: Yes. I don’t want to make a massive brand. I want it to be more natural.

C: When we started to make our catalog we captured the real barber, etc. We interview them and put their quotes.

So we wanted to show all the different jobs, the different people who work very hard.

Each of them is wearing our frames. And they really like the eyewear. We were capturing their work.

These are the people you envision wearing

your sunglasses: the working class hero and fashion forward.

H: Yes, for example, the fashionista can be a working class hero too. Wall Street people can be working class hero too.

C: This is one of the purposes, to show that all different people can wear Lucky Selectism.

Are there any brands you look up to?

C: His role model is Oliver Goldsmith in Great Britain.

For me, it changes a lot. I used to love feminine brands like Chanel and Valentino, but I’ve changed. Before, I was very feminine. We go to a lot of menswear tradeshows [where I see] more unisex, menswear styles. So, now, I like more avant-garde like Comme des Garçons.

H: This is why we were fighting in the beginning. But, it’s good; it’s getting better.

You mentioned that you also make a seasonal collection of a particular accessory each year. Can you talk about that a little more?

H: So, we didn’t want to do optical designing - too serious.

We wanted to do more unique frames. We also wanted to do something you could coordinate with the eyeglasses.

And bowtie just popped up.

So, we added some unusual fashion bowties. And I was putting a lot of beading

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items like hats and bowties.

All handmade.

So, you see the brand expanding more through the creation of a concept store than putting in other dealers or even putting it online?

H: Yeah. That’s why we want to put a store in New Jersey at Garden State Plaza mall. It’s coming. I talked to Westfield Group. They have 200 shopping centers in the U.S. It takes time, but in three years we can have 10 or 15 stores.

and paint. Some unique style, not for normal people.

Remember PSY? He was wearing one of our bowties at the Met Gala.

You went to school together, right?

C: Yeah, we did. His stylist was looking for an unusual bowtie. At the time, this was very hot.

Did that give Lucky Selectism any press?

C: We didn’t even know he was wearing it. We found out from the picture. I was looking at it and said, “Oh, there goes PSY,” and that’s when I saw he was wearing it.

Collaborations are huge.

Any in the works?

C: Last season, we worked

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with menswear label Control Sector, providing them our sunglasses for their runway show. For the debut New York Fashion Week: Men, we worked with brand Matiere on their presentation featuring our sunglasses along side our summer beanie straw hats.

Can you tell us what you’re going to be doing next?

H: I’d like to develop our own store—kind of like Opening Ceremony where we can feature different brands from different countries. I want people to see different design that’s one of a kind.

C: A select shop for eyewear only.

H: Mixed in with the fashion

New York is a global market, but maybe it’s not representative of the U.S. market. For three years, I looked at local areas like the shopping centers, and they have all the same brands.

People are tired of those brands. There’s an H&M, there’s another H&M. So, I talked to the Senior Director at Westfield. They told me they’re bringing in a new concept.

C: We want to try it, and if we like it, we’ll stick to it.

H: And in shopping centers, there are very few eyewear companies. Still, we have a lot to learn. My dream is to make a factory here in New York. I want to bring my factory from Asia here. Like IKEA. It’s very possible.

When you look at New York, there are a lot of jewelry designers, fashion designers.

Where are the eyewear designers? Maybe there is an industry designer. But, I don’t see any eyewear designers with a good name. That’s why I talked to FIT and Parsons to do a scholarship, and bring some eyewear designers to New York. Which means we need the machines to make the samples. 15 years ago in Brooklyn there were factories, but they’re gone now.

What has been your favorite part about starting Lucky Selectism?

C: I think eyewear could be a good accessory to people’s faces. He [Heewon] always thinks it’s like make-up for each person. So, we can create the color, the shape and the different materials as a fashion item for the customer.

So when they like it, I’m so happy about that. When I get good feedback from the customer, that’s the happiest part of doing the business.

It’s always good when people like my designs.

H: I want to be maybe the second, third or fourth person in New York to create an eyewear brand. Maybe I can be the only Asian guy. In New York, there is not an Asian eyewear brand. I want to share our designs with the people. I want people to understand our brand. For me, I’m not good at speaking English, but the emotion-to-emotion, if I touch them in the heart, is perfect communication.

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I feel like there’s a lot of fake production, meaning they got the material from China and assemble it in Italy and say, “Made in Italy.” I respect that too, but why does it have to be made in Italy?

I’m from Korea. I’m Asian.

I like to do my own thing.

—HEEWON KIM

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o T H E

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L I S T

pioneers OVER THE LAST FEW YEARS, many fashion journalists and insiders have decidedly labeled Korea as ‘the next big thing,’ ‘trending’ and the extremely hackneyed ‘future of fashion.’ These are labels that are easily persuasive, but one that breeds an incorrectness that not only omits the country’s rich history from conversation, but also severely questions its mere existence. Yes, Korea may not have spawned a fashion revolution by inventing a concept like Christian Dior’s 1947 “New Look” that had the world up in arms, nor were they the first to debut the oh-so controversial little two-piece thing called ‘the bikini’ that forever altered women’s sexuality. Rather, Korea quietly solidified their independence by meticulously building their Navy Seal of fashion elite while abetting in the progression the fashion industry is so desperately thirsty for. It is about time we set the record straight.—AMY VOSEJPKA

KAALIBRATION

TAILORED DREAMS

66-69 GUTS + GLORY, BYUNGMUN Seo By Byungmun Seo.................... 70-71 BEYOND THE SHADOWS, MOOHONG By Moohong Kim........... 72-77 TAILORED DREAMS, MUNSOO KWON By Munsoo Kwon.......... 78-81 D-GENERATION, D.GNAK By Kang Dong Jun................................ 82-85 SEXTORIALISM, J KOO By Yeon Joo Koo And Jin Woo Choi........ 86-87

KAALIBRATION, KAAL E SUKTAE By Lee Suk Tae.......................

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GUTS + GLORY

D-GENERATION

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BEYOND THE SHADOWS

SEXTORIALISM

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T H E

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v

kaalibration

VAGUE AND MYSTERIOUS with an earnest demeanor may be Lee Suk Tae’s M.O., however his commanding and sensually feminine collection of women’s wear for label KAAL.E.SUKTAE. oozes a notion nothing short of progressive. Regarded as one of Korea’s preeminent designers, Tae was educated by fashion’s elite before carving out a niche all his own during a time when K-Fashion was still as unknown a term as “Facebook”. It is through this exclusive interview that we get a look inside his cerebral mind and the sanctified visions he not only built his label from but also exorbitantly lives his life by.

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Interview By Amy

To begin, share your background and what it was like to grow up in South Korea.

I was raised in an average family, and I really hoped to work in the fashion industry.

I majored in fashion design with the desire to become a designer.

How did you know you wanted to become a designer?

When I was a senior in high school, I decided to become a fashion designer after finding out about Jean Paul Gaultier and Thierry Mugler.

You studied at the Chambre de Syndicale in Paris. How did the

Vosejpka Photography By Kyungil Park

Parisian — withal French — culture influence your design aesthetic?

Chambre de Syndicale in Paris is an outstanding ecole.

I learned a strict tailoring technique and French artisan spirit. Furthermore, I felt the Parisian sensitivity.

After completing university, you had the pleasure of working at Christian Dior. Do you think your time there contributes to your “experimental couture” designs?

In Christian Dior’s headquarters, there is the special room where Monsieur Dior designed. I was inspired from that room.

You launched KAAL.E.SUKTAE in 1997. Why was it important to have your headquarters in Korea?

Korea is my country where I was born and raised.

That’s the reason why I launched KAAL.E.SUKTAE in Korea.

What is the meaning behind the labels’ s name, “KAAL.E.SUKTAE”?

I want to stimulate one’s curiosity. ‘KAAL’ is just the combination of my favorite letters and ‘SUKTAE’ is my name.

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footwear MIAH JANG

stylist MIAH JANG makeup JOY WON hair HYEYOUNG LEE model HEEJEONG PARK (CHOII ENT.)

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“I always interpret the world structurally... For me, it is not only about combining and disassembling, but also mixing and matching—that is the most important thing.”

For your Autumn/ Winter 2015 collection, your inspiration was very sartorial in the form of Korean cartoon characters, such as Dooley and Heedong.

Why is it important to keep a youthful vibe and street culture presence?

I think the most important thing for fashion is to challenge new things.

that are genuinely wearable. Why are these characteristics so vital to KAAL.E.SUKTAE, and how do you bring them all together?

I always interpret the world structurally. Also, I want to express my own way and be wearable. For me, it is not only about combining and disassembling, but also mixing and matching—that is the most important thing.

You are redefining modernism with your combination of geometric, sculptural, avant-garde and three-dimensional elements into collections

Much of the western world is naive to Korean fashion. How would you describe it in your own words?

Even though I’m Korean, I want to share the common

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subject that is fashion.

And I hope to design more elaborate, creative and special looks.

Korean emerging designers seem to be single handedly breaking the barriers between Western and Eastern fashion. What is, in your opinion, the one thing Korean fashion is bringing to the industry, and how do you think it will change it?

K-fashion comes to the forefront. I think that it will be the cutting edge of Asian fashion that gets somewhat left behind.

You fill a void that is otherwise missing in fashion. What do you hope to accomplish not only as a designer but also with your label?

I do. But, I want to do a new challenge within the scope of “fashion”, too.

Also, I hope to meet a good business partner in the future.

What is the last thing you think about as you close your eyes and go to bed?

As I close my eyes and go to bed, I think about “the life of virtue.”

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guts +glory T H E

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w

WALK AWAY. PACK YOUR belongings, your life and go.

Some years ago that’s exactly what menswear designer Byungmun Seo did, leaving the comforts of corporate assurance behind for a chance to draw outside the lines.

Fast-forward to 2015; a body of models march down the runway at Milan Fashion Week — an army in black and white. Seo takes a bow for the creation of the sobering garments which bare his name.

Another collection. Another season. Another triumph.

Does your mood affect your design aesthetic?

Yes, it does, especially when I’m in a gloomy mood. I tend to think provocatively when I’m developing design ideas.

How does this dismal feeling help you to design?

I think the process of creation is never easy, and it always gives me a feeling of loneliness— a pressure to create something different, something new. This is not a thing that others can help me with. I have to look from

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Interview By Malcolm

another perspective beyond my general thought process.

This process makes me feel gloomy, but it is not bad. I always enjoy it. If I can’t avoid it, it’s better to enjoy it.

The Byungmun Seo label is about pushing boundaries. When is the last time you pushed boundaries in your own life?

When I decided to quit my job as a menswear designer at a prosperous fashion company. Everybody said I should’ve stayed because they paid well, but I thought working for a company was not suitable for me. So, after a long-time considering it, I quit. Then, I moved to London to get my Masters at the London College of Fashion. I think it gave me another opportunity to change my life and broaden my horizons.

So the risk paid off?

I’m not sure yet. But, I’ll never know what would’ve happened if I did not take that risk. What I can say for now is that I’ve realized

Thomas Photography By Kyungil Park

where I am and where I want to go. Maybe I will never know whether it was the right decision or not. No matter what, I just want to enjoy what I’m doing as long as I continue to love the process.

What was it like going from working in fashion to suddenly being a student? Was it a hard adjustment?

It was a good adjustment for me. I was able to look deeper from an informed perspective to develop my knowledge and skills.

Black, white and gray form the basis of the label’s color palette.

Can you make vibrant colors look just as somber?

I am quite scared of using color. I think I am not really ready to see other colors than black, white or grey.

However, I think there will come a time, perhaps very soon, when I’ll use bright colors in my collection. I will be able to create another look for Byungmun Seo.

You made a video short a few years back to correlate with your collection. As a designer, how was the experience of writing and directing a film opposed to presenting your collection on a runway?

I think film gives you a different perspective than showing on the runway.

There is no limit to convey your ideas. On the runway, there are limits. The process of writing a story and transforming that story into film is very exciting to me. I can create people and places and style everything without limits. It gives me much inspiration.

Speaking of limits, some argue the runway show is obsolete. Do you think fashion films may one day replace the catwalk?

I think fashion film has many benefits that aid its creator.

On one hand, it’s easier to express your point of view, but sometimes people feel more comfortable taking a seat and just viewing a show. It’s about personal preference. Some

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people prefer familiarity. It also really depends on the concept of the show.

Do you plan on making any more films?

I would love to, only if time allows me to do so.

coat BYUNGMUN SEO stylist MIAH JANG makeup JOY WON hair HYEYOUNG LEE model HEEJEONG PARK (CHOII ENT.)

Do you have any ideas brewing on what your next film would be about?

My previous short film was about desire. If I have an opportunity to make a new one, I want to look at the specific aspects of memory. I find it interesting that people always remember only what they want to remember.

Is there a particular film that embodies your brand?

I am not really sure which film it would be. Maybe a combination of Sin City, V for Vendetta, A Clockwork Orange and Gattaca?

If someone were to make a movie of your life, what would you want the audience to take away?

Don’t be afraid of risks and change.

Fill in the blank. I wish I could____________.

Scratch myself in two places at once.

If you were not doing this interview right now, what would you be doing?

E-mailing someone or making plans for next season. I never stop working.

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beyond the shadows

T H E

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Interview By Ana

DYNAMITE DIALECTICS peppered with 21st century diversions towards idealistic, philosophical practices gets Moohong Kim out of bed every morning. On planet Moohong, we can peer into the skies of both artistic and theoretical waveforms that play bold notes in the cocoon silhouettes and draping of fabrics that are keenly fastened to the designers’ signature utility. Launched in 2013 as an inter-subjective experiment, the designer quickly fell into the rabbit whole of visualizing “street-tailoring” combined with sharply precise menswear techniques. Where most could view this bold stride as a design conflict, other visionaries would see it as a keen attempt at an impending challenge. Problem solving techniques are null difficulties in the minds eye of this designer, producing clothes that speak to a global, ideological universe.

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Callahan-Roman Photography By Kyungil Park

Each garment tells it’s own story of structured spirits emboldened on carefree styles.

This makes Moohong’s pledge of allegiance a total rejection of the universal laws of nature that exist in today’s society of political power relations and fashion hierarchies. We’ve all felt the pull of playing it safe and comfortable, but with Moohong’s embedded beginnings in academia, he doesn’t just theorize, he demonstrates how easily, comfortably and with subtle provocation we can revolutionize our own minds to escape mainstream pedestrian worlds.

Your academic background is refreshingly not in fashion but in the social sciences. How has your PhD in Politics been useful in applying your own philosophy when you design a collection?

This invaluable background has been crucial for my design works. MOOHONG is not only a fashion label, but also a global ideological project that communicates fashion, art and social science to construct a particular way of mental framework in both artistic and theoretical ways. Every collection I present can be considered a pathway to this ultimate goal.

The concrete philosophical stance I built from my PhD played an important role in helping me realize my collection and maintaining my initial vision and belief.

The process of writing my thesis was applied in the same way to the preparation of collection. Many people wonder how I moved from academia to fashion which seems very opposite. However, for me, everything stays the same but just the means of expression [is different]. My

own vision is developed through dialectic relation between the practice of social science and fashion.

The ongoing theme and ethos of your brand is “street tailoring.” Can you tell us more about this concept?

As a theme of the brand, I think it should be called “counter-intuitive” creation.

By saying “counter-intuitive” creation, I mean countering our intuitive reaction to a certain object, imagination or phenomenon; denying obvious or ordinary reactions to an object, theme or creation. By basing it on the “counter-intuitive” motto, I always try to think and imagine differently from our everyday mental framework.

This counter-intuitiveness plays a key role in the design works of MOOHONG. The theme of “street” has been indispensible since the

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eyewear LUCKY SELECTISM

MOOHANG FALL/WINTER 2015 + MIAH JANG FOOTWEAR (THROUGHOUT) deuxhommesmag.com

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INTERVIEW

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debut collection. Street is the core scene or playground allowing my designs to be explored. I effortlessly combine and conflict sharply tailored menswear techniques with street aesthetic under the concept of “street ethnic,” attempting to reinterpret the traditional ethnic code with the mixture of street aesthetic.

The collection presented another fashion aesthetic by achieving balance between historical tribe and modern street aesthetics.

The MOOHONG Autumn/Winter 2015 [AW15] could be interpreted as austere, but it is uniquely calm and utilitarian. Did street style factor as an influence in this collection, or was it mostly a love for structuralism and flow?

Street aesthetic is not an endogenous factor in my collection. Rather, it is an exogenous factor existing as structure.

Your shapes are distinctive and your collection features an uncanny use of draping and cocoon silhouettes. What’s the primary purpose and philosophy behind these shapes?

I particularly focus on making unique silhouettes when I design. In my opinion, making unique silhouettes are

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more difficult than details.

Constructing your own shapes and silhouettes are a crucial part of building originality of the brand.

For me, the concept of juxtaposition is very important. I reject the universal laws of nature (that exist in society, political power relations and fashion hierarchy). I always juxtapose mainstream and nonmainstream things — historical structure, governance system, high fashion, etc. — rather than viewing it as vertical relations.

By doing this, I can draw

group. And the mixture of different silhouettes means communication between different classes and periods.

The standout features of your Autumn/Winter 2015 collection are the deconstructed forms, long flowing shapes and oversized sleeves.

Although revolutionary, do you find it a relief that 21st century emerging fashion is moving towards easier, yet innovative shapes and ideas?

The contemporary fashion scene is moving towards

fabrics combined with bold geometry. What kinds of roadblocks have you encountered by communicating this type of innovation?

Fortunately, I have not faced any kind of roadblocks yet. When you are doing something different from the majority, I think it is important to develop your own strong universe that can protect yourself from mainstream interruption.

What is your idea of the most understated freshness and modern beauty?

“ I think it is important to develop your own strong universe that can protect yourself from mainstream interruption.” potential change from mainstream domination. I think this way of thinking is very important in design work. I am not interested in following mainstream fashion trends. Rather than following the mainstream, I am always trying to find the movement that can counter the mainstream to create new trends and add more dynamics to the creative world.

I always time travel when I design. I very much like to juxtapose different time periods or historical structures and compare and contrast. For me, each silhouette represents a certain

wearable, practical and easier design. I see some people question when they see experimental design by saying “is it really wearable?”

For me, this question merely means whether that design has already been done by many people — feeling familiar or not, which means boring for me. I am not very interested in duplicating what has already been out there for a long time.

Most designers believe in the codes of default uniformity season after season. Your collection strays from uniformity by taking risks in draping

For me, the most understated freshness is street youth; the most pure, naïve and straightforward reflection.

What pains you about emerging fashion at this very moment?

There is too much commercialism & functionalism in the way.

If you had the means to transport yourself to any part of the world in the next 60 seconds, where would it be and why?

England. I love the UK. Have too many memories there!

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BORN FROM SILKS AND the finest of cashmeres, Munsoo Kwon has been dubbed one of the most anticipated young designers of Korea. He’s been praised from the highest of echelons — a la Pitti Immagine Uomo — for his satirical and personal take on menswear. Oh, and his resume — Robert Geller, Helmut Lang, Thom Browne and Andrew Buckler — is no laughing matter. In fact, it was the opposite emotion that inspired the launch of his inaugural collection and the subsequent seasons that followed. Like every good tale, Munsoo Kwon’s is one of loneliness, risk, triumphant and a stitch of family pedigree.

Your parents are in the trade. Do you often consult them for advice?

My father is from the first generation of fashion distributors in Korea. He has been in the luxury fashion business for over 30 years. He has a lot of knowledge about the business and he is always

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the best dressed. I got my fashion blood from him. I’ve consulted with him sometimes when I have some problems or when I want to share good news. He advises me often about my collections and my business. I respect him a lot and his achievements, but I want to go my own way. I don’t want to take his business. I want my own business. I am always thankful that I have a great, personal fashion advisor.

Your Fall/Winter 2012 and 2014 collections were very personal.

Is emotion usually a catalyst in your creative process?

I usually get inspiration from daily life, what I’m most interested in at that moment.

FW12 [Fall/Winter 2012] was my debut collection. I wanted to express my emotions regarding my first impressions of New York City, where I was living at the time, pursuing my dreams. There are a lot of people in New York. I was very

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lonely. I wanted to express that feeling of city life.

My FW14 [Fall/Winter 2014] collection was called, “Key of Hope”. I went to Life magazine’s exhibition in Korea and saw a photograph

by W. Eugene Smith called Walk to Paradise Garden.

He shot it when he was recovering from wounds he suffered during World War II. I definitely felt hope from that picture. I think every person should have a key to unlock hope. We all suffer from a variety of hardships in our lives. That was the starting point for the FW14 collection.

What’s the biggest adversity you’ve had to overcome working in the fashion industry?

The domestic commission system is unfavorable to emerging designers. Munsoo Kwon started as a wholesale business by participating in its first Fashion Week in 2012 in New York through A.Y.R Showroom, which was unusual for a Korean

brand. This was based on my academic background and my overseas connections. I believed that the domestic market would open wide if Munsoo Kwon could first be recognized overseas. Overseas sales increased in a year. I also participated in Fall/Winter 2013 Seoul Fashion Week: Generation Next. It was a great opportunity to introduce my designs to a variety of domestic and overseas media. Numerous domestic multi-shops wanted to do business with me. However, I operated on limited funds.

I applied for numerous exhibition projects for the purposes of cost reduction and efficiency. Collaborations with large companies like CJ-O-Shopping, Audi and Shinsegae’s department store Bluefit, ensued.

I’m excited — we both went to the Academy of Art University!

Regarding the graduation fashion show, you said it was the “very

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first fashion show of my life”. Can you talk about your time there?

I loved the curriculum of the school. My major was BFA [Bachelor of Fine Arts] Menswear Design. AAU [Academy of Art University] teaches students to be designers who produce collections. I learned many things there. I was picked for the graduation show, so I could present what I had learned. It was my first collection. I got to show my design philosophy to the public and my family flew over from Korea. It was one of the greatest moments of my life!

Do you have a favorite memory of San Francisco?

The weather was my favorite part.

I liked to go to Haight Ashbury for vintage research and shopping.

You have quite an impressive resume. Did you learn something different from every designer you’ve worked for?

What were the most important lessons?

I did different work for each designer during my internship period. Designers have their own way of working and the office atmosphere is also very different.

However, most of the design offices I worked in had small teams. I was very happy to work closely with them. It was like having another family. I try to treat my [design] crew as well as my ex-bosses have treated me.

time since I’d seen him. He stopped by my first trade show in New York for the FW12 season. After that, he became like an old friend to me every time I visited.

He is still one of my favorite New York designers. I like the mixture of romantic and masculine details in his collections. I am always very proud knowing that I was part of the Robert Geller team. He is a very nice guy, personally. He treated me to a Korean dinner when I finished my internship for him. This time, I treated him to lunch when we met in Paris. We had a great time catching up. I was very happy to hear that he had his third child.

What’s the best thing a peer has ever said about your work?

They said I was a good storyteller. That is what I want. I don’t want to be a conceptual designer. I want to be a designer that people can sympathize with when I explain the themes of my collections.

It seems the K-Pop industry has lovingly embraced you.

I’m grateful that Korean celebrities like my collections. It helps me introduce the collection to new overseas customers.

What’s the mark of a Munsoo Kwon garment?

My customer loves our sweaters.

My long shawl cardigan from the FW14 season was very popular.

What do you say to people who still think menswear is boring?

That kind of thinking is boring. There are a lot of interesting things happening in menswear now.

Speaking of bosses, you recently ran into Robert Geller.

Yes, I saw him in Paris! It had been a long

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A PARSONS SCHOOL OF DESIGN GRADUATE, Korean born designer DonJun Kang launched his label D.GNAK in 2006.

Specializing in tailored men’s clothing, his brand embodies youthful style with the goal of reconstructing aspects of ‘Casual Life’ by drawing on improvised twists to create innovative collections. Unexpected details, achromatic pieces and ultra cool silhouettes are the spirit behind the label.

Experimental, eclectic and breakage are all fascinations that Kang has, and he melts shape with language to create not only new clothing, but a new identity also. Deux Hommes sat down with DonJun Kang to speak about his love affair with fashion and how a little neighborhood called Harlem made him the designer he is today.

How long have you been in fashion?

I started out in 1998, and I was the youngest when I started as a design intern that year. Although I have been

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engaging in fashion for the last 12-13 years, my love affair with it began 30 years ago.

When did you start to have dreams of becoming a fashion designer?

Since childhood, my interest in clothes was different from that of others. Early on, I realized that fashion was one of the only ways that I could express myself to set myself apart from others. I was always looking for something else. I encountered limitations, and clothes were a way of reform.

But even with this, I was not satisfied. So, I decided that I would create the clothes and begin my dream of becoming a fashion designer.

Explain how you chose the name ‘D.GNAK’ for your label. What is the meaning behind it?

My family’s name is Kang, and my name is DongJun. From an early age, my nickname was Kang D. D.GNAK is what I saw when I looked in the mirror. I wanted to create a name that

represented me. I looked at the mirror that reflected me and decided that my label is simply my reflection.

How would you explain D.GNAK’s DNA? D.GNAK’s DNA is like play: you enjoy the garments and play with them, and continue to find amusement.

You find a method in which to express one piece of clothing differently, and you figure out how to wear it different each time. I want to steadily stimulate and never tire the wearer.

How has living in Harlem in the late 90s influenced you as a designer and as a person?

When I first arrived to New York at the end of 1998, I stayed in Harlem. During those two years, Harlem was rotting and at war with crime. It’s true that in those early days I spent more time indoors, but it gave me insight into myself, which I rather enjoyed. My experience in Harlem made me stronger and

provided me the opportunity of a spectrum of sights.

Without that experience as a designer or for myself, I would have had a much more narrow perspective of the world.

You used to present in London, however you have started to show in Milan instead for Fashion Week. Is there a certain reason as to why you chose this path?

My experience in London still remains a memorable one. But, at that time, the sales were not in a position to lead the operation of the brand. Perhaps, I was not completely ready. So, for the competitiveness of the brand and the sales, I moved the market to Italy.

What would you say your strengths are?

I don’t think in terms of my strengths. I just try to find my own strengths. And I try to understand the thoughts and visions of others rather than create my own world.

You work with an

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achromatic color palette. Why is this?

I like black. And, I like white.

The color black contains all colors. The color white can hold all colors. Though they express intense colors separately, I believe these two colors express everything.

Tell us a little bit about the Fall/Winter 2015 [FW15] collection. What was it influenced by?

Were there any choices that you used, such as color, to express something that has symbolic meaning?

Inspiration for the FW15 collection began with the Indian poem Thousand Winds. Empathy is the resolute attitude in which the Indians coped with death. I used the color red especially, the most basic reason being that the Indians visualized red as the symbol of life and light. I thought that this color expressed their philosophy and ideology.

You love to layer. Where did this idea come from?

As mentioned earlier, D.GNAK’s DNA is that of play. Layering is also like that.

One can express a more diverse and colorful appearance with layers, and it’s fun.

What is your favorite part about being a fashion designer?

In addition to meeting a variety of people, the most enjoyable thing about my career, out of

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everything, is that it always keeps me at a fixed age.

For example, in the case of D.GNAK, the target age range is mid-20s to mid-30s, and the diffusion line, DbyD, aims for the 20s. I always try to fit that age, and I enjoy doing so.

Korea at that time. While I was thinking about death, I read a poem, and slowly, I started to relearn about the city that I came to know. This was a brief but significant moment in my daily inspiration.

How did you select the materials you used?

Are there any materials that you find difficult to work with?

If I have a particular preference, they would be wool and cotton fabrics. I tend to like natural fibers. Of course, there are many cases for the use of synthetic fibers, however I personally prefer wool and cotton. They work best to express naturalness and my image. I find women’s fabrics difficult. Although, I’d like not to place boundaries between women and men, I do feel some difficulty with fabrics that are considered feminine. I am trying to overcome this.

Have you ever been stuck for ideas?

I always feel that blockage. But I don’t think too much about it. Being stuck is natural. If I’m blocked, I fold. I don’t try to break the block. And, until I get an idea, I don’t think related thoughts.

Where do you find inspiration?

I tend to find inspiration naturally on a daily basis. I don’t invest or waste time trying to think about it or find it. Sometimes, I am inspired for the upcoming and current seasons simultaneously. I tend to go about my daily life naturally, without stress, as much as possible. For example, in the case of the FW15 collection, there were tragic and difficult days in

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You spend time in New York, Tokyo, London and Seoul for a majority of your life. How do each of these different landscapes impact you?

These respective cities have differing perspectives, which are undeniable. And, because of my time in both, my view became wider. Thanks to the variety of experiences, I am afforded a greater variety of thoughts.

Who in life made a difference to influence you to go into designing?

I am influenced by the periphery of many people.

The people who are the closest to helping me most are the D.GNAK team. The opinions of the team members are indispensable, and acceptance is unconditional. Without this team, we could not continue.

I am always grateful for those around me.

And that difficulty is also the pleasure.

Do you try to keep with the trends or create your own?

I try to do both at the same time. Of course, each is expressed differently. I put my own colors in D.GNAK, and I am trying to place trends in DbyD. I, personally, prefer to have one’s own color. To be in an environment in which we can have both at the same time is fun.

Do you have any role models? Is there a particular person that you would like to see wearing your designs?

My role model is my father.

However, I’d rather not see my father in D.GNAK. Whenever I receive these questions, I say: rather than a special or particular person, my greater aspiration is to find a variety of people wearing my designs — unexpectedly and in unexpected places, people who feel joy wearing D.GNAK.

Do you come up with concepts for designs first, or is it more of an unplanned thing?

I may deliberately try, but the truth is that it doesn’t work like that for me. I like the ideas that enter my mind unplanned. And I find that more fun.

The menswear sector of fashion is expanding rapidly. What would you say has been the most exciting and hardest thing about this?

The men’s market is growing, and that is a very enjoyable and happy event. However, it is still true that most men hesitate to adorn themselves.

On the surface, there seem to be many who enjoy fashion, but the majority of men still are conservative. I await the men who, slowly, more and more, love and express their individuality. There always exists a challenge to do so.

When you are not designing, what are some of your hobbies?

Where do you spend your free time?

Most of my free time is spent with the people around me.

I drink and chat. And now, I tend to enjoy the time that I spend with my family. Because I can’t spend a lot of time with them, this time is so precious.

What do you hope to accomplish in the next ten years?

I want to grow each year.

And ten years later, I want to have grown ten times as much, and show the growth in the appearance of D.GNAK. I want that appearance to be worthy of myself, of my family and of those around me.

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J KOO’S WORLD INJECTS an unhinged, innocent guile into the underbelly extravagance of Korea’s emerging fashion scene.

Growing up glued to the arts, the designer’s mother made sure she took in plenty of handmade influences in the form of ceramics, painting and textiles. Her signature frayed “V” shape notifies the world that this brand is not just a lifestyle commodity, but also a timeless nod to luxury sportswear in the form of jettisoned prints and chromatic colors that shape the designers’ vision of a gender-neutral utopian future.

So effectively has J KOO solved the problem of presenting womenswear and menswear together, that the need to define, justify and pander to those outside her vision are rendered obsolete.

The elements of abstraction, metaphor and contrast create a silhouette that is perfectly aligned with modularity without being too minimal and antiseptic. While comfort is key, J KOO produces

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designs that are far from laidback pieces. It’s within those sneaky pleats, clever prints, loose fabrics and clunky, chunky colors that the ingredients of fiery confidence and edge will ultimately give the wearer a much needed ingredient for daily life: a departure from modern mediocrity.

Tell me about your upbringing, childhood and fashion history.

When did you know you wanted to design?

All of my family does art. My father paints, my mother does all different kinds of arts — painting, fashion and ceramic — and my sister does ceramic art. My mother is kind of the director in my family. I remember when I was fiveyears-old, my mother and I used to go to the textile store, and she would let me select the fabric. That is my first experience in fashion design. I still remember some clothing she made for me.

When I was a child, I did not know I want to be fashion designer. I just liked clothing

a lot. But, one day, it just happened that I was studying fashion design.

Has any of this influenced you as a designer?

Definitely my mother. I grew up watching my mother make patterns and sew.

You’re combined expert knowledge in menswear is what allows you to pursue a rather unconventional method.

Tell us about how these methods have helped you along the way?

When I design clothing, I do not actually try to put menswear knowledge on womenswear. I think it is naturally exposed on the garment because I studied menswear first.

Some designers believe in the power of monochromatic palettes.

Your brand applies a refreshing use of vivid colors and aesthetics.

What motivates your use of color?

I am very interested in other fields of art. And their colors, shapes, textures and structures have an influence on me.

Oversized sweaters with geometric prints drive the Autumn/Winter 2015 collection. Tell me about this concept.

I was reading an arts’ magazine and the curator said ‘If you take the sign away, there is no place’. This sentence inspired me to think about relations in 2 and 3 dimensions.

The “V” prints that appear in most of your collections almost act as a logo for J KOO. What inspired this?

I started to use this in my Spring/Summer 2015 collection. I was looking at tennis wear that has a V shape on the front. And I was making it more obvious by playing around with it on the garments.

Frayed edges, fuzzy diagonals and splatters of texture hint at

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playfulness in most of your collections. Why is the element of play so important to your work?

Contrast, metaphor and abstract are the key elements for my collections.

pants + coat J KOO stylist MIAH JANG makeup JOY WON hair HYEYOUNG LEE model SEBASTIAN SOLKAER (GOOD FRIENDS MODELS)

Is your brand one that is concerned with the future or one that wants to take the best elements from the past and combine them?

We look forward to see and imagine the future, but the past can exist after the future.

All great archives from the past have influences on us.

What kind of man or woman do you imagine in your clothes?

Someone who has pure selfconfidence.

Which is more difficult, designing the womenswear or menswear collection?

It is just a different area of design. There is an invisible circular line, which divides menswear and womenswear.

Menswear is playing inside the circle and womenswear is playing outside of it.

What kinds of creative obstacles do you face with every collection?

Limited time.

How do you conquer them?

Make a possible schedule!

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over play time is Interview By Chinwe Onuoha Photography By Christos

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WHEN PLAC WAS LAUNCHED a mere six years ago, it was strictly a denim brand. But its president envisioned something far greater: global domination. Fast-forward to the present, PLAC has 80 stand alone stores in South Korea, including three stores in China and one that will be opening in NYC in the coming year, with a collection expanded into contemporary and innovative basic wear that fits the lifestyle of their target audience, which also happens to be the company’s key inspiration — today’s youth.

Some people might wonder how PLAC was able to transition from designing handmade denim to creating collections that would lead them to be a highlight at New York Men’s Fashion Week. The magic recipe to PLAC’s success lies within the palms of Jaewon Park, the company’s current Creative Director.

In a dimly lit studio filled with chattering creatives and blaring alternative music, he explains his passion behind PLAC’s most recent collections, who and what inspires him during the designing process and the one thing he must do no matter how busy he is.

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What does PLAC stand for or mean?

PLAC is a kind of, in a placid way, something like a sound validity. We want to make an “outcome trend”, like a wave.

What is the philosophy behind PLAC? We always want to keep the simple, clean routine but inside have the interesting details and nice fabrications and printings.

PLAC began as a denim brand, right?

Yeah, originally. Actually, all the denim we design for PLAC is a new kind of denim fabric.

Is everything, including the denim, manufactured in Korea?

Yeah. All the denim is handmade in Korea, too.

Why did the brand decide to expand?

Our president wanted to make the brand completely wearable and a full collection. So, we started with five stores four years ago in South Korea but, at the moment, we have 80 stores in South Korea and three stores in China, and we will open a store in New York

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very soon.

So, by expanding the brand’s offerings, PLAC could become more of a global brand and not just a denim brand.

Yeah, a global brand. I also wanted to produce some nice coordinates to go with the denim so when our customer visits our store, they do not just have to buy denim stuff.

PLAC is based on youth culture. How do you keep up with the trends since they are always changing?

There are lots of things we can do to inspire the young generation feeling. Depends on what the youth concept is. I am always trying to find some cool and inspirational things. Sometimes, I can be inspired by prominent artwork. But, when the young people see our collection, they get a young feeling.

How do you know what the youth is going is going to like?

Because I’m always doing research, and I teach a class in a university, so I am able to interact and communicate with them.

It’s very helpful catching the trends and what they are thinking at the moment.

create some of those kinds of positive productions for the young people.

Would you consider the brand to be androgynous?

Yeah. We do have a women’s collection in South Korea, but some of garments we make are unisex, so lots of girls are wearing our [men’s] brand, too.

What is the biggest difference between the two collections?

I think the color palette is quite different. We used almost like a khaki color for the last season and, then for this season, we tried to make it a lighter neutral color. Lots of stuff was made with light greys or whites.

Tell me about your inspiration for the Autumn/Winter 2015 [AW15] collection as well as the Spring/ Summer 2016 collection [SS16].

The theme for [AW15] was young and beautiful, so we wanted to present the young people with quite clean, tailored and modern designs because, this time last summer, the young people were just wearing street, oversized type of things.

So, we want to make some kind of a new generation gentleman’s attitude.

For [SS16], we wanted to make it modern and clean with silk [fabrics] and color — brown and black and black and white monotone — inspired from the youth culture. Actually, do you know the song “Arcade” by Wake Up? So, when I heard this song, I felt quite energetic and positive. I wanted to

Did you see the brand grow from the [AW15] to [SS16] collections?

We just got another store from the last season. We can start our business in China now.

Over the last six months, we have the market in China, which was because of the [AW15] collection.

What is one thing that you always have to make room for despite your busy schedule?

I quite enjoy spending time with my family. I have a twin brother as well as another brother and one sister. So four altogether. Big enjoyable time!

With all the success that you have had, who or what keeps you grounded and humble?

My father. He passed away when I was fifteen-years-old, but he’s always here (places hand on his chest).

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pants + coat PLAC

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sweater + pants PLAC

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top THE-SIRIUS pants + coat PLAC

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shorts + pants PLAC jacket THE-SIRIUS

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sweater + pants PLAC

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coat + pants PLAC

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coat + pants PLAC

creative director CARLOS BASORA assistant stylist LEO CHANG makeup JALEESA JAIKARAN hair MENELAOS ALEVRAS model SOLROMON KIM (FUSION)

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IT IS IMPOSSIBLE FOR US TO DEVOTE an entire magazine to Korea without discussing two important features: the country’s golden age architectural landmark and the notoriously popular music industry. Which is why Deux Hommes chose Leo and Ravi, two members of the K-Pop group VIXX freshly off their separation announcement to start their new duo LR, to photograph at the Dongdaemun Design Plaza (DDP) in Seoul. For Korea, DDP acts as a catalyst for the instigation and exchange of ideas for all things considered ‘new’ to be explored, similar to what fashion and music create for each other. And what LR hopes to inject into the music industry across the world is exactly what DDP stands for:

PHOTO BY PARK HAEWOO K

diversity, opportunity and the continual nourishment of cultural vitality. A match made in heaven. —JENNIFER STEVENS

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A R T + M U S I C

the core Interviewed by Divya Bala Interviewed by Divya Bala

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Feature By Jennifer

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WITH A CLEAR NEOFUTURISTIC design that has beautiful curves and elongated structures, the Dongdaemun Design Plaza is an urban development landmark in Seoul that serves as the centerpiece of South Korea’s fashion core.

Abbreviated to DDP, this acronym also stands for the edifice’s philosophy of ‘Dream’, ‘Design’ and ‘Play,’ and represents the plaza’s function as a multi-purpose design center that aims to foster innovation, creativity and talent.

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Created by Zaha Hadid and Samoo, the DDP is the biggest three dimensional atypical building in the world and is the world’s first “Origin of Communication of Design Creation Industry” that drives the future growth of Seoul.

A hub for art, design and technology, along with a landscaped park that serves as a much-needed green oasis, and a public plaza that links the two, the DDP is truly an enchanting space.

The DDP has hosted a variety of fashion-related events, including Seoul Fashion Week, the biggest fashion event in the country, as well the Resort 2016 runway show for French luxury fashion house Chanel. DDP’s

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Design Lab, an incubator for rising Korean and international creative product designers, serves as platform for products and ideas to be exhibited and traded, especially for those designers who have failed to receive mainstream attention for their uniqueness.  While there is the apparent aesthetic value with a distinctive design, it is also seen as the most successful urban development project ever in Seoul as it has not just transformed the obsolete downtown region into South Korea’s vibrant fashion hub and popular tourist destination, but also unified the diversity of a country, giving them something they can call their own.

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Both of you are well versed in the music industry. How did you get your start, and why is music such a passion for you?

Leo: I’ve loved music since I was young, and my life was very focused on it. When I was seven-years-old, I was so impressed after listening to the song “Good bye” by Jessica.

This song sparked the dream of becoming a singer who has the ability to move people through their voice.

The two of you have announced that you are becoming a duo. Tell me about the new venture.

L & R: LR is the first official subgroup of VIXX consisting

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of Leo (main vocal) and Ravi (main rapper). We have individual tastes and goals in music, so with LR, we are able to show our new harmonious color not seen in VIXX through our unified performance and common objective. It is actually a great opportunity for us, so we are really excited about this new beginning.

Why did you feel it was time to split away from VIXX? L: Ravi and I have been constantly writing lyrics and songs, not only during the time we worked as VIXX, but also the period of their hiatus.

We’ve been looking for a way from the very start to show our new looks in a different way. Putting much effort in our works, we have been waiting for the time where we are perfectly ready to show our results to the public, and now, we both agreed it was the appropriate time to make our public debut.

VIXX was a huge success. What do you hope to accomplish with this new partnership?

L & R: Thank you for saying so, but I think VIXX still has a long way to go to be fully recognized as a Korean representative group. In this respect, we would like to pursue more opportunities to show the potential abilities of VIXX. We’re always thinking about what we have to do as a VIXX member to be

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I think that

fashion is

able to make one’s characters and concepts his own colors.

—LEO AND RAVI

recognized to more people, so I hope LR will serve as a chance to make the group widen its positions.

K-Pop and fashion have significantly impacted each other. How do you think fashion has affected the music industry and vice versa?

R: I think fashion is closely associated with K-Pop artists.

These artists wear clothes that represent their concepts related to their music. It makes an artist express their concepts more effectively.

Also, considering the fact that the accessories and clothes the K-Pop stars wear on stage during their performances become popular and sometimes a big trend, the music industry has a great effect on the fashion industry as well. In this respect, I think that the music and fashion

industries cannot be separated.

Every country is known for a specific type of fashion or skill set (i.e.

American is sportswear, Italy is romanticism and fine tailoring, France is sophisticated and high craftsmanship, etc.)

In your eyes, what is Korea’s specialty?

R: This is quite a tough question because I am not an expert within the fashion industry. (Laughs) In my personal opinion, Korean fashion is focused on its functionality, and I guess this is the reason why most Korean people prefer to wear comfortable clothes with a few unique factors. However, it is difficult to say there is one specific specialty representing Korean fashion in that Korean people in general seem to be extremely trend sensitive. I think it is constantly changing.

It is obvious to state that physical appearances are extremely important with public figures. Who are some of your favorite emerging fashion brands and why?

R: Yes, of course caring about your physical appearances is a vital part of our lives. I have no favorite brands or designers. I usually pick out my outfits mostly by their design rather than preferring certain brands. I also tend to mix-and-match my apparel with high-end and streetwear brands. Recently, I love wearing classic brands like [Ralph Lauren] Polo.

Assuming music is an outlet for you to express your feelings, how do you view fashion?

R: I think that fashion is able to make one’s characters and concepts his own colors.

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ON RAVI top + pants JARRETT footwear LOST GARDEN

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ON LEO top + pants JARRETT footwear LOST GARDEN

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ON LEO top + pants JARRETT footwear LOST GARDEN

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ON RAVI top + pants +coat JARRETT footwear LOST GARDEN

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ON RAVI top + pants SEWING BOUNDARIES footwear LOST GARDEN deuxhommesmag.com

ON LEO top + sweater + pants SEWING BOUNDARIES footwear LOST GARDEN | 117

ON LEO top + sweater + pants SEWING BOUNDARIES footwear LOST GARDEN

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ON RAVI top + jacket + pants SEWING BOUNDARIES footwear LOST GARDEN deuxhommesmag.com

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ON LEO entire look THE STUDIO K

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ON RAVI entire look THE STUDIO K deuxhommesmag.com

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ON LEO entire look BEYOND CLOSET

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ON RAVI entire look BEYOND CLOSET eyewear MIND MASTER

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ON RAVI sweater ROCKET X LAUNCH footwear KUMKANG

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ON LEO jumper ROCKET X LAUNCH

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ON RAVI entire look 87MM

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ON LEO entire look 87MM

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ON RAVI entire look MUNSOO KWON footwear SAERA

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coat CHARLES WARREN ON LEO entire look MUNSOO KWON

stylist SOO KYUNG SUH (STR HUB TEO) assistant stylist NA YEON KIM & MIN SOO KANKG makeup MI YOUNG LEE hair SUN YOUNG LEE models LEO (VIXX) & RAVI (VIXX) location DONGDAEMOON DESIGN PLAZA

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dniwer An aftertaste...

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The Global Issue KOREA

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