This story was originally published on November 6, 2019 for Kcrush Magazine.
The energy of Fashion Week has finally died down worldwide but the buzz over two shows from Seoul Fashion Week lives on. On October 19, 2019, the 2020 Spring/Summer collections proved that retro fashion is still in and making a statement on the runway is just as important as one’s comfort in their clothing. Here, we revisit the final day and highlight the artistry of GREEDILOUS and Graphiste Man.G.
Like any other Fashion Week experience, everyone wants to be seen. You’ve got bonafide celebrities and runway faces everywhere, like Hong Seok-Cheon (who had as many outfit changes as the models themselves… I’m not even mad about it.) and Somali-American Muslim beauty Ridwan (the beauty who Rihanna glammed up during her Fenty Beauty debut in Korea!). Sprinkled around are established, up-and-coming, and aspiring designers; buyers and fashionistas from all corners of the globe, and media attendees trying to capture all the magic. Language barriers are immediately broken with every camera click and new friends are added on social media followings.
I mean that genuinely — it’s serious magic. Where else could a jeans-and-tee girl like me be graced with the presence of Min Jee (Young), Director of Ari Arts Company, draped in head to toe vintage Chanel?!
On Show: GREEDILOUS
Seoul Collection exhibitions take place in the legendary Art Hall 2 within Dongdaemun Design Plaza and placing Park Youn Hee’s show in the middle of schedules was perfection because of how lively it was. GREEDILOUS was once defined by emerging Asian designer collective Porte Mode as carrying it’s designer’s personality and that, “Their bold prints, sleek silhouettes, and surprising details all capture Youn Hee’s youthful and rebellious spirit.” All facts.
Black, white, and muted pastels were the colors of this collection as Moon Gabi opened the show. The silhouettes played between beach-to-street and country club to club VIP. Nothing was too tight yet the fit was loose on each model. It’s hard to imagine and explain, but it worked! Shoulder pads — something we’ve watched become edgier and more pronounced since 2017’s shows — were curved and welcoming to the mid-90s aesthetic. Denim played very little into the designs and I’m still unsure if Lycra was used or not in several outfits. Whatever the textile is or was, many outfits could fit with “Clueless” but without the loudness of some of that era’s patterns. Ms. Park kept things light yet eye-catching with her unique patterns. Almost every person seated in the VIP front row was in a piece from the designer’s various collections, too. Talk about brand loyalty and support!
On Show: Graphiste Man.G
I liked the first show — the pieces whispered, “Look at me but don’t look at me… now look at me!” — but my goodness I. LOVED. THIS. SHOW. Designer Man. G went with the concept “Drag. Drug. Man.g.” and delivered on a show that has to be historic in most South Korean social circles, if not controversial. The brand’s edgy, unisex and animated. Actually, the animated aspect came as little shock once I realized that he studied animation art during his university days. It was sickening and I mean that with all the love I can muster up. The show was unapologetic in its representation and gender-neutrality. The audience was one of the most ambiguous witnessed in all the years we’ve attended Seoul Fashion Week. I wondered about the ages of those in attendance, those secure in their own vibe, and I felt… too “normally” dressed! There were the overtly beautiful, the plain janes, and the flamboyantly unbothered all amongst one another and Man. G’s line fully supported such diversity.
From the moment a hit from pop icon Madonna’s catalog began, the 80s/90s scene exploded onto the runway. Models stomped the plasma out of the runway with various mantras scrolled across the fashions. Everything was a cut that is on-trend. Man. G promoted fashion for anyone, period. Just ask the drag queen who kicked the show off.