A sartorial love letter to installation, as Wooyoungmi cites the world’s iconic contemporary art museums – from the Tate Modern to the Guggenheim – as inspiration.
Models emerged from a glowing orange oval cut out in the wall, reminiscent of the light installations of James Turrel.
Organically shaped graphic patches in black and gold, like the kinetic mobile sculptures of Alexander Calder, appeared over white shirts. Their curved lines went on to inform the unusual cut of a jacket lapel, where the inside fabric piece was pulled out to sit awkwardly, and still creased, in the deep V of the neck, creating a swooping curve over the body. A mottled felt coat and crisp, boxy felt jacket referenced the work of Joseph Beuys.
Modernist and refined, with the curve of lapels the only diversion from classic cut, and that in itself made a key motif. Loosely worn wool overcoats were the only silhouette exaggeration. Crisp cropped trousers sat atop polished leather Chelsea boots.
A dark check faded from jacket sleeves into a plain grey centre on the chest, and windowpane check exaggerated the proportions of a jacket worn with shorts over trousers, its lines mismatched. White explosive splatters on black jumpers looked like chalk rubbings, or paint stains on a studio floor.