What does the phrase ‘Korean fashion’ mean to you? If you’re reading this from the west, chances are it’s a concept not as fully-fledged as its European counterparts. While phrases like ‘Italian’, ‘French’, or even ‘British fashion’ produce a wellspring of instant identifiers, for the layman westerner, South Korea’s place in the fashion imagination is occupied by a handful of K-pop idols and trend-driven street style in Seoul. Fortunately for us, Amomento wants to bridge the gaps in our understanding of what Korean fashion could be.

Founded in 2015 by Mikyung Lee – also known as MK Lee – Amomento started life as Shop Amomento, a multi-brand, physical retail space in Seoul. In 2016, the designer’s younger brother Myeongsoo Lee – MS Lee – began working at the company, and soon after an Amomento clothing line was created for the AW16 season, focusing on timeless wardrobe staples and minimalist design. While Shop Amomento carries cult global brands like Edward Cuming, Extreme Cashmere and Gimaguas, MK focuses her efforts on designing for Amomento as a standalone brand with a separate identity from its namesake store, while MS is the CEO of the entire company.

But, back to that question of Korean fashion. Yes, our understanding of the region’s style isn’t as developed as it should be, but why is this the case? MK thinks it may have something to do with the country’s culture. “Korea is a relatively small and socially interconnected society, where people are highly conscious of others’ perspectives. This naturally reinforces a trend-driven culture, and fashion evolves very quickly”, she continues, which results in a fashion landscape where conformity is valued over individuality. And, according to MK, because of this, the overarching moniker that is ‘Korean fashion’ has little to hold on to. “Scandinavian or Japanese brands often share a common aesthetic or philosophy, whereas Korean brands lack a unified design language,” says the designer. “Because of this, it can be difficult for outsiders to interpret Korean fashion as a cohesive movement.”

That’s not to say that outsiders are completely unaware of Korean fashion, or the culture that produced it. The Korean Wave, also referred to as hallyu, has been happening since the 1990s, a movement that propelled South Korea’s cultural exports across the world. While the original 90s wave happened directly in Asia, when Korean TV shows were syndicated across the region, hallyu 2.0 is defined by the popularity of K-pop stars in the mid-2010s, and their global dissemination through social media platforms. Fashion’s subsequent role within those stratas of hallyu is complicated: while a number of brands gained global recognition in the second wave, the country’s biggest fashion export is arguably still K-pop stars as ambassadors for European heritage houses. Korean musicians might have successfully infiltrated global fashion, but a Korean heritage house has yet to infiltrate the world.

That’s not to say that Korean fashion has no pioneers. MK singles out Madame Woo, who founded Solid Homme and Wooyoungmi, and Jung Wook-jun of JUUN.J, as important players in bringing Korean fashion to an international stage. “Their contributions are significant,” she says, “but there is still much for the next generation to continue and develop.” In the same vein, MK and MS use Japanese fashion as a yardstick, arguing that there is no Korean equivalent to brands like Comme des Garçons, Yohji Yamamoto and Issey Miyake – at least not yet. “Historically, Korea experienced colonisation and the Korean War, which delayed its development compared to countries like Japan or China,” says MK. “That’s why, unlike Japanese brands that entered the European market in the 1950s and 60s, Korea does not yet have long-established heritage fashion houses.”

“This collection was about returning to the essence of clothing and focusing on its fundamentals” – MK Lee

Amomento’s most recent runway show at Shanghai Fashion Week was MS and MK’s bid to become Korea’s future heritage house. Taking place in the Huangpu District of the city, the room was transformed into a traditional tailoring shop called a Yangjangjeom, which is specifically a boutique that produces “Western garments and tailoring details through a distinctly Eastern sensibility”, according to the show notes. “In an era defined by fast production and consumption, Amomento reflects on spaces and moments that are gradually fading,” they continued. “Revisiting the value of garments once shaped by the hands of artisans, and translating these perspectives into a contemporary language.”

On the runway, wardrobe classics were reinterpreted through a modern lens. Slouchy separates were paired with check shirts, crimson jumpers with ankle length culottes, and ties were replaced with silk scarves messily fastened around a collar. While pops of colour came through in the blood red leather shoes or bright white shirts, the colour palette remained mostly muted throughout, conveying a sense of earthy naturalism. “This collection was about returning to the essence of clothing and focusing on its fundamentals,” MK told us. “In today’s fashion scene, where garments are quickly consumed and forgotten, we wanted to show what it means to create clothing that lasts – pieces that can be worn over time.” And, ultimately, what encapsulates the idea of heritage better than that?