At the top of the runway, a floor-to-ceiling artwork in swirling shades of red; the painted backdrop was a two-dimensional variation on the reflective ruby ear abstract sculpture that has become a fixture of Wooyoungmi boutiques from Seoul to Paris. For Madame Woo, it represents being open-minded, and more precisely, listening to the sounds of cities with the wisdom and compassion gained from Buddhist philosophy. One senses that the designer observes things and people with her senses heightened, which is how she arrives at collections that touch upon myriad cultural references across time while also projecting a personal and ultra-present perspective.
The main through-line this season was an exploration of how Seoul is perceived by both locals and people who have never visited. But rather than obvious tropes, the collection created composite identities that were intriguingly nuanced. The opening look comprised the suit of an office worker (only the fit was more relaxed) topped with an oversized workwear jacket (only the fabric was a beautiful bouclé). There were several of these tactile tweeds, each time as a slouchy blouson or down jacket. In fact, many of the looks involved an elevated spin on utilitarian basics—see the chore coat in lush blue velvet with braided trim, or a uniform jacket in fine brushed suede, its patches boasting “PariSeoul” like a badge of distinction. In a similar vein were pieces originating from scout and school uniforms, which looked believably smart when paired with a tailored blazer. And denim, always the great unifier, stood out in flattering cuts and lived-in washes—so good that they should become a new go-to category for Wooyoungmi.
Whereas notions of dress codes can often feel rigid, the line-up evidenced their fluidity. This was not the first time we have seen brands remix bourgeois and uniform elements with youthful freshness. But to Madame Woo’s credit, shimmery tracksuits and suits with overskirts captured the dynamic style energy percolating through Seoul, even as the overall attitude felt controlled. Throughout the collection were ingenious interpretations of Bojagi, the Korean art of tying knots, integrated into hoodies and hats alike. Madame Woo noted how she exists “at the border of European and Korean, men and women, young and old.” There, she is tying all these notions together.
