Eudon Choi could have done away with his press release for fall 2024. The show notes detailed a fascination with Pompeii, but the Korean-born, London-based designer has never witnessed the decaying, patinaed frescoes that, for him, reflect human frailty in person. His collection spoke for itself.
A lesson in color, Choi zeroed in on tonal dressing, but there was nothing muted about his swaths of sage, soil, soft blue, and sugary pinks. His skill lies in subtly playing with proportion, silhouette, and fluidity. Blazers (Eudon cut his teeth in Seoul’s tailoring studios) came crisp but comprised, with slits that fluttered when models walked. Bias-cut dresses boasted apron straps snaking around the neck, cashmere scarves contained arm holes to fashion into cardigans, and shirts looked elegantly spliced. It was a lesson in clever origami dressing, or perhaps Choi’s interpretation of the modular looks that have become a symbol of modern recession fashion. “I wanted to create something right for now—it feels more feminine this season,” said Choi. Some of the slinky slip dresses indeed came with dangerously low backs that caused necks to crane in London’s light-dappled Hellenic Centre.
Those who bought into Eudon Choi’s Roman narrative will have noted the powdery, sandwashed finishing on, say, the cargo pants (which were some of the more modern pieces in the edit), or the raw fringing and inside out seams that supposedly evoke the fragmented and faded walls of a fallen city. “I’m cringing!” shared Choi, who maintains he wasn’t “too hung up” on the narrative. When there’s so much to love already—the cut of the trousers, which are perennial bestsellers, and the softness of those form-framing crushed velvet dresses—Choi stands tall just as he is, without the need for an empire behind him.
