From a designer whose intricate beadwork illustrates innocent concepts like peonies, butterflies, and seashells, Park wanted to build new dimensions around her signature. In an unlikely move, she turned to leather for structural intrigue. Leather is also suited to embroidery with crocodile-embossed leather woven into petal-like forms. Elsewhere, she set out to reimagine corsets and crinolines. Here, these emblems of women’s undergarments were rendered in Chantilly lace and using her namesake mother-of-pearl detailing in collaboration with local artisans from South Korea. Ever-present are strokes of her ultra-feminine identity in opulent and show-stopping silhouettes, slinky bias-cut silk gowns, and sputterings of silk-chiffon feathers.
“There was no limit between art and fashion. Haute Couture allows designers like me to think outside the box and be the most extreme version of myself,” Park said on a video call from her London studio.
What would you like us to know about the collection?
It’s a big stepping stone for me as a designer and for the brand. I started by reflecting on my previous collections and some iconic concepts and shapes with amazing recognition from celebrities. I wanted to bring a fresh take on it. I’m exploring materials like leather that I haven’t used before.
Where do you look for new concepts and ideas?
I find a lot of inspiration from my heritage as it forms my identity as a designer and a person. It allows me to be the most original version of myself. I frequently travel to South Korea to research the collections. Some of the artisans that I work with are national treasures, too. By collaborating with them, I have the opportunity to preserve traditional methods that would be otherwise forgotten.
A lot of my research takes place in museums. I live right next to the Victoria & Albert [Museum in London], so I go there to get inspired. It’s an amazing institution. I donated two of my gowns to them.
How essential is heritage and/or a distinctive identity in contributing to a brand’s success?
When I debuted, I received mentorship from Domenico Dolce and Stefano Gabbana. They told me that my work was special because I looked at my heritage to create the identity of the brand. It aligns with what they’re doing because they look at their Italian heritage and they collaborate with local artisans. I realised that my heritage is what makes my work the most original. There aren’t many South Korean fashion designers doing haute couture. I’m very lucky that I’m getting amazing attention. I would like to utilise this state to showcase the beauty of Korea, my heritage, and the work of Korean artisans. I’m inspired by these beautiful elements of Korean culture that not many people outside Korea may be aware of.
How do you think your brand can spark and sustain desire with so much else going on in the world?
What you realise when you’re running an Haute Couture business is that people want to invest in experiences. My couture and bespoke processes are very intimate with clients from the initial meeting, where I listen to their stories and requests, and sketch something from them, and we discuss how we want this piece to look. There are the fittings with the clients. It’s a process that takes three months to a year. [At that point,] it becomes more than just a gown; you build this beautiful relationship with clients and connect with them.
What does it mean to you to show your collection on the official calendar?
It’s been my lifelong dream to showcase my work in Paris. It’s the world’s biggest [fashion] stage. Growing up as a student in Seoul, when I first saw an Haute Couture show, a Chanel show by Karl Lagerfeld, I instantly fell in love. Ever since I’ve been watching all the collections and the interviews. I was a geek in the library on my phone watching shows. Years have passed and to be able to show alongside Chanel, and other houses, is huge.
Our client numbers doubled in 2024, compared to 2023. Even for 2025, our bespoke calendar is already full. I’m just in the stage of discovering my potential and the brand’s potential. It’s exciting, too, to have the support from the Fédération, and Séverine [Merle, the CEO of Celine], who endorsed me and supported me throughout the process of being listed on the official calendar. I’m very grateful [for everyone’s support] and excited to show them the collection.
This interview has been lightly edited.
