“A nuanced palette of Korean culture and tradition”: Inside Ana Kim’s graduate collection
photography by @coppertb/INSTAGRAM
AS TOLD TO DAISY HENRY
“I also wanted to understand how I could preserve myself in the form of garments.”
In a way, Ana Kim was destined to become a designer. It was during a Korean ceremony called the ‘Doljabi’, when one-year-old Ana reached for a drawing pencil, predicting a future career as an artist. Now, two decades on, she’s gearing up to present her graduate fashion collection, ‘영.0.Spirit’ on the runway at PayPal Melbourne Fashion Festival.
Built around Ana’s own identity as a Korean diaspora member living in Australia, it explores Korean cultural practices and considers how getting dressed can be a spiritual experience, almost a ceremony in itself. “Each design has been a struggle in its own way, whether it was the fabric, pattern making, print, drape or fit,” Ana explains. “In a way, I think I was such a perfectionist because this collection became very personal to me.”
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Featuring six looks, the collection explores the journey of the human spirit through life’s many stages. Look one speaks to Ana’s understanding of birth, while the following looks are visual examples of her grappling with themes of life, death, and the separation of body and soul.
These concepts are brought to life through digital printing, knot work, draping and sculptural silhouettes. “This collection is seen and read as a story, and I hope it inspires viewers to reflect on fashion as a form of preservation,” Ana adds.
‘영.0.Spirit’ is one of many student collections that will be on display at the National Graduate Showcase as part of PayPal Melbourne Fashion Festival on February 24. Held at the Royal Exhibition Building, the runway will feature 12 graduate designers hand-picked from Australia’s leading fashion institutions. It’s always an exciting glimpse into the future of Australian fashion and Fashion Journal is proud to be a long-time media partner of the event.
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Fashion Journal: Hey Ana! Tell me about how you first got started in the fashion industry. Did you always want to be a designer?
Ana: I didn’t want to be a designer but I knew from a young age that I would do something creative – and when I say young, I mean very young! In Korean culture, we have this ceremony when a baby turns one, and there’s a ritual called ‘Doljabi’, where the child is placed with objects around them to help predict their future. I picked a drawing pencil, which predicted I’d become a creative or artist, and it turns out it was right.
It was my grandmothers who first opened my eyes to the world of fashion. My grandmother on my mum’s side was a painter with a strong sense of style, shown in her traditional Korean garments. My Grandmother on my dad’s side was a diva who never left the house without six-inch heels, lip liner and a designer purse. Both have passed, but they left a lasting impression and inspired me to pursue a career in fashion.
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Tell me about the collection you’re showing for the NGS runway. What was your inspiration and what is the message behind it?
My collection, ‘영.0.Spirit’, explores the transition of the human spirit through life’s stages. It examines Korean cultural practices and how dressing the body is seen can be a mindful and spiritual act.
Preservation is deeply embedded in the collection through Korean cultural nuances around ties, knots, twists, and wrapping, all serving as a key motif in expressing the encapsulation of the spirit in various forms of drapes, prints, textile manipulation and accessories. From birth to death, our spirit interacts with various layers of life, all once preserved in the shells of garments.
Beneath all this conceptualisation and research, I also wanted to understand how I could preserve myself in the form of garments.
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What has the process been like? Have there been many setbacks or challenges along the way?
The process for my work involved lots of research and observation. As my collection is built around the exploration of my identity as a Korean diaspora, it looks at cultural nuances within ceremonial and fashion practices, such as birth and death.
I have created a six-look collection that translates my understanding of birth (look one), the burdens of life (look two), death (look three), the separation of body and soul (look four), the funeral (look five) and the spirit (look six).
Each design has been a struggle in its own way, whether it was the fabric, pattern making, print, drape or fit. In a way, I think I was such a perfectionist because this collection became very personal to me.
How would you describe ‘영.0.Spirit’ to someone who’s never seen it before?
I’d describe it as a collection full of knots, twists, drapes, sculptures and wrapping. These design motifs inform the silhouettes, prints and textiles of the collection, reflecting a nuanced palette of Korean culture and tradition. This collection is seen and read as a story, and I hope it inspires viewers to reflect on fashion as a form of preservation.
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What are you most proud of in your work so far?
I would say my digital print artworks. Left Bank Art Group provided the opportunity for my collection to experiment with digital prints, pushing how drapes can be manipulated in a digital manner.
A key motif I’ve integrated in the digital prints is the family-owned kimchi pot, which marked the beginning of the collection’s direction in understanding preservation and encasement within fashion.
What do you wish you’d known when you first started your collection?
To enjoy and cherish the time with my friends and mentors! Although my honours was stressful, looking back, I was only able to push through because of all the support that was surrounding me at uni. Sewing from 9am to 9pm would not have been possible without my girls, Mila and Luke!
Likewise, the quality of my collection couldn’t have been this elevated without the help of my mentors, Kinae Kim and Akira Isogawa! The support and friendships I developed through this collection are such a blessing.
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Who is exciting you the most in local fashion right now?
I feel like there are so many talented creatives but here are a few off the top of my head! There’s Potirakis, who I was fortunate enough to work with over Australian Fashion Week; Haveyoustoppedgrowing; Eseu266, which is run by my lovely mentor Kinae; Erika, an amazing stylist who helped style my womenswear and honours collection shoot, and Ash, who beautifully shot and edited the shoot.
What about the local fashion industry needs to change?
We need to start placing more value on slow-paced, in-house, local production and craftsmanship. I’ve been very fortunate to be working at J.Andreatta, a couture bridal house that crafts beautiful wedding dresses in its studio. Being a part of this environment has made me appreciate the intricacy and precision of making a single garment, from measurements to the final product.
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Who are your dream collaborators?
My dream collaborators or brands that I really respect and would love to learn from would be Comme des Garçons, Yohji Yamamoto, Jan Jan Van Essche and Hyein Seo. They have always been a key influence on my work and being able to work for them would be a dream come true.
Where do you hope to be in the next five years?
In the next five years, I hope to have started my own brand or studio, alongside my three sisters, who are all very creative and talented! It’s always been my dream to work together, whether it’s through design or a space for clothes, books, films, food or floristry. We’d love to create a community of sorts.
How can we see more of your work?
You can see more of my work on my Instagram. Keep an eye out for capsule collections and other creative projects!
Get your tickets to the NGS Showcase at PayPal Melbourne Fashion Festival here.
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