The sidewalks surrounding Gwanghwamun Square in Seoul were crowded with hundreds of labour union demonstrators and police officers in neon vests wielding riot shields as they made their way to the Gucci resort presentation. The event was being held in Seoul. A large group of enraged men and a few women took turns passing the microphone and delivering emotional statements directed against the president of South Korea. This was likely a scene that was similar to many overseas tourists who were more accustomed to the rhythms of Paris Fashion Week.

It seemed like a bizarre twist of destiny, and the underlying message seemed to be that Seoul, which is currently the darling of the fashion world, is not all that different from its sister cities. In a city that was long overshadowed by its neighbours Tokyo and Shanghai, Gucci has become the most recent fashion label to have a premiere event in this city. The importance of this market, which has an effect on the entire world, is now well recognized in the Western world. However, unlike what some companies may think, we Koreans have a bit more pride and wit than they do. It is no longer sufficient to just present oneself and have the expectation that sales would follow.

Indeed, the concept of holding a performance at Gyeongbokgung, the historic royal castle that served as the venue for the Gucci event, caused more than a few residents of the city to raise an eyebrow. Any Korean has probably gone there a hundred times or more on field excursions or when escorting foreign guests to view the cherry blossoms bloom. Additionally, it is the default location for foreigners shooting music videos, commercial campaigns, and short films. There are a great deal more one-of-a-kind locations and environments that may be found throughout the city. Even this jaded Seoulite felt her breath being taken away when she saw the palace lighted up at dusk, empty of visitors, with the pine-covered mountains in the distance, as violins swelled in the background, playing a melodic theme from the film Old Boy directed by Park Chan-Wook.

The front row was packed with superstars from all over the world, including Dakota Johnson, Elizabeth Olsen, and Saoirse Ronan, as well as celebrities from the United States, such as NewJeans’ Hanni, IU, and Lee Jung-jae. That would have been plenty for many different brands. However, in contrast to other companies that have only dabbled in the trend, Gucci has thrown themselves headfirst into the Han river by devoting the entirety of the collection to the Seoul sensibility, which encompasses the dynamic street style and fluid movement that has so enthralled the rest of the globe.

So, what kind of impression did Gucci get of Seoul? The presentation was launched by the model Sora Choi, who wore a long black padded coat over jeans and was holding a charming baguette-shaped purse, which was a recurring accessory (it was crystallised and quilted in holographic lilac, respectively). There was a combination of bourgeois streetwear and athletics, such as the bouclé cycling shorts with the ladies-who-lunch jacket, cut to reveal the midriff. Additionally, there was a stunning light pink chiffon dress with tiered ruffles that flew down the runway, which was worn over a black dive suit. Neoprene was seen as layered turtlenecks that zipped up to the chin, and it was coupled with tweed midi skirts that were decorated with diamanté crystals racing up the sides of the garment.

The collection had a minor moodboard vibe to it because it was the last show that the design team handled before the new creative director Sabato De Sarno took over the lead. However, the reference mixture did a good job of capturing the appearance and atmosphere of the city streets. You might recognize the young of Seoul by their long, voluminous silhouettes, jeans worn low on the waist to bag about the ankles, parachute maxi skirts, and an abundance of cinching cords. These more oblique allusions to local street style gave off an air of sophistication that was lacking in the more overt ones, such as printing the name “Gyeongbokgung” across the back of a T-shirt. It makes more sense to talk about Seoul as a fashion-conscious metropolis on par with any other, rather than pigeonholing Korean fashion with preconceived notions of how it should look.

A surrealist illustration of pink jello and cat’s paws was created by local artist Ram Han. The illustration was worn by Karen Elson, who wore a sateen lilac coat that buttoned with a crimson ribbon similar to the one that closes a traditional jeogori jacket. Another exquisite touch was provided by the surrealist drawings of pink jello and cat’s paws. The sheer magnitude and spectacular nature of the presentation was by far the most successful aspect. The lights were set to go dazzling over the stone courtyard that was built in the 14th century, and they were synchronised to the thudding of wood mallets and drums. Even though the final outfit was an unexpectedly straightforward black boxy suit, it conveyed the sense of a peaceful transition from one stage to the next while also paying tribute to Seoul with the kind of lavish fashion celebration that the city unquestionably merits.

The Collection