It was almost like something from an underground nightclub in the ā90s, but with a coolly accomplished polish about it. āI actually felt very strongly about studying a lot about the ā90s this season. Somehow, I felt it was very connected and very coherent to now.ā
Those whoāve been following Hwangās shows in Parisāhe was a recipient of an LVMH prize a couple of years backāwill recognize this collection as a progression of the style heās been building on. He called this seasonās collection Omniverse. āItās kind of a continuous story,ā he said, āBecause my identity is coming from my multicultural background. And I wanted to kind of explore the randomness of the encounters Iāve had.ā Hwang is a South Korean who grew up in Austin, Texas, and then went to London to study at Central Saint Martins. Thrown on his own resources during lockdown, he said heād started thinking about his college days. āI remember meeting this guy on the first day of school who was wearing a rubber top and a lace skirt and a really strange, enormous, kind of like sneaker,ā he said, laughing. āI was in a culture shock, but I wanted to be his friend.ā
Perhaps that goes a way to understanding why the vaguely fetishy undercurrent of buckled straps and leather bras crops up in Hwangās aestheticābut itās also filtered through a practice that was honed in his early days of working for Phoebe Philo, who hired him when she was embarking on her first years at Celine. āI was very blessed to join the house and see her amazing approach,ā he said. āIt was a spectacular time, seeing her natural taste, as well as her understanding of the woman. Sheād wear the clothes herself, and then it was all about asking: Is this for the woman or not? ā. Sarah Mower for Vogue
