Rejina Pyo: ‘Seoul Is the New York of Asia’

JOE BOBOWICZ You started your label ten years ago with a clear objective to empower women. Who was the first woman to inspire you creatively?

REJINA PYO My mother was the first person I knew who had a style all her own and a distinctive sartorial point of view. She would effortlessly put together outfits in such a unique and stylish way and possessed an exceptional sense of colour. Her home is filled with special objects she has collected, including artworks, furniture and clothing. When I return home, I can see the threads of inspiration in my collections. She was never afraid to be different, which made a significant impact on me, especially growing up in Korea.

JB When designing, you always keep the realities of women’s lives in mind, blending offbeat quirks with practicality.

RP Designing for modern women is all about understanding the demands of their busy lives and creating pieces that complement their lifestyle. I aim to create unique and timeless designs, while ensuring the garment remains practical and wearable. I believe that artful details and distinctive silhouettes in bold colours can elevate our sense of self and empower us.

JB There’s a sculptural aspect to your silhouettes and cuts. Are there elements of architecture that guide you?

RP Art and architecture have always been central to my work. For my graduate collection, I collaborated with a Korean sculptor to create aged-wood totems that models carried and wore with the garments. Each collection since has evolved as an ongoing story. Architectural silhouettes, volume and sculpture are present in all my designs, from voluminous sleeves to the shapes of our wooden heels. I see these media as interconnected sources of inspiration that inform and evolve into one another.

JB You’ve commented before on your love of the Tudor and Jacobean architecture in London, and the Barbican’s brutalist glory. What do you like about Seoul’s buildings?

RP Seoul has an extraordinary cityscape. I love its jumble of old and new. At first sight – especially to Western tourists who might be used to the grandeur and elegance of architecture in Europe – parts of Seoul can appear very ugly: a seemingly endless repetition of identical-looking tower blocks built in haste (and out of great need) in the aftermath of the civil war. But, in between all these high-rise apartments, which to me actually have their own charm, you find extraordinary buildings that have sprung up in the last 25–30 years, designed by a host of pioneering Korean and international architects. You can also find pockets of traditional Korean hanok buildings around Seoul, which I am particularly fond of – the serenity of the design, the lateral living and multipurpose use of space, and an internal courtyard that centers everything and brings a great sense of tranquility.

JB From Roger Hilton to Gillian Ayres, you’re a big fan of abstraction. What inspires you about it?

RP I’m equally drawn to both abstract and figurative art. In abstract pieces, I’m fascinated by the direct exploration of composition, surface, colours and texture. I love that each viewer brings their own unique interpretation to the work.

JB After your Central Saint Martins fashion MA in 2011, you were invited on a residency at Rotterdam’s Museum Boijmans Van Beuningen. Was that your first time working in the art world?

RP Yes. It was a great joy to be given such complete creative freedom and not be constrained by what is wearable or how to produce the work at scale. It was so different to developing a collection. I could experiment with rigid materials and distorted or oversized shapes and really play around with size. I thought about how static pieces sit within the exhibition space. It was a very collaborative experience, too. I worked with metal workers to achieve some of the shapes, and operating within the limitations of those materials was actually really exciting.

JB For your SS20 collection, you famously referenced Etel Adnan. Which female artist is your longest-standing muse?

RP There is no specific person. I admire so many artists for various reasons. I’m fascinated by their drive to create, their authenticity and the depth of emotions – both pain and joy – that they express over extended periods, resulting in powerful bodies of work.

JB In 2023, you designed artist Ángela de la Cruz’s outfit for her opening at Galerie Krinzinger in Vienna, and Chantal Joffe asked specifically that her subject, the art historian Katy Hessel, wear one of your dresses for a sitting. How did you get involved with such a rich artistic community?

RP I have always spent any spare time I have visiting London’s many galleries. Now I am lucky enough to be invited to events like Frieze, where I meet artists. Conversations happen naturally, and I find these interactions enriching. There are many similarities between art and design, especially for women in these industries. Working or collaborating with women like Chantal Joffe, Katy Hessel and Ángela de la Cruz is a dream come true.

JB Despite being a London-based designer and graduate of Central Saint Martins, you first studied art at Hongik University in Seoul, before working for a Korean retailer. What, in your eyes, makes the Seoul creative scene unique, especially when compared to London? 

RP I think of Seoul as the New York of Asia, with a palpable energy and a sense that anything is possible. One aspect of the creative scene in Seoul that feels a bit different to London is how positive creative collaborators are. The answer is always ‘yes’ to any idea, no matter how challenging it might be; there is a very ‘can-do’ attitude – a sense that people are on your side. In London, it can sometimes be a bit more of an uphill struggle to get people on board! Every time I return to Seoul I come away feeling so inspired.

JB Which Korean artists will you be looking out for at Frieze Seoul?

RP Mire Lee and Yun Suknam.

This article first appeared in Frieze Week, Seoul 2024 under the title ‘Seoul Is the New York of Asia’.

Further Information

Frieze Seoul, COEX, 4 – 7 September 2024.

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^{Main image: Rejina Pyo, Pre-Fall 2024. Courtesy: Rejina Py. Photo: Gwen Trannoy}