For all the slick, studied pragmatism of Eudon Choi’s clothes, the designer also knows how to tell a story, whether that be subtle nods to a film he recently discovered, or weaving the vivid colors of his latest holiday destination into his palette. Yet while his pre-fall collection is indeed a response to a recent trip he made—in this case, back to his hometown of Seoul, which he’s finally been able to return to since Covid restrictions lifted last year—the outcome was deliberately pared-back.
“I found it interesting going out to the shops there and seeing what the general trends are, and it feels very young and sexy and daring,” Choi explained. “But I don’t think that’s something that personally resonates with me. I wanted to make something that felt ageless—I think my clothes have always been about attitude rather than a specific age.”
He’s not wrong: The general customizability and gentle sophistication of his designs have made him a particular favorite among a kind of post-Phoebe Philo working woman customer (albeit those looking for said styles at a more accessible price point). A more subdued color story this season of neutrals and muted blues—as well as satisfyingly chunky belted schoolmistress coats and billowing pleated pants—carried an echo of Cate Blanchett’s deliciously austere wardrobe in Tár, while a series of playful knits and shirts that could be buttoned or wrapped around the body were a compelling foray into unisex dressing this season, harking back to his early training as a menswear designer. (That’s not to say there weren’t a few more jaunty touches too, in a few carefully-placed pops of lime green and coral red.)
Choi’s “ageless” mandate was also about his reconsideration of the idea of the seasonal wardrobe overhaul. “I know it sounds like a cliché, but I wanted to think about designs that could really last in your wardrobe for a long time,” he said. Still, when we spoke, the cogs were already whirring as to where he might go with next season’s collection—and don’t be surprised if there’s a reference or two to Choi’s recent cultural diet in there somewhere.
