ISSUE 09 INTERVIEW
How has living between Seoul and London shaped your approach as an artist?
Joonhong Min: I’ve lived in both Seoul and London, and while London first felt like an escape, it eventually became another “everyday” space—more about survival, not so different from Seoul. As a Seoulite, it still feels foreign at times, but I see that outsider perspective as part of my journey. Living in London has also made me more rational as an artist. I constantly think about how to sustain my practice. It’s an environment that demands persistence.
Please introduce the work featured on this cover.
Joonhong Min: My work explores the traces of capitalist urban civilization through painting, video, and performance. The work featured on this cover reflects this ongoing exploration. I often use symbols like the Korean tiger or Japanese Maneki-neko, transforming them from signs of fortune into mass-produced commodities. These motifs extend across different mediums, acting as surrogates for the world I construct as both an artist and an individual navigating today’s chaotic environment. Through a mix of figurative and abstract forms and materials, I aim to express the authenticity of my evolving practice.
What are your future plans?
Joonhong Min: I hope to continue making art in a way that is both productive and joyful, while taking care of my well-being and those around me. In 2026, I will present work in Paris in April, Cambridge in May, and participate in KIAF Seoul with Frieze Seoul in September. While in Paris, I also plan to further explore its artistic and cultural landscape to inform my practice.
#MOREDENIMPLEASE_COVERARTIST
ISSUE 09 ABOUT
Joonhong Min (@joonhongmin.artist ) is a multidisciplinary artist based between London and Seoul, whose work explores the complexities of contemporary urban life through a personal and critical lens. Born in South Korea, Joonhong Min draws from his experience as a diaspora individual, using the city as both his subject and site of practice, capturing the rhythms, tensions, and contradictions of modern urban existence. Working across drawing, installation, video, and performance, he investigates the traces of capitalist society embedded in everyday life, often collecting discarded objects from the streets and reconstructing them into new forms layered with repetitive pen drawings and fragments of waste materials. Through this process, he transforms overlooked residues into visual narratives that reflect both the monotony and intensity of the urban environment. Engaging with themes of isolation, competition, and displacement, Joonhong Min translates personal memories and fragmented experiences into work that questions the structures shaping contemporary society, ultimately creating an evolving record of the city as a space defined by conflict, experience, and constant change.
#MOREDENIMPLEASE_COVERARTIST
I AM 22 JINOH KIM
Who am I?
Jinoh Kim: I am a floral designer who blends flowers with fashion and art to create immersive visual experiences. I see flowers as a medium for shaping space, atmosphere, and perception. Fashion is a form of artistic expression, and I use flowers and other mediums to enhance each piece, bringing depth, texture, and emotion while considering the overall flow, balance, and narrative of the work. I aim to create environments where the subject becomes more vivid, present, and immersive.
Which aspects of life do you draw most inspiration from? (Question from Jin Hyun)
Jinoh Kim: I draw inspiration from conversations with designers, exploring the inner world of fashion and design through their perspectives. I am interested in the meaning and energy behind each piece or space. By connecting with that core essence, I reinterpret it into visuals that enhance and expand their world, bringing greater focus to each piece or space.
Curated by Donggil Lee
#MOREDENIMPLEASE_IAM
I AM 21 JIN HYUN
Who am I?
Jin Hyun: I am a photographer based in London, focusing on storytelling and the tactility of images. My work revolves around, but is not limited to, fashion, portraiture, and fine art photography. Every individual has their own unique way of thinking. For me, I am an image-based thinker. It doesn’t end there; I reflect on myself and learn more about who I am through the images I create. In this way, photography serves as a form of therapy. I engage with my agony, burdens, conflicts, and distress. I try to carry my camera with me wherever I go. The forms may vary, but it always remains within the realm of black-and-white film. In my daily life, I photograph anything that holds my gaze for more than three seconds. As the images accumulate, I go through each one carefully and select those that truly resonate with me. I make prints, sequence and connect them. I rip them, burn them, and composite them in an instinctive way. I simply play with them. Through this process, I am constantly learning about myself.
Are you satisfied with your occupation as an artist? (Question from Eunchae Jang)
Jin Hyun: I would say I am pretty happy with my occupation overall. For me, the most important part of being an artist is breaking down—almost dissecting—my thoughts and emotions, and then expressing them through a visual medium. Sometimes it is very exciting; other times, it can be extremely overwhelming. But when I research images, run around on set with my camera, or lock myself in a silent room with blackout curtains and chemicals, rummaging through my film archives, I always lose track of time and keep working. So, because of that, I would say I am quite content with my work as a photographer.
Curated by Donggil Lee
#MOREDENIMPLEASE_IAM
KageBow
KageBow’s latest music video, 開拓者 (Pioneer), has been making waves for its striking fusion of traditional Japanese yokai imagery with cyberpunk aesthetics, paired with a haunting, unforgettable melody. The song is entirely conceived, written, and composed by KageBow, while the vocals and visuals were produced using AI tools such as Suno AI and MidJourney.
What makes Pioneer particularly compelling is its conceptual boldness. The lyrics critique a world increasingly eroded by artificial intelligence and algorithms—but in a provocative twist, they are performed with an AI-generated voice. This deliberate choice underscores the work’s central message, creating a layered reflection on technology, creativity, and authorship.
The music video’s visual art is equally captivating, combining elements of Japanese folklore and myth with futuristic, cyberpunk-inspired design. In an era where the way AI is used has become a defining aspect of creative identity, KageBow’s Pioneer stands out not merely for being “well-made with AI,” but for how it thoughtfully incorporates AI into both its production and its narrative. It is a striking example of AI as a tool, a collaborator, and even a conceptual statement—demonstrating the evolving possibilities of human-AI co-creation in contemporary art and music.
editorial Donggil Lee | visual Jiwon Choi
@kage_bow
#KageBow #Pioneer #SunoAI #MidJourney #AI
Alexander McQueen’s Fall 2026 Ready-to-Wear
Alexander McQueen’s Fall 2026 collection felt like a controlled return to the house’s archive, reworked through a more wearable and contemporary lens. Under Seán McGirr, the focus wasn’t on recreating the raw intensity of Alexander McQueen’s past, but on refining it into something more grounded for today.
One of the most striking elements was the leather pants, slashed with long zippers running down the legs, creating a sense of tension and exposure. The back dipped low in a clear nod to McQueen’s iconic “bumster,” reintroducing the provocative silhouette that once defined the brand. Still, even these gestures felt more controlled than confrontational. The collection’s closest reference point was the Spring 2005 show, It’s Only a Game, known for its lighter and more accessible tone. That same spirit carried through here, especially with the influence of Mary Quant. McGirr reinterpreted the miniskirt by lowering it on the hips and adding oversized cargo pockets, balancing youthful energy with a more utilitarian edge.
Tailoring remained sharp and intentional. A jacket fastened with a single hook-and-eye closure below the bust referenced the Spring 1997 La Poupée collection, while diagonally buttoned jackets and similarly cut trench coats drew from Fall 1996’s Dante. The collection also revisited the house’s skeletal motifs, softened in unexpected shades like lavender and cargo green. Overall, the collection reads as a measured evolution—one that honors McQueen’s legacy while carefully adapting it to a more practical and modern context.
editorial Donggil Lee | visual Jinwoo Hyun
@alexandermcqueen@voguerunway
#AlexanderMcQueen #Fall2026 #RTW #ParisFashionWeek #SeanMcGirr
Schiaparelli’s Fall 2026 Ready-to-Wear
Schiaparelli’s Fall 2026 Ready-to-Wear collection unfolded at the Carrousel du Louvre, once the epicenter of Paris runway shows in the 1990s and early 2000s. As brands gradually moved toward more distinctive venues, the space lost its prominence—but by returning here and staging a raised podium runway reminiscent of pre-internet-era shows, Daniel Roseberry created a sense of nostalgia.
Drawing on his experience at Thom Browne, Roseberry opened with a mannish three-piece suit, featuring sharply popped collars, structured lapels, and slightly rumpled trousers. Surreal gold-tone heels shaped like faces set the tone, while sphinx-inspired elements appeared more clearly as the show progressed, including a padded skirt suit that echoed the subversive spirit of Sarah Lucas.
Throughout the collection, Schiaparelli’s signature surrealism remained central. Skirts extended into tail-like forms with wire hems, Aran knits appeared in fragmented strips over illusion tulle, and textures ranged from fur prints to hand-painted crocodile effects. One standout look incorporated cassette tapes and crushed CDs, pushing ready-to-wear beyond conventional limits. Accessories—from cat-faced pumps to sculptural handbags balanced on chicken feet—further emphasized the house’s wit.
Meanwhile, Schiaparelli’s legacy continues to be celebrated at the Victoria and Albert Museum exhibition Schiaparelli: Fashion Becomes Art, featuring over 200 works, including the iconic 1938 “Tears Dress” by Elsa Schiaparelli in collaboration with Salvador Dalí.
editorial Donggil Lee | visual Jinwoo Hyun
@schiaparelli@voguerunway
#Schiaparelli #Fall2026 #RTW #ParisFashionWeek #SchiaparelliFashionBecomesArt
Stella McCartney’s Fall 2026 Ready-to-Wear
Stella McCartney’s Fall 2026 Ready-to-Wear collection marked a celebration of both her brand’s 25th anniversary and the “Year of the Horse,” staged at Le Grand Manège Jean Caucanas in Paris. The show revisited her Fall 2023 concept by bringing back ten horses led by Jean-François Pignon, moving freely across the runway alongside the models. This live interaction transformed the presentation into something beyond a fashion show—an emotional, almost autobiographical performance reflecting the 25-year journey of Stella McCartney.
The collection unfolded like a narrative archive of her career. The final look, printed with the phrase “MY DAD IS A ROCKSTAR,” anchored the show, while the 50 preceding looks worked almost like chapters, each expressing different aspects of her identity, memories, and evolution as a designer. Tailoring played a central role, drawing from the precision of Savile Row, reinterpreted through modern, sharp 80s-inspired silhouettes and structured suiting. Equestrian elements ran throughout the collection, especially in stirrup pants and dramatic fringe accessories, reinforcing her long-standing connection to horses and movement. At the same time, more romantic and expressive pieces—faux fur, satin sets, and sculptural outerwear—referenced her formative years working with Christian Lacroix and Yves Saint Laurent, adding a sense of nostalgia and historical layering to the collection.
Sustainability remained at the core of the show, with around 93% of materials verified as responsible. Innovations such as yeast-based knitwear, water-efficient recycled denim, and bio-fermented vegan leather highlighted her continued commitment to cruelty-free luxury and material innovation. Ultimately, the collection functioned as a hybrid of performance and autobiography—where craft, memory, and ethics were seamlessly woven into one continuous story.
editorial Donggil Lee | visual Jinwoo Hyun
@stellamccartney@voguerunway
#StellaMcCartney #Fall2026 #RTW #ParisFashionWeek
Dries Van Noten’s Fall 2026 Ready-to-Wear
Following the departure of its founder after nearly four decades, Julian Klausner steps firmly into his role at Dries Van Noten with the Fall 2026 Ready-to-Wear collection, centered on the theme of “awakening of the self.” Having worked alongside Dries Van Noten on womenswear since 2018, Klausner has, over several seasons since his appointment, steadily established his own voice within the house.
This collection once again highlights the brand’s signature strength in material exploration, where rough and delicate textures collide. Rigid denim was elevated with intricate floral embroidery, balancing rawness with ornamentation, while classic checks were layered with bold florals to create the house’s distinctive visual tension. The color palette leaned into depth—burgundy, deep red, and brown formed a grounded base, punctuated by flashes of neon yellow and vivid red for contrast. Familiar garments were reworked through unexpected combinations: ties and tailored jackets paired with bomber jackets, styled into elongated vertical silhouettes and grounded by heavy-soled boots.
Styling played a key role in shaping the narrative. Jacket collars were detached and worn as accessories, while coats were styled with arms slipped through unconventional openings, creating a sense of disruption. Embroidery and pixelated prints inspired by 17th-century still-life paintings added a layered, almost tactile dimension to the garments. Through this interplay of texture, color, and styling, Klausner articulates a vision that both honors the house’s legacy and signals a continued evolution.
editorial Donggil Lee | visual Jinwoo Hyun
@driesvannoten@voguerunway
#DriesVanNoten #Fall2026 #RTW #ParisFashionWeek #JulianKlausner
Bottega Veneta’s Fall 2026 Ready-to-Wear
Bottega Veneta’s Fall 2026 Ready-to-Wear collection unfolded like an architectural blueprint, translating the house’s craftsmanship into the language of Brutalism. The show moved between rigid structure and soft sensuality, balancing severity with fluid elegance.
The opening featured sharply reworked tailoring. Collarless jackets, stripped of lapels and fastened with a single button at the neckline, emphasized a protective, armor-like silhouette. This extreme minimalism was contrasted by oversized loafers and derby shoes that disrupted body proportions. Their heavy, exaggerated form echoed Brutalist architecture, creating tension with the precise cutting above and reflecting the brand’s redefinition of the everyday.
Material experimentation stood at the core. A vivid Parakeet Green “plastic bag” revealed itself as ultra-thin napa leather or specially coated leather mimicking paper, transforming the ordinary into luxury with subtle humor. This idea extended into the season’s “hairy” textures, where intrecciato weaving met fil coupé techniques and hand-tinted shearling to create richly tactile, voluminous bags.
As the show progressed, the narrative deepened. Hardcover book-shaped clutches suggested themes of memory and heritage, while padded leather trench coats reinforced Bottega Veneta’s mastery of quiet luxury through craftsmanship. Together, the collection affirmed the house’s distinct identity—where structure, material innovation, and understated wit converge.
editorial Donggil Lee | visual Jinwoo Hyun
@newbottega@voguerunway
#BottegaVeneta #Fall2026 #RTW #MilanFashionWeek
