MinGi Song's graduate collection SUR-, a Bird from Surrealism is based on two main sources. First, it referred Bar-Jacket which energised the fashion industry after WWII. MinGi focus to borrow the historical symbolism of New Look. Due to Bar Jacket has construction of female body, it had to be transformed into male body-shape. Work was done to replace the womenswear pattern cutting and interlining research that can maintain the hourglass shape of Bar-Jacket. Furthermore, adequate sewing techniques were applied, depending on the fabric. To avoid seam line crack on surface of silk, fusing was used on all seamliness.
 


The surface of the red dress worn by women in the painting named the robing of the bride by Max Ernst is seems tactile. This is depicted by unique method he developed independently, and also the surface created by the technique contains Surrealism’s essence. By focusing the fact, the collection chose delicate fabrics, silk and organza as main fabrics. Moreover, the fabrics which has tactile and translucent attributes indicates metaphor of sexual depiction pursued by Surrealism.
 
 
The image of the bird was borrowed because of A sense of freedom when the bird spreads its wings. According to film theory, the image of extending from a certain place in all directions presents a kind of ecstasy. Also, while studying bird wings, MinGi focused on achieving visual aesthetics through feather arrangement and scale gap. The paper feather was worked by scraping the surface Korean paper, Hanji. The collection mainly shows colourful feathers based on sexuality of Surrealism.
 
 

This is MinGi’s final line up. Paper feathers were invented by collaboration with sculptor Seong Mi Kim. He conducted collaboration as attempting to combine fashion with other genres. Although, outbreak of Covid gave him a challenge, it was a great chance to develop his own design methodologies. His collection and design has been influenced by aestheticism so that MinGi referred mainly haute-couture and various artworks.



 
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