Our methodology is that of bringing the studio aesthetic to the street, and trying to link items of clothing as cultural texts to the cultural geography that surrounds and creates it. That's 20 seasons and a lot of boring, mechanical shooting. While it's seemingly glamorous and cool, it's mind-numbingly boring and repetitive. Photographically speaking, it's where creativity goes to die. And this w
as the season, this year of 2017, that I decided three things:
1. Street is now more important than runway, not only in SFW, but in the fashion weeks across the world.
2. Since SFW is even less established than other fashion weeks worldwide, but subject to the same shifts in emphasis from runway to street, slow to fast fashion, haute couture to pret-a-porter, this is why the balance of power has shifted even more severely in Seoul's case. The New york Times and Vogue have covered SFW in recent years, but with nary a shot of a runway. It's all been the street fashion scene that attracts the world's eye.
3. It was time to take the street fashion scene here seriously, and not just treat it as "snaps" or an easy afterthought to the main runway events, treating the street like a runway unto itself.
