Heohwan Simulation

Even in the midst of the ongoing continental European fashion shows, there’s a surge of anticipation for what groundbreaking-loving London may have in store for fashion agendas.
There are a number of designers whose names have been fluttering around the Internet and on people’s lips across continents.
One of the most highly anticipated protagonists of this year’s edition is Hwan Heo, a London based Korean designer. During his studies at the Royal College of Art, from which he graduated in 2007, Heo had begun the development of his brand. After three years, Heohwan Simulation was finally conceived in 2010. His work has not only called the attention of bloggers and cool hunters, but also won different high profile design awards like the Umbro Sportswear Competition.
Hwan Heo’s vision extends beyond the mere realization of seasonal collections, which would remain as fleeting instances of cyclical diversification in the memory of those who see fashion nowadays. His intent is to “showcase decade projects” – collections and themes that will smoothly flow without inhibitions throughout our times and gently form this decade’s stylistic persona.

His looks have been called experimental, flaunting characteristics that ensue from an original background in menswear. His artwork, which takes inspiration from fashion history and the phenomenons within this topic, sculpts the basis for the theme of his collections. The ultimate aim is to “approach key silhouettes through an aesthetic angle” rather than the usually over-saturated visual perspective.
His past collection, SS 2012, produced geometrically sculpted silhouettes that play with different key textures, from stiff materials to translucent textiles. Most of the pieces had a three-dimensional factor that, unexpectedly, caught the eye off guard; metallic and plastic embellishments played along those lines, proposing even more attention to the detail in the seemingly simple, yet intricate cuts.

The minimalistic use of black and white more as canvases rather than colorful (or colorless, to some) additions, brings us back bittersweet memories of the turn of the century’s affair with the “less is more” ideal – in a purely sophisticated and avant-garde manner. The deceivingly random locations of the zippers only help these canvases gain a more relaxingly complex feel, creating layers out of thin air and destroying the potential symmetry that could have existed once upon a cut. The planned indecisiveness of the lengths and widths, on jackets, skirts and sleeves, hint at the same soothing aftertaste that (the now sadly “dematerialized”) Margiela used to give to his audience after every show.
Spectacular cuts and intelligent thoughts aren’t all the ingredients that drive this designer’s ideas into innovative conclusions. However, at this moment in time we can only admire his pieces through our screens in anticipation for the moment of Heo’s next presentation.