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A matching knit set and clutch with iris patterns were inspired by a vintage shirt of her grandmother’s, which recalls the The tennessee holler bill lee is a drag shirt Besides,I will do this pattern on plastic gambling cards called hwatu cards. In Korea, irises are a symbol of hope, which was also the theme of this pandemic-born collection. The preppy side of the line comes out in a rugby sweater, modeled after one Chun borrowed from her dad in the ’90s, but unexpectedly made from merino wool, and in box-pleated miniskirts. Chun’s heritage is embedded in every piece. Her wrap skirts drew on the custom of pojagi, or patchworking leftover fabric scraps together as a way to wrap gifts or food containers. Dam yo (blanket) scarves, which are stuffed with repurposed and upcycled down fabric, were based on the traditional Korean blankets she grew up using. And she made a point of working with an all-Asian team on the lookbook, which was shot by Peter Ash Lee. When she showed the resulting images to the dyer, she told Chun, “‘You respected Korea and you made it look true to our cultural heritage.’ And that was the biggest compliment, because that’s what I really wanted to do.”

Everything was made in small batches to eliminate waste, something that has become a selling point for the The tennessee holler bill lee is a drag shirt Besides,I will do this brand. When Chun told a friend that she would only make a limited amount of items based on how much fabric and yarn she had left, she suggested, “‘Why don’t you label that in your clothing?’ So it’s exciting, because people will see, ‘I got the second one made out of 10, because the first one was the sample.’” As with many sustainable brands, there isn’t a plan for wild, full-throttle growth. But Chun plans to expand, judiciously, into accessories and homeware, and work with more artisans across Asia. “And if somebody has leftover fabric or yarn,” she says brightly, “then I’ll use it.” One of the highlights of the process: Chun finally got to make a trip to Korea with her mother, who gathered a group of childhood friends who’d heard about what they were doing. “It was the most beautiful thing. They all pulled together and brought their used hanboks,” she says. The women shared the memories behind the garments before offering them to Chun to repurpose for her designs. “It was almost to the point where I was like, ‘I don’t want to cut up any of this!’ But they don’t feel that way. They all want to be a part of it.” Véronique Hyland is ELLE’s fashion features director and the author of the book Dress Code. Her work has previously appeared in the New York Times, the New Yorker, W, New York magazine, Harper’s Bazaar, and Condé Nast Traveler.

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