by Brian James
Flanelle had the pleasure of viewing emerging designer Min-Ji Kim’s F/W 25 collection “Participation” at London Fashion Week back in February. Showing by appointment in a tranquil environment far removed from LFW’s usual high-energy histrionics, it gave us the opportunity to examine the craftsmanship and explore the story behind each piece.
That storied sensibility manifests itself in creations which transcend gender and offer a welcome antidote to a genderist agenda which seems to increasingly dominate society. Clothing that’s visually and societally fluid “Participation” entranced us with its stunning silhouettes and beautifully bold colour palette
Min-Ji Kim’s desire to share world-building stories is aligned with an environmental empathy that seeks to limit the damage done to our planet through the use of deadstock yarn and a limited production process. The varied threads which coalesce to form the Min-Ji Kim brand identity were evidenced in every stitch and seam of this latest collection. A collection that spoke to the designers background in textiles through the richness of the textures and differing fabrics used. Added to this free-thinking philosophy is an impressively intentional approach to pattern cutting which ensures that her creations can be worn by multiple body types as well as those who wish to identify in whichever way they choose.
Flanelle caught up with Min-Ji a couple of months after London Fashion Week to ask her about that experience , about the values and vision which underpin all she does and her future aspirations.
Congratulations on your F/W collection “Participation” which you showed by appointment at London Fashion Week. Can you tell us what inspired it and how those influences manifested themselves in the pieces we saw?
Thank you! Participation was a collection I worked on for a whole year. I drew inspiration from the history of women’s involvement in sports, beginning in the late 19th century, this piece celebrates the progression from passive observers to active participants. Early female athletes often started by forming teams, watching from the sidelines, and gradually gaining a foothold in sports that had long been male dominated. Silhouettes are influenced by sports such as golf, horseback riding, and football, where women once wore skirts as part of their participation in these activities.
Using crafts such as felting, patchwork and knitwear gave the pieces a richness of texture we loved. Can you talk us through how you used these crafts to make the pieces and construct the stunning silhouettes we saw at the showroom?
Yes, of course! With my background in textiles, knitwear has always been a central focus of my work, and it’s where I begin every collection. For Participation, I used crafts like knitwear, felting, and patchwork—techniques traditionally associated with women’s activities in the late 19th century. I reimagined each garment’s silhouette by deconstructing and distressing it. For example, I dyed and felted the trousers to create muddy, worn effects, symbolizing the physical marks of active participation in sports. These techniques helped bring a rich texture to the collection, while also reflecting the journey and resilience of women in sports.
Showing “Participation” by appointment gave us the opportunity to really appreciate the craftsmanship and detail. How important to you was telling the story of your work in an environment that was calmer and less frantic than the usual Fashion Week settings?
It was a really great experience. Meeting some of the influencers and wholesalers in person felt incredibly meaningful, and building that personal connection—even after the event—was both important and rewarding. Having the opportunity to talk with them about what inspired the collection and walk them through each piece was amazing. It was definitely a new experience for me, as it was my first time having a showroom during London Fashion Week.
Your creative vision is aligned with an ethical ethos. Can you tell us about the sustainable practices you used in the making of “Participation” and in your previous collections?
Sustainability is incredibly important to me. With my background and education in textiles, the importance of being as sustainable as possible was instilled in me early in my career. I often work with deadstock yarns, which present unique limitations in production. Many of the pieces I’ve created were shaped by these constraints, requiring me to think carefully about the silhouette—something I found to be a rewarding challenge. While transitioning these pieces into production can be difficult, I also appreciate the result: limited-edition garments where each piece is slightly different. That uniqueness adds real value and character to the work.
Turning to your own story, what were the influences and experiences that fostered your love of fashion, and what was the catalyst that led to you coming to study at the London College of Fashion?
For a long time, I felt quite lost. Unlike many of my friends and colleagues, I didn’t have a clear childhood dream of working in fashion. I wasn’t sure what I wanted to do for a long time. I was accepted into RISD for my BA thinking Industrial Design was the right path, but during my foundation year, a professor—who had previously led the Industrial Design department—told me that it might not be where my true strengths lay. That prompted me to reflect more deeply on what I was naturally drawn to, which led me to discover my affinity for tactility and color. That discovery brought me to textiles.
As I continued to grow creatively, I realized that what I loved most was creating world—building stories and emotions through material. I found real joy in placing the textiles I developed onto the body, where they could be fully experienced and emotionally resonant. The body became a powerful canvas that brought my concepts to life. That realization led me to pursue fashion, and I quickly fell in love with it. I’m drawn to fashion as a platform for storytelling, self-expression, and emotional connection—it’s truly a one-of-a-kind blend of art and humanity.
In what ways did studying at LCF and exposure to London’s culture and style influence the development of your design aesthetic?
I really loved my time studying at LCF. It helped me solidify my personal style, understand what I’m naturally drawn to, and shape my creative identity. My MA collection was a true exploration of those elements, and I think that journey is reflected in the work I produced. Now, I’m focused on refining that vision—honing my aesthetic and translating it into more cohesive, succinct collections as I move forward in my career.
While you graduated with an MA in Womenswear you design garments that explore gender and aren’t constrained by outdated gender stereotypes. How liberating and rewarding is it to design without those constraints, particularly now when the non-binary community is under such threat?
What is happening with the non-binary community is incredibly saddening, and I truly hope, and believe, that we can create change—where the community is no longer under threat and can exist in a safe and supportive space. I believe that the more people speak out in defense of trans rights, the closer we come to making that change a reality.
For me, designing garments with inclusivity in mind is incredibly liberating. When creating my pieces, I always fit them on both male and female models to ensure they work across different body types. I intentionally approach pattern cutting in a way that accommodates both, such as lowering armholes and incorporating oversized silhouettes. I think it’s crucial to be as inclusive as possible, especially as I personally enjoy wearing clothing traditionally marketed as menswear and oversized styles. I also appreciate that when stylists reach out to me, my garments can fit a wide range of sizes. Clothing, to me, is meant to be inclusive and liberating for everyone.
After LCF you interned with Sinead O’Dwyer, Talia Byre and Supriya Lele with whom you subsequently worked as a knitwear designer. What did you learn from those experiences and what lessons have you taken from them into running your own brand?
From my experiences interning with Sinead O’Dwyer, Talia Byre, and Supriya Lele, and later working as a knitwear designer for Supriya Lele, I learned invaluable lessons about the creative process, from concept to finished garment, as well as the critical importance of production. When you first graduate from university, it’s easy to focus solely on designing clothes, but I quickly realized that production development was an area I didn’t fully understand.
Now, in my current role in product development, I’ve gained a deeper knowledge of budgeting, making designs commercially viable, and the importance of negotiating and building strong relationships with factories, vendors, and other key partners. These lessons have been instrumental in helping me run my own brand.
Are there any difficulties in having an experimental creative vision and also being commercially viable, and how do you balance both?
Balancing an experimental creative vision with commercial viability is something I haven’t perfected yet, to be completely honest. I find ready-to-wear to be especially challenging, as I tend to gravitate more toward the avant-garde. However, it’s a beautiful challenge that I truly enjoy.
To find that balance, I try to think about what I would buy if I were walking into Selfridges or another store—what pieces would catch my eye, what would I want to wear, and what would excite me as a consumer. It’s also crucial to study what people actually wear and consider their preferences as customers. Understanding the customer mindset is key to creating pieces that resonate both creatively and commercially.
What are your plans and aspirations as we move towards the second half of 2025?
As we move into the second half of 2025, I plan to release another collection for SS26 and continue to grow my presence here in London. I’m considering joining London Fashion Week for my SS26 collection, and I’m really excited about the possibility! The fashion scene here is incredibly inspiring—the energy, the emerging brands, and the endless opportunities it presents. I’m drawn to the diversity of designers and aesthetics, from punk to minimalist to avant-garde, and I feel this environment offers the perfect space for me to find my footing. My goal is to establish myself more firmly in London, should the opportunity allow, and continue evolving as a designer.
Displaying a fashion oeuvre that’s seen her clothes worn by global celebrities like Ann-Marie and Isyana Sarasvasti ,along with some of the coolest humans defining our cultural climate, Min-Ji Kim is honing a visual vocabulary that’s already enchanting us with mood-lifting looks. Designs that are constructed with a flawless attention to fabric manipulation and whose creation is imbued with a conscious intentionality.
Her impressive array of artisanal techniques is accompanied by a mastery which goes beyond what thrills the eye. It’s a design aesthetic where consummate craftsmanship is married with a fashion philosophy that while achingly avant-garde , also appreciates that a level of commercial viability is needed not only to survive but to also thrive in what can be a rocky retail landscape.
That maturity aligns with a maturation of ideas to bring us exciting and exceptional pieces that leave us thinking Min-Ji Kim is a designer who very much deserves our participation in her evolving fashion story.