This article originally appeared in ‘Hypebeast Magazine Issue 33: The Systems Issue.’

---

The first time South Korean designer Jiyong Kim encountered sun-bleaching, he was walking through Seoul’s fabric markets on a hunt for inspiration. At the time, he collected vintage denim and military pieces, but a chance encounter with a trench coat changed his life’s trajectory. The jacket had been displayed out in the sun for months and developed a faded pattern, unlike anything he had seen before. That lightbulb moment eventually led to his eponymous brand’s signature aesthetic. Where others saw defects, Kim saw the beauty of imperfection. By harnessing the power of sunlight and the elements, he realized he could use their effects — discoloration, roughened textures, one-of-a-kind patterns — to treat his clothing designs, yielding startling results.

While studying at Bunka Fashion College and Central Saint Martins, Kim worked at LEMAIRE, Louis Vuitton (under the late Virgil Abloh), and Maison MIHARA YASUHIRO, simultaneously honing his own design practice. He officially launched his own brand, stylized as JiyongKim, in 2021 after the Tokyo-based shop GR8 bought almost the entirety of his thesis collection. Eventually, shops like Dover Street Market, MR PORTER, and 10 Corso Como began carrying his weather-warped wares.

As Kim’s label has grown, he’s refined his experimental treatment practice, getting it “down to a science.” After extensive lab testing, he knows how certain fabrics will respond to various weather elements, and the creation process of a given collection becomes something akin to a field trip. For Kim’s latest collection, his team traveled to the countryside a few hours away from his Seoul studio to find the best natural environment for sun-bleaching. The designer has also created clothing during the winter in sub-zero temperatures, as well as during the thick of summer when the fabrics get hit with scorching heat and heavy humidity. Depending on when and where the process takes place, asymmetrical markings, geometric patterns, and blended or faded colorations will form on the clothing.

Everything the JiyongKim label releases is one-of-one, and specific designs take months to be fully treated by the elements. Kim is patient with his process and is adamant about letting nature take its course. His innovative, sustainability-minded approach is as singular as the patterns on any given garment, a bespoke method that’s as organic as a ray of light.

Can you tell us about your brand’s origin story? How did you get into fashion?

Jiyong Kim: As a young kid, I really wanted to express myself through fashion. Growing up, no one wore high-end clothes in South Korea, especially men. Fashion in South Korea 20 years ago was not like it is now. Since high school, I’ve collected vintage Levi’s, workwear, and military pieces. Some of my favorite designers graduated from Bunka Fashion College in Japan, influencing me to attend the school. There, I learned a lot about technical skills like sewing a good quality garment, but the school lacked the creative support I wanted. So I moved to London to attend Central Saint Martins. I was not young like my classmates, so I felt the need to prove myself. But I always dreamt of being a creative director and launching my own brand, and this was the path towards achieving that goal.

How did the idea of sun-bleaching come about? When did you know that using elemental treatment techniques would be something you’d make a signature part of your practice?

My relationship with sun-bleaching came from seeing it on discarded material. I loved going to flea markets and finding vintage materials that were exposed to the sun and beautifully striped. No one else thought these pieces were beautiful, and they’d just throw them away. But I liked the imperfections and didn’t want to see them fixed.

I continued to collect vintage pieces and fabrics and began testing the sun-bleaching technique during my studies at CSM. So when it was time for my final project, I was ready. I wanted to bring a new idea into the fashion industry that was very sustainable and unique. Also, I had not seen the technique used by any other brands.

How do different climates, weather conditions and temperatures affect the pieces?

Everything is done by nature. Every garment is a one-off piece because the bleaching differs depending on the season and the sun’s strength. The color seen on the pieces can only be achieved by sun-bleaching and I think that’s what makes our brand interesting.

Wind gives the colors tons of layers, whereas bleaching with acid is restrictive. With sun-bleaching and putting the fabric outside, it becomes susceptible to the movement caused by wind. As the fabric keeps moving in tandem with the sun-bleaching, it creates a layered, contrasting effect. Depending on if we hang the fabric or put it on the ground, it will have a different texture, too. On the ground, sand or small particles will be blown onto the fabric, giving it a different effect, as well.

You’ve expanded your designs to include knitwear and denim. What are the specific challenges you have encountered working with various fabrics?

Since we work with retailers and stockists, we only have a certain amount of production time, so everything is down to a science. We’ve done years of testing and experimenting before the designing stage, so we already have the full factory data about which fabrics work, how they respond to the sun-bleaching process, and which we can use for each season.

But for certain pieces, like the ones made of denim, we decided to bring a new way to present the idea of sun-bleaching. On the back, there’s still the sun-bleaching effect that can be recognized as JiyongKim, but we also use a washing effect that gives off a similar impression.

Are you afraid of repetition with the sun-bleaching patterns?

It’s not something we’re worried about. I think our technique is really developed. With sun-bleaching, there’s always a new silhouette and creative pattern-making around the corner. We also hold exhibitions so that we can explain how our process works and share our experiences. It’s more enjoyable to interact with people and help them understand how we create our final products instead of just hosting a pop-up to sell clothes. By calling them “exhibitions,” we also project the idea that this is art instead of just clothing.

Sustainability is a significant component of your design intent. In this day and age where “throwaway culture” is so prevalent, how do you hope your brand will change how people see sustainable fashion?

I want to change the perspective of discarded material and what people deem as not having value anymore. When people buy our brand, they appreciate the time it takes for the final product to arrive. They know each piece is one-of-a-kind and cherish it for years. So, I think in that way, there’s sustainability in that mindset.

Outside your brand, you’ve worked at LEMAIRE, under Virgil Abloh at Louis Vuitton, and at Maison MIHARA YASUHIRO. What’s been the biggest takeaway you’ve carried over to your own practice?

I experienced lots of different styles, unique tastes, and working environments. For example, at LEMAIRE, I learned so much about paying attention to the smallest details. At Louis Vuitton, it was all about craftsmanship, but on a much larger scale so it was very different. I enjoyed working at both, but it made me want to have my own brand even more. I wanted to put my own name out there.

Are there any other designers who utilize sun-dying or elemental treatment processes, or is JiyongKim in a lane of its own?

I see a lot of brands use the term “sun-bleached,” but it’s not the same technique. We take it as a positive because now everyone knows sun-bleaching and it has become a new aesthetic. We aren’t afraid of the competition because no one else can do this like us. We’re doing the opposite of what the rest of the fashion industry is doing. Nowadays, you have to make everything fast and you have to find it easily. We embrace the exact opposite.