In our conversation with Jay Songzio just a few months ago, we learnt how the starting point of any Songzio collection is a painting, a visual image that can light the path and guide the way into what will take shape as a brand new narrative that will still be cohesive with the already existing universe. For this season it seems that what started with an art piece also ended as an art piece, and that the initial painting used the fabrics, the silhouettes and the details to gain movement and volume, turning into a sculpture in motion. As always with Songzio, the chaos has order, the deconstruction leads to a clever reconstruction, and the past and the present collide with an avant-garde grace.
The structural complexity of the Eiffel Tower seen outside the window and the straightforward universal efficacy of a sphere constructed by segments on the inside of the room. The dichotomy between these two structures is an accurate way of representing Songzio's most recent proposal, where the complexity and intricacy of the final result are based on a much more organic and natural approach of dividing it all into parts. Polyptych refers to the multi-panelled paintings whose fragments reveal different parts of a single story, just like in the garments, where each piece of a pattern is meant to unite with another to become what dresses our bodies day by day. In the beginning the sphere and the Eiffel Tower were the same, just pieces, and it's in the construction where the true nature of the craftsman, and therefore, of the final piece is revealed.
From the pieces of fabric, cut one by one and reworked together, where some were shaped like panels while others kept the form of the pattern, an infinite number of combinations can be born. It's a technique that's waiting for the medium to take a specific shape, volume, consistency and flow. Certain musts of Songzio essence ensure that the final result will be true to its aesthetics and values, like their determination of avoiding any straight shape, cut or seam and the subsequent predominance of bias cuts that add that avant-garde, nonchalant fluidity that Asian brands always excel at. 
But from there, the choice of materials, where solid, compact fabrics in equally solid colours coexist with light, transparent and airy ones, work in the same way as different materials have different results when working on a sculpture; those made in metal or iron are heavy and sturdy, while others made in paper can be blown with a single breath. Here also comes into play the colour palette, where the earthy, dark and bright colours add visual weight to the garment, while the more pastel and romantic shades make them look completely weightless.
The unique shade of vermilion is, according to Jay, the star and the key colour of the season, as seen on Seonghwa from Ateez, a friend of the house who turned from front-rower to runway model for this season, but the black section of the collection is always worth highlighting, showing how well the brand handles the contrasts of textures and proportions to create clarity and beams of light in the complete darkness. It's in some of this look where we find how references to Korean traditional clothing like the hanbok coexist with notions coming from the Western armours, separated at the joints to facilitate movement.
As a Korean brand from a family with a deep connection to Paris, this conversation between East and West is ever present and leads to not only a cultural richness that is evident in the final result of every single one of their shows but also to a reflection about tradition and modernity when even the most ancient and historical references can birth a present-ready and even futuristic result. A set of moving sculptures, each one a single panel, that, one after the other, narrate the new story written by Songzio.
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