As a self-proclaimed creative designer—opposing the label of fashion designer or architect—Siki Im positions himself within the fashion industry as more than a producer of textiles. By proposing that fashion is something emotional rather than just a piece of apparel that a consumer buys, wears, and then eventually disposes of, his brand works symbiotically with his passion for intellectual research, modern technology, but, moreover, the humanity of his designs.
An interesting comparison Im discussed in his lecture was his influence by Merce Cunningham and modern dance. Ballet is about hierarchies: the order of the dancers within a dance, their harmony, and the linear presentation of a story. Merce Cunningham, who came on the scene on the cusp of the late modern period of this shift in the dance world, controversially offered that the subject of his choreography was to deal with the relationship between dance and music, which occurred in the same place as time and space. The dancers could cohesively appear o n stage, but still remain independent of one another. Notably, in his choreography, his dancers do not necessarily represent any specifically historical figure, emotional situation or idea. Ultimately, there is a passion for exploration and innovation, which was a result in the application of new technologies to the arts.
Siki Im’s designs, like modern dance, reflect elements of abstractionism, hyper reality, and a product of philosophical and academic research. Additionally, in Im’s SS15 fashion show HUMAN/MACHINE, the presentation of his designs were choreographed in a cause and effect, climax and anticlimax manner, which resonates with the aesthetics of the modern dance. Styling his models to first wear al the designs layered so there is no single point of attention, and then the final walk highlights just one garment. The movement of the male models is like dancers, and anything can happen in the space in which is created.
Siki Im’s interdisciplinary approach to his fashion designs allows his clothing to not just be a fixed item, but there is a constant movement and development. Technology has taken over our daily lives and has reconstructed the human interaction. There reality is that we are all independent beings connected through these technologies, but there still lays an emotional connection to one another. Like modern dance, which the flowing aesthetic is present in his designs juxtaposed with the controlled choreography of the fashion show, fosters the sense of expression through a choreographed movement. Fashion in actuality is concrete in the production, but Siki Im’s perspective exposes the dialogue between modernism and art.