While we live for the hype and hysteria that surrounds London Fashion Week, it often feels like we’re travelling on a high-intensity hamster wheel that’s taking us everywhere but nowhere truly special. Emerging designer Min-Ji Kim’s appointment-only showroom event at LFW in February was the exception to that rule. Showcasing her F/W 25 collection “Participation” , Broke had the opportunity to look close-up at the craftsmanship and details used to create an assemblage of pieces defined by stunning silhouettes, the most gorgeous array of differing fabrics and a vibrant colour palette.
On a planet where humanity has become increasingly hostile towards its natural environment and other humans who don’t comply with an outdated gender narrative, Min-Ji Kim is a shape-shifter who marries environmental empathy with an avant-garde aesthetic to give us clothes free from the toxicity of both over-production and societal stereotypes.
Creating garments that become a dialogue between form and feeling, Min-Ji Kim not only crafts clothes but also crafts emotions. Navigating a fashion landscape where the avant-garde and commercial viability can often seem polar opposites, Min-Ji has remained true to her genderless, experimental ethos while appreciating that fashion is a business and that no business survives or thrives unless it recognises that reality.
Her pursuit of fashion as a career wasn’t a straightforward one but a natural evolution that drew her symbiotically to the medium she loves and does so well. As Summer arrived, Broke sat down with Min-Ji to ask her about a journey that took her from industrial design to the fashion industry, about the ethical ethos and inclusive intentionality which defines her work, and her plans for the second half of the year…
We loved “Participation” , your F/W 25 collection. Can you tell us what inspired it?
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.
I’m consistently drawn to sportswear as a recurring theme in all of my collections. Having been quite involved in sports growing up, it feels like a natural influence for me. I also love the broader idea of sports as a unifying force—bringing people together—which is a concept I hope to translate into the fashion space as well.
It showcased by appointment at London Fashion Week which gave us the chance to look closely at the designs and details. Can you tell us about the crafts and processes you used to make “Participation”?
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.
How exciting and rewarding was the experience of showing for the first time at LFW?
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.
Sustainability and collaboration are central elements in your brand identity. In what ways do they appear in your work?
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.
If my expertise is in textiles, collaborating with someone skilled in another craft only strengthens the final collection. I truly believe that working with different people in the industry makes a collection stronger, and I see collaboration as an essential part of my creative process moving forward.
Going back to the beginning, what was your journey into fashion and what inspired you to choose it as your medium?
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 colour. 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.
That choice led to you studying at LCF and interning with Sinead O’Dwyer, Talia Byre and Supriya Lele who you also worked for as a knitwear designer. How did those experiences help form your distinctive creative vision?
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. From 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 realised that production development was an area I didn’t fully understand.
You design clothes that aren’t constrained by outdated gender stereotypes. In these times when the non-binary community is under such threat how important is that to you?
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.
Are there any challenges in having an avant-garde aesthetic and also being commercially viable?
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.
How do you want the person who wears Min-Ji Kim to feel about themselves and the world around them when they wear your pieces?
I want the person who wears Min-Ji Kim to feel unapologetic—free, bold, and powerful. I love using bold colors and strong silhouettes because they draw attention, but wearing them takes someone who isn’t afraid to be themselves and embrace their individuality. Growing up in a conservative society and family, conforming was often emphasised, but my garments serve as away to break free from that. I don’t want to look like everyone else, and I think that’s why I’m drawn to bold silhouettes and colors—they allow for self-expression and encourage standing out rather than blending in.
Are there any public figures you’d love to see wearing your creations and why?
I’ve loved Lady Gaga since I was a young girl. I vividly remember watching her music video for Bad Romance and passionately dancing along. What I’ve always admired about her is how she has never conformed to societal standards, especially at a time when that was such a bold statement. Her unwavering support for the LGBTQ+ community, speaking out for them early in her career when it wasn’t widely accepted, is something I truly respect. I find her courage and authenticity are incredibly inspiring. I would absolutely love for her to wear one of my garments, and I’m manifesting that moment one day.
As we move into the second half of 2025 what are your ambitions and aspirations for the rest of the year?
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.