In a series of photographs, fashion designer Ashlynn Park’s creations are flattened and folded to form neat, abstract shapes. They don’t quite resemble dresses, jackets, or skirts, and their two-dimensional presentation keeps you from imagining what the pieces look like when worn. Instead, your eyes are drawn to the details: the pleats of a blouse, the gentle curve of a neckline, or the colour of a button. Unwittingly, you find yourself stopping to appreciate the craftsmanship of Park’s clothes, like a visitor in an art gallery.
These photographs, shot by Sarah Blais, make up the Spring/Summer 2024 campaign of Park’s fashion label, Ashlyn. The campaign, as with the collection, was inspired by the works of the artist Claire Watson, who takes apart leather clothing and assembles the pieces onto a canvas. The homage to Watson is obvious, but the campaign also highlights something special about Park as a fashion designer: she really knows how to cut and sew.
Those skills have taken Park places. They took her from her homeland of South Korea to Japan, after she won a scholarship to pursue her master’s degree at Bunka Fashion College. They put her in the spotlight when she won Japan’s prestigious Soen award for fashion designers in 2008, and they eventually led her to work for the revered Yohji Yamamoto as a pattern maker.
Park spent her first year at Yamamoto’s studio in Tokyo doing one thing: sewing. Only later did she have the opportunity to create her own patterns and designs, and even then, restraint ruled. Yamamoto would question his uniformed staff about every single detail they added to a garment, and remove them if he found them unnecessary. Through this training, Park learned to create clothes with intention and the utmost consideration.
She added to her design experience when she moved to New York in 2011, joining fashion brands like Proenza Schouler, Khaite and Calvin Klein, then led by Raf Simons. It was in this city, sometimes referred to as the art capital of the world, that Park launched her fashion label, Ashlyn.
“When I started the brand, I didn’t feel completely prepared,” recalls Park. “Moreover, whether or not others recognised my efforts was inconsequential. Every day, I dedicated myself to a single goal, confident that new challenges would foster my growth.”
Park proved to be a disciplined designer. She made her debut collection for Fall/ Winter 2021 entirely on her own, crafting and perfecting each piece by hand for two years. Working alone allowed Park’s creative vision to emerge unfettered in that first collection, with all of its delightful contradictions that continue to inform her designs.
Park’s grown-up clothes—think buttoned shirts, tailored blazers, wide-leg trousers, midi dresses—come with whimsy, in the form of ruffles and unexpected cut-outs. Her designs bear traces of historical fashion references like puff sleeves, peplums and bustle skirts, but stop short of looking like period costumes. Instead, they are wearable, easy, and versatile—essential qualities for the modern woman’s wardrobe. And because women today can do both, Park’s creations strike a balance between femininity and masculinity, incorporating graceful curves and flares as much as boxy cuts and pleats.
Those details have made all the difference. Park was shortlisted for the LVMH Prize in 2022, a year after launching her label. Her designs are now stocked at Bergdorf Goodman in New York, alongside those of the fashion brand Issey Miyake, which she previously interned for. Park’s dresses have also been bought and added to The Metropolitan Museum of Art’s permanent collection. “It was a profound honour and validation of the brand’s artistic vision,” says Park. “Being recognized by such a prestigious institution affirms the cultural and artistic value of our work.”
Park’s designs are as precious as anything that hangs in the Met, and not just because most of them are made-to-order. There is a lot of thought that goes into her womenswear, resulting in her label’s nuanced and complex vision of femininity—something that has rarely been seen in fashion since Phoebe Philo’s Céline days. Couple that with Park’s expert tailoring and craftsmanship. For the discerning shopper, dismayed by the cycles of fleeting fashion trends and Tiktok aesthetics, and shocked at the lacklustre quality of so-called luxury clothing, encountering an Ashlyn piece can feel like stumbling upon a piece of art.
“Over the past few years, I’ve learned that the way customers engage with Ashlyn is similar to how they enjoy and purchase art,” reveals Park. “We have consistently developed our designs around the concept of wearable art.”
Below, Park tells us more about her vision for Ashlyn, her first menswear offerings, and what to expect for Spring/Summer 2025.
You previously worked on the design team for Yohji Yamamoto. How did this experience shape how you approach design and running your own fashion label?
Ashlynn Park (AP): Working with Yohji Yamamoto was a transformative experience that profoundly shaped my design philosophy. From Yohji, I learned the importance of conceptual depth and meticulous attention to detail. His approach to blending avant-garde elements with wearable art has left a lasting impact on my work. This invaluable experience instilled in me a deep appreciation for craftsmanship and innovation, principles that are fundamental to running my own label, Ashlyn. I have fully integrated a rational and efficient system into my business, built around a team of pattern makers. At the studio, I emphasise the importance of this skill. Achieving efficiency in this area allows for room to experiment and innovate. It takes a considerable amount of time and mentorship to get to this level but it was a valuable and worthwhile investment.
How would you describe your approach to tailoring?
AP: Tailoring remains to be a core design technique that guides the aesthetic of the brand. My approach to tailoring is meticulous and detail-oriented. I strive for precision and elegance, ensuring that each garment not only fits perfectly but also enhances the wearer’s natural form. Tailoring is about creating a dialogue between the garment and the body, resulting in pieces that are both comfortable and sophisticated.
You introduced menswear for Fall/Winter 2024. What was behind that decision?
AP: Introducing menswear was a natural evolution for the brand, driven by a desire to offer our design philosophy to a broader audience. While the core principles remain the same, menswear requires a different approach in terms of silhouette and functionality. The focus is on creating pieces that are versatile and comfortable while maintaining a distinct aesthetic.
You tend to present your collections through lookbooks and showrooms instead of fashion shows. Why do you prefer those formats over fashion shows?
AP: The format I choose for presenting a season depends on the circumstances and conditions at the time, especially the message I want to convey. I focus on finding the right medium that can most effectively and dramatically deliver my message. For Spring/ Summer 2022, I wanted to express the emotions I endured while creating the brand through choreography, so I chose the runway as the medium. For the Spring/Summer 2025 season, I will unveil my work in a gallery. Coincidentally, New York Fashion Week overlaps with New York Art Week, and I’ve been invited to curate at a gallery.
The fashion industry moves so quickly now, often at the cost of innovation and careful craftsmanship. Is it difficult for you to work the way you do in the current fashion landscape?
AP: It can be challenging to resist the pressure of the fast-paced industry, but staying true to the brand’s values is crucial. By prioritising quality and craftsmanship, I believe we can offer something unique and lasting. While we may operate on a different timeline, this allows us to create meaningful and thoughtfully designed pieces that resonate with our audience.
What does Ashlyn offer to women that you don’t really see in other fashion brands today?
AP: My creativity is not just about novelty; it is rooted in traditional tailoring techniques and an academic approach to beauty. I place a higher value on highlighting the inherent beauty of the wearer who embraces this newness. Our goal is to create garments that are not only visually stunning but also enhance the beauty of the body. When customers encounter clothing that embodies this spirit of innovation and respect, they often express their gratitude.
This story originally appeared in the September 2024 issue of GRAZIA Singapore.
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