LCF25: From Hackney Wick to LFW Runway - The Evolution of Haru Kim’s Collection POW!

Your collection combines cultural, linguistic, and environmental elements. What was the moment or experience that sparked the idea for this project?

I still remember my first day walking to uni after enrolling. As I walked from Hackney Wick Station, I was surrounded by colourful graffiti everywhere. The excitement of starting at LCF, combined with this artistic experience, made it an unforgettable moment. Although I’d seen graffiti in Korea, I’d never been in a space where it completely transformed the atmosphere. Seeing graffiti in English made it even more intriguing. Initially, I thought it was just artwork, but I soon realised they were words. That moment made me realise graffiti could be the perfect tool to express my voice as a designer.

Did studying at East Bank Campus, amidst East London’s vibrant street art and graffiti, inspire your collection? If so, how did the environment shape your vision?

Absolutely! I feel incredibly lucky to have studied at East Bank Campus. Walking to studio every day, I could explore newly painted graffiti and often encountered street artists, which naturally influenced my project development. As a foreigner, understanding local culture can take time, but living in East London and experiencing it daily helped me adapt quickly. I saw incorporating East London’s unique vibe into my work as a special opportunity as an LCF student, and I aimed to make the most of it.

How did your collaborations with East London graffiti artists influence the direction of your collection?

I had no prior experience with graffiti and knew very little about it, so gaining a deeper understanding was crucial. At first, I read books and did online research, but my tutor insisted it wasn’t enough and encouraged me to interview artists. I was nervous—my English wasn’t great, and approaching them felt intimidating—but I eventually built up the courage. The artists were incredibly helpful, especially in shaping my colour methodology. As I spent more time with them, even trying graffiti myself in Shoreditch and Waterloo using paper, vinyl, and fabric and attaching them to the wall which helped me gain a deeper insight into their identities and how they work. Looking back, I’m truly grateful to my tutor, as these interactions were key to my collection.

Graffiti is often a tool for social and political commentary. How have you carried that ethos into your collection?

Just like graffiti, I wanted my collection to convey messages about social issues. My goal was to create garments that act as a true “fashion language,” not just by printing words on fabric, but by ensuring the pieces themselves communicate meaning in an organic way. To achieve this, I analysed the grammatical structure of English alongside garment construction to develop my own fashion language system. For instance, conjunctions connect words, phrases, and clauses to form complete sentences—similarly, jumpsuits connect the top and bottom, creating a practical yet distinctive style. In my collection, conjunctions take the form of jumpsuits. Using this system, I expressed statements about environmental issues through my designs.

What were the biggest challenges in transforming 2D graffiti into 3D wearable forms, and how did you overcome them?

Simply wrapping 2D graffiti around the human body inevitably leaves empty spaces. To address this, I overlapped padded letters to naturally fill in the gaps. As a result, the graffiti alphabets gained depth and volume, allowing for a more dynamic expression. To enhance the effect even further, I strategically added extra padding to the printed areas, making the letters stand out more prominently. This approach not only solved the spatial challenges but also transformed the graffiti into a bold, three-dimensional wearable form.

Sustainability is a key element of your work. How did you incorporate recycled fabrics and environmentally conscious practices into the collection?

I aimed to make my collection as sustainable as possible by using eco-friendly materials. I sourced a supplier that provides digital printing on recycled fabrics, ensuring that all textiles used were fully recycled. I also put effort into finding sustainable wadding for the padding. While I couldn’t use 100% recycled materials for elements like zippers and snaps, I’m committed to replacing them with sustainable alternatives in the future. As a designer, I believe it’s crucial to be aware of and take responsibility for these issues, and I will continue striving to improve in this area.

Quick Fire Round:

Favourite piece in your collection?

I absolutely love the "THINK" jacket. I did numerous experiments to create channels where the letters could pass through and made multiple toiles. It's a large piece, so the sewing process was really challenging, and it required the most time and effort. Through this collection, I hope to encourage people to 'think' about the environmental issues we’re facing, and I believe this jacket truly represents the core garment of the collection.

A graffiti artist or fashion designer who inspires you?

Katharine Hamnett.

Best piece of advice you’ve received during this project?

"Come to the studio every day and work. Be dedicated." – From my tutor.

One word to describe what your collection represents?

Communication.