Rejina Pyo makes clothes that she wants people to live their lives in. The London-based fashion designer grew up in Seoul and began her career working for a large South Korean retailer before moving in 2008 to London, where she enrolled at Central Saint Martins. In 2014 she launched her eponymous label. Over the past eight years, her unique blend of pragmatism and playfulness has acquired a devoted following. Her clothes are sculptural, elegant and designed to be worn again and again. They’re also, put simply, really fun—full of punchy color contrasts and sly signature details like mismatched buttons. 

Rosalind Jana: How do you want people to feel when they wear your clothes? 

Rejina Pyo: I really want them to feel themselves. There’s nothing worse than looking like the clothes are wearing you, rather than you wearing the clothes. The clothes are there to enhance, and give you strong armor. 

RJ: Tell me about a fashion memory from your childhood that left a lasting impression. 

RP: My mom was a fashion designer. I was fascinated by her sketchbook. I tried to draw like her—these beautiful pencil drawings—but she didn’t want me to do anything fashion-related, so she used to hide them. We had lots of fabrics in the house because she was making cushions or clothes. I would wrap those fabrics around me and walk up and down the living room as if it was an haute couture dress. My mum dressed me in vintage clothes, never the same as other kids. Imagine wearing a brown linen dress that comes to the ankle with knee-high boots, when other children are wearing cartoon character jerseys or sweatpants. 

RJ: When it comes to a new collection, some designers begin with color or structure or mood. What’s your starting point?  

RP: Usually, I start with a mood: what I’m trying to communicate, or a feeling. I think it’s better to start this way rather than being like, “this collection is inspired by this architect.” It’s vague in my head, so then I research more and try to articulate those feelings and transfer them into visual images. That’s when the color and details and silhouettes come in. People ask me a lot about color palettes, but I’ve never used industry forecasts. It’s usually a very personal, inventive process. I need to get excited. There are like 50 shades of orange, for example. They need to speak to each other between the colors, and then the harmonies come. 

RJ: Your work often references different art forms. Are there any artists that you find yourself frequently returning to? 

RP: Recently I went to see Isamu Noguchi’s exhibition at the Barbican. He was my main inspiration for a long time, especially for my graduation project at Central Saint Martins. Seeing his work in person made my heart beat again. I just love the simplicity and timelessness of his sculptures, and how they developed into lighting: things like that, which bleed through into people’s lives. I also love Angela de la Cruz’s work. She does amazing things with canvas, which is considered a 2D form, but then she would make sculptures out of it. 

RJ: You showed your Spring/Summer 22 collection at the London Aquatics Centre. Are you happier on land or water?

RP: Definitely water, no hesitation. I dream of living by the sea, watching the sea, swimming in the sea. I feel so happy there.