BEYOND THE BORDER: JADEN CHO

THE KOREAN DESIGNER IS FORGING NEW PATHS IN COUTURE, DOWN TO THE SMALLEST DETAIL

By Morgan Becker

Jaden Cho started off as a florist and set designer before cutting his teeth in fashion—and there are heavy traces of those origins in his clothing today. For one, he’s still obsessed with color and dramatic blossoms, whether they show up in a print, or as a brooch, or more conceptually (as in the negative space of this “Tulip” coat). The label’s momentum can be attributed to Jaden’s relentless desire to challenge himself: Decoration might take the form of sequins, hand-sewn one-by-one, or of layered, quilted cut-outs that pull from Korean craft, catapulting tradition into an innovative context.

As the designer grows his studio in Seoul, he stays true to his philosophies: that Jaden Cho should express romance, ease, and the beauty of the moment, and that “even the smallest element can spark something new.” Here, the emerging talent speaks on his methods, lessons learned, and the passion that will continue to drive his couture.

Beyond the Border is a series spotlighting international designers—crossing not just physical boundaries, but also creative ones. It harnesses the power of AI to set designs in motion, photographed traditionally, then animated for the online realm.

MORGAN BECKER: How would you describe the fashion scene in Seoul, and how does Jaden Cho fit into the mix?

JADEN CHO: Seoul is a city that changes and grows at an incredible speed. Because of that, it sometimes feels like the options are more limited than diverse. I hope to represent just one of the city’s many faces, [helping to] expand its spectrum.

MB: You started as a florist and set designer. Is that why you use so many flowers in your work?

JC: Through various collaborations, I ended up participating in projects that weren’t directly about making clothes before launching the brand. Flowers might be the starting point of every project I do. Whether it’s a collection or spatial work, if there are no flowers involved, it doesn’t feel like something I’ve created.

MB: What kind of flower best represents Jaden Cho?

JC: This is the hardest question… There are far too many flowers in the world, and as I grow, my perspective changes. If I had to pick one, I’d say those huge tulips you can find in March.

MB: When did you first discover your passion for design?

JC: Around the time I turned 20. In my teenage years, I simply liked beautiful colors and shapes. I started to think of it as a profession after being influenced by people in Seoul.

MB: Your signature technique, with the star quilting, feels futuristic and traditional at the same time. How did you develop it and how difficult is it to execute?

JC: I was getting tired of decorative elements. I think I was slightly bored with my work, beyond the external perception of it being excessive. With a desire to challenge myself, I started using what we call “negative decoration,” where instead of adding, we cut into the fabric. First, we’ll quilt into three layers with padding, then mark the areas to be cut. After that, our studio team picks up their scissors and trims by hand. It’s a process that requires much more technical skill—and good scissors, obviously—than you’d expect, and a lot of persistence.

MB: This was your first runway collection. What made you want to give that a go?

JC: For the past three years, we’ve only dressed mannequins. But that format lacked the kind of tension needed to show the brand’s core theme: the beauty of a moment, a shining star, the cycle of those things. That thirst led to the first show—every designer’s dream. Half a year has already passed since then.

I wanted to organize what I’ve done so far, and I felt that repetition was necessary in order to talk about the future. Maybe I also wanted to show the sense of presence I hadn’t been able to convey before in front of a very limited audience.

MB: What’s the most important lesson you’ve learned, in terms of running a label?

JC: [Paying attention] to the relationship between me and others. The relationship between me and myself.

MB: What aspects of Korean culture do you hope to impart in your work?

JC: Persistence. I want to express that uniquely Korean intensity and focus. I don’t think the continuity of our cultural heritage and the philosophies embedded in Korean people have been fully visualized yet.

MB: If you could dress anyone, who would you choose?

JC: Someone who loves me. Someone I love.

MB: You graduated from the Royal College of Art and established yourself in London. What prompted you to return to Korea to start Jaden Cho?

JC: My time in London was a very difficult period for me as a designer. The language, the culture… Everything was different. More than anything, I realized that to run a brand I needed team members who believed in my work. I think the collaborators—friends—who had confidence in me were all in Seoul. Perhaps it’s also that we’ve reached a time when growing a studio in Korea, as a Korean, feels more meaningful. I had a certain belief in Seoul, or in the future.

MB: Jaden Cho has couture elements you don’t find with other Korean brands. Do you consider your garments’ appeal to senses beyond the visual?

JC: Yes, I do. I always try to consider the impression before someone tries on the garment, and how they feel after wearing it. Even the smallest element—when reimagined and presented as part of a collection—can spark something new. That emotional response is very important to me.

MB: Is there a piece you love the most, amongst those you’ve designed so far?

JC: The works from our first collection, A Bouquet—the results of both successful attempts and fearless failures.

MB: Where do you hope to take your label from here?

JC: Jaden Cho [should express] romance, ease, and happiness within the city of Seoul—allowing people to experience those feelings for themselves.