A conversation with Kié Lee, the designer discovered by Yohji Yamamoto

Basel-born designer Kié Lee founded her eponymous label in New York in 2016 before moving to Antwerp. Today, in her thirties, she moves in the creative spheres of Raf Simons, Ann Demeulemeester and Jurgi Persoons – influences that can also be seen in her own designs.

Lee draws her creative energy from solitude. This is reflected in the consistent use of black and striking silhouettes that speak for themselves. This distinctive imagery led to an ongoing collaboration with Yohji Yamamoto’s avant-garde sub-label Wildside in 2022.

At the Antwerp Fashion Festival, which opens on June 4th, she presents the art installation Evidence. The work includes screen prints on fabrics and garments, with self-portraits serving as a recurring motif.

They quickly integrated into the local fashion scene in Antwerp. How is the energy different from New York?

New York is a great city and I still miss it very much. However, the main reason I left was the economic challenges of running a studio there. The rents for small rooms were simply disproportionately high. Designers need high ceilings and spacious areas. So I started thinking about moving.

Unfortunately, at that time I had to file for bankruptcy. When I was 23, I had formed an LLC in New York. The fashion industry requires huge investments – looking back, it doesn’t surprise me that it failed.

The restart in Antwerp proved to be very powerful for me. I knew I needed a fresh start and came here with just two suitcases. The city became a safe creative retreat. The solitude here helps me concentrate. The people are friendly and thanks to digital networking I can work internationally. That’s why I can well imagine staying here long-term.

You describe loneliness as a positive thing, why?

For me, loneliness does not mean sadness. I was born in Switzerland, lived in Korea and later in New York – I got to know many different worlds. Today I need this form of seclusion. When I don’t have time for myself, I feel disoriented. These conscious breaks help me stay with myself.

In the early years of your label you spent a lot of time in Japan…

My admiration for Japanese designers of the 1980s and 1990s led me to Japan in my early twenties. I wanted to understand where these extraordinary pieces came from and who made them. The dyeing techniques there in particular are on a different level – the colors have a quality all of their own.

Over almost nine years, I have built strong relationships with production and sourcing partners. My audience appreciates the aesthetics and quality of this era and expects exactly this standard.

I also learned a lot from the Japanese way of working: discipline, precision and long-term thinking. My partners there not only think about the current project, but also about my development as a designer. Nevertheless, as the brand grows, I also have to find new production partners in Europe.

Aesthetically, her collaboration with Yohji Yamamoto seems like a natural connection. How did it come about?

I was 23 years old when we met. For such an established brand, it was an exceptionally generous gesture to give a young designer a chance. I learned a lot from that alone.

At the time, I was living in New York and wearing Yamamoto’s clothes. A member of his team noticed me and put me in touch with the director. He asked me if I had ever attended a show in Paris. I said no, as I was still studying at Parsons at the time.

Nevertheless, I spontaneously decided to fly to Paris. The ticket cost me $3,000 and my passport was stolen on the first day. It was chaotic, but I just had to go.

There is exceptional cohesion in the Yamamoto team. Everyone works with the same concentration and determination. Although our work is heavily influenced by emotions, they manage to get things done consistently.

You are now working on Wildside Volume 5. What is the creative process like?

The project brings together emerging and established brands and artists. We meet in both Paris and Japan. The process is long and complex. Patterns, fabrics and prototypes are constantly sent back and forth between the locations. Communication takes place primarily via email. It’s demanding, but that’s exactly how our collaboration works.

The work has changed over the years. It has become significantly more intense because the industry is moving faster and faster. There are practically no vacations anymore. I can hardly remember the last time I really had time off. Still, I’m happy.

You earned a master’s degree in Fine Arts from the Royal Academy of Fine Arts later in your career, in 2022. Why the switch to art?

The reason I started fine art was creative stagnation. I’m also a photo freak. My photography mentor recommended a Nikon ZF-C. Since then, I have taken a photo of myself almost every week. Then I started printing on clothing. I had to travel to Japan last year to find out how to do this. I had to learn how sensitive it is to heat and how to wash the textile afterwards. Through visual arts I was able to further develop my craft.

What will you show at the Antwerp fashion festival?

You will see my original screen prints next to garments with the same portraits. The exhibition will take place at the Tommy Simoens Contemporary Art Gallery in the historic center. He also comes from New York. When we met last year, we hit it off immediately.

My first series of print productions dates back to 2023. I developed this technique over two years. I worked with an artist in Japan – he is 63 years old and extremely professional. I gave him my series of self-portraits, he retouched them, and then I screen-printed them. I also colored the paper to make it look like a print from the 1920s-1940s of the Showa period in Japan, which is my favorite era.

You are past thirty. What have you learned about your craft and your profession?

I learned how important it is to have people who stimulate me. Whether they make me angry, hurt my confidence, make me sad, or even make me question myself. This is the only way to get hungry for the next step. I have changed my environment to be full of people I admire.

After that, I realized how important efficiency is. Not many people can tolerate this lifestyle. That’s why I invented my cake system. This was after I turned 30, after experiencing so many failures and some of my friends leaving me too. I needed a way to survive.

I divide my day into a pie chart: I start with the most realistic things – the numbers, finances and results. Reality first. In the middle part I practice skills: languages, new techniques and something to learn. After that, I allow myself to think about something impossible – brainstorming, creative things that aren’t yet realistic.

I prepare my pie chart during cardio training. I wake up at 5am every day, go straight to the gym and decide what I need to do throughout the day. I also go to sleep very early.

Why is it important to you to face reality first?

Fashion is not art – it is a calculated business and we designers have to sell. I think things were different in the 80s. Spiritually, fashion was something different. I believe that art and fashion can coexist. But we have to live with the reality that luxury and art are also businesses. Otherwise they will polarize.

Is a degree in fashion still enough given the high pressure on the profession these days?

I received my bachelor’s degree in fashion from Parsons in New York. It was a great course – they teach you how to write your resume and get a job. I saw interviews with European fashion students who were very good at talking about themselves. It felt more reflective and I wanted to experience that. That’s why I went to the academy.

For three years I spent a lot of time writing about Surrealism and Dadaism, which was my focus. My language has changed. I learned to talk about myself – and that’s very important.

How do you plan to continuously learn?

I want to deepen the research I have already focused on. I’m going to practice screen printing again – it feels like a doctoral thesis to me. I learn new techniques, create new things and can show the work to my audience via Instagram. I consider this my school of learning at the moment. I’m sure I’ll get stuck again at some point. Then I will consider a doctorate.