The Wonderful World of Sally Oh

June 27, 2019

“I think that’s the biggest challenge with art: testing if the art can speak for itself,” she explains. Sally Yërin Oh is a multidisciplinary artist with a multicultural background. Born in Korea during her parents’ Christmas vacation, Oh was then raised in Texas. She studied at RISD and currrently works in downtown Brooklyn; but currently resides in Manhattan.

It’s a Tuesday afternoon in June, and we arrive at a tiny studio off the F train. This building used to be a nunnery; located right next door is an American homage of the Gothic Revival basilica—grey and grand, encapsulated within a cavern of ancient trees. It is the perfect metaphor of a vivid young woman establishing her roots on the grounds of a structure built to uphold rigid ideals.

This is the story of a girl named “Miso.”

Interview by Mar Chan
Photos by Francisco Serrano

Alien, or Android? Which would you prefer to be?

For sure alien, no doubt about it. I don’t want to be A.I., I want to be a creature with a soul.

Do you head into each new project knowing exactly what message you want to convey; or does that come to you through the process?

My last collection, “100% THIS 1000% THAT,” was about being bicultural, and everything was inspired by Korean food. So, I created a character named “Shy Baby” and had her perform in a way that was really innocent and curious about the world. And her food was banana milk. Another character was “Fuck The World.” The food for that was raw ramen, which is really crunchy, hard and loud. In terms of the garments, at RISD we were taught the very classical way of creating a mood board—making technical flats and sketches. I usually start with a motif, texture, loose sketches, writing—that only make sense to me. Then I let the pattern making and draping process guide the rest, which I think is really alternative.

Is that uncommon?

In the industry, you have to run your ideas by so many people before they come into fruition. The chance to say, “Oh wow, this works. Let’s ditch the sketch, and go in this new direction"—it’s a riskier, more innovative process full of failures before you finally land at your sixth set of patterns that works.

If you could only have one talent, what would it be? And would it be enough?

To have zero stage fright of any kind. No shyness, no fear.

Let’s talk about “Chastitty”. Where she began, and how did she end up here?

Coming from a conservative trifecta—Korean, Christian, Texan—I grew up believing I’d lead a specific, set life consisting of education, marriage, children, death and salvation. All of that exploded when I started asking questions. "Chastitty" was originally a fucked up bride. The wedding dress is such a strange thing, because it proclaims purity, virginity and femininity... we have the coochie hole, the booty cheeks and obviously Chas-titty: her titties out, which splays society’s lustful gaze of the female body back in our faces. This idea of virginity (chastity) and sexuality (titty), overlaid with society’s scarlet letter—the expectations of womanhood—are just so paradoxical and impossible... A woman’s sexual history shouldn’t be a past she feels the need to hide or feel embarrassed by. I used muslin only—a choice reflecting the class hierarchy thrown in everybody’s face at weddings. It’s such an extravagant event: the dress, how much money this couple has, the ring... So I chose the cheapest fabric: muslin, for four dollars a yard. It’s also the most unforgiving fabric. It shows every wrinkle, every mistake, which is why it’s used in the studio. It’s the most honest.

One song you wish you had written?

Definitely a Kanye song. The opening line of “Can’t Tell Me Nothing” is: “I had a dream I could buy my way to heaven. When I awoke, I spent that on a necklace.” Is that not crazy?! Even if we’re offered salvation—if heaven exists—we don’t choose that. We choose to buy necklaces and earthly riches...

What inspired “Things I Almost Remember” — and is this piece for you, or someone else?

Something I’ve been paying attention to is my obsessions. Anastasia has stayed seared in my mind for most of my life. It came out in 1997. I was born in ‘91, so I was six years old when I saw this. It was terrifying. Rasputin is the ultimate villain, in my opinion, and Anastasia is this estranged daughter I identify with for a number of reasons... so Rasputin embodies all things standing in the way of me being “Together (with my family) In Seoul,” or being one with the things that family symbolises in general.

If you weren’t a Capricorn, what sign you would want to be?

Gemini! They’re so polarising. When you hear someone’s a Gemini, everyone’s like, “Oh shit, this person’s a psycho,” and I like that. They’re known for having many faces, yes—but we all do. A lot of my heroes are Gemini... I completely romanticise them.

How can the art world become more egalitarian, and inclusive? Do you see hope?

It gets complicated when art is tied to commerce, specifically with fashion. Real change has to start in the sweatshops. It has to start at the foundation. When people use QTPOC for marketing without caring about the POC who are making the clothes behind the scenes—that’s more for the brand rather than for the ethics, the people, the heart.

Do you believe in God?

I do believe in God. I don’t know what God looks like. I don’t necessarily know if I fully believe how God is portrayed in religion, but I do believe that there’s something bigger than us.

Do you believe in you?

I do believe in myself! I believe in my skills. I believe that I need this craft to live.

Talk to me about “Miso Mimi”.

Miso is my alias—she’s the better me. My initials are S.O., so it’s Me, S.O.! “Miso.” Miss Oh. Miso, in Korean, means smile. And of course, miso is a staple Asian flavour. Miso Mimi is about choosing yourself. It’s about me doing me, “Mimi.” I’m going off of these characters that I remember, ones I foresee and might become—women in my life who have taught me what it means to be a woman. It’s eight looks, because the number eight is made of two circles. I like numbers that can split into two, because we’re never just one thing. An eight is made of two zeros; if you flip it on its side, it’s infinity. I also like the number eleven for that reason because it’s one and one. They’re two beings that are whole, alone.

2050 prediction?

There’s going to be an even clearer distinction between the humans and androids. The people who care more about Instagram versus the people who care more about real life, which impacts friendships. People who care more about their following and unfollowing friends, not because they love them any less, but because they can’t benefit them on Instagram... I think that’s choosing an android life versus a human life. Sharp distinction between androids and humans: people of the same flesh, but of different priorities. I think there will be a vast divide between the two.

Fashion

Timberland and Veneda Carter Reimagine Classics with Bold Metallics

November 23, 2024

Veneda Carter teams up with Timberland once again, bringing a fresh edge to archival designs in their latest capsule collection. Highlight pieces include towering lace-up boots in electric blue and silver, alongside a sleek reinvention of Timberland’s iconic 6-Inch boot, both crafted with patent leather and recycled materials.

The collection also introduces rugged, versatile outerwear like oversized parkas, utility vests, and a statement boiler suit, all built for layering and durability. Inspired by industrial design and early 2000s fashion, Carter infuses each piece with a contemporary energy that feels both striking and wearable.

The collection is now available and can be found at flagship Timberland stores, online, and select retailers worldwide..

By Enzo Holdt
Photography courtesy of Timberland

Fashion

ECCO.kollektive collaborates with Louis-Gabriel Nouchi

November 21, 2024

ECCO.kollektive has teamed up with Paris-based designer Louis-Gabriel Nouchi for a bold and innovative Spring/Summer 2025 collection. Known for his thoughtful exploration of masculinity and storytelling in fashion, Nouchi brings his unique perspective to this collaboration, blending his modern aesthetic with ECCO’s skill in craftsmanship and material innovation.

The collection features a range of footwear, clothing, and accessories, each designed with attention to detail. The collection uses a mix of black, deep red, and pearl white. Sensual touches, like Nouchi’s signature slits, combine with structured tailoring and flowing shapes, showing how the designer blends bold and refined styles.

We spoke with Louis-Gabriel Nouchi about the collection and his inspiration. From the textures of the human body to his love for stretch leather, Nouchi shared how the collaboration allowed to experiment with new ideas.

By Enzo Holdt
Photography by courtesy of ECCO.kollektive x LGN

The collection debuted at Paris Fashion Week and draws inspiration from the textures of the human body. “The idea came from the textures of skin,” Nouchi explains. “I wanted to create something sensual and fluid, using leather in a way that felt both strong and soft. Leather has this amazing quality—it can feel like armor, but also like a second skin.”

Nouchi worked closely with ECCO to develop designs that showcase the versatility of their materials. High-shine biker nappa leather with a waxy finish appears in tailored separates like a single-breasted blazer, trousers, and long-line shorts. For a more experimental edge, he created a column dress and a pencil skirt using strips of leather embroidered onto stretchy tulle—a design he says was inspired by his younger self. “When I was young, I was obsessed with stretch leather because of designers like Jean-Claude Jitrois. It’s something I wanted to explore and bring into this collection, almost like fulfilling a dream for my past self.”

Footwear is another major highlight, featuring Derby shoes, Helsinki loafers, and the standout Truck Lace loafer with a bold platform. The shoe’s futuristic design draws from Nouchi’s fascination with brutalism and technology. “It might be a bit controversial,” he says, laughing, “but I really like the Tesla Cybertruck. The sharp, angular lines and futuristic look combined with that raw, brutalist vibe—it’s something that resonates with me. The platform on the Truck Lace loafer feels like a nod to that kind of design.”

Another unique detail is the inclusion of removable coins on some of the shoes, adding a playful yet personal touch. “You can take the coins off—it becomes almost like a lucky charm,” Nouchi says. “It’s one of those small details that make the pieces feel more connected to the wearer.”

Louis-Gabriel Nouchi’s signature slit motif, which adds subtle hints of reveal and concealment, runs throughout the collection. “The slit is about teasing the eye,” he explains. “It’s never about revealing too much—it’s about creating tension, a little mystery.” This motif appears on everything from loafers to hems, blending seamlessly with the collection's sensual yet structured aesthetic.

When asked about the versatility of his designs, Nouchi emphasizes their adaptability to different occasions. “You can wear these pieces in super casual situations on the street, looking super chic at night—super sexy,” he says. “From one garment, you can style it in so many ways during the day. For example, the tank top—you can wear it with pants, or without. It’s super hot, super cool, and it works for so many moments.”

For Nouchi, the collaboration with ECCO was as much about innovation as it was about creative freedom. “There are no limits with ECCO,” he says. “As a designer obsessed with materials, having the freedom to push development this far was an amazing opportunity. Fashion, for me, is like a laboratory. It’s about testing ideas and seeing how far we can take them.”

The ECCO.kollektive x Louis-Gabriel Nouchi collection is available now, combining high-quality craftsmanship with bold, modern design that showcases Nouchi’s vision and ECCO’s craftsmanship.