2022.12.02
Creators of Beauty ② Séaa Lim, the first Korean haute couture designer
Amorepacific has been devoted to ‘contributing to humankind by creating beauty and health through technology and devotion’. This vocation changed over time. Now, as part of our mission of “We make A MORE beautiful world,” we are committed to discovering unique beauty and its potential. At Amorepacific, we are taking one step at a time to create a world of New Beauty, where everyone is encouraged to discover and appreciate their own true, natural beauty. There are people who share a similar path, those who are building an empire of beauty of their own. News Square visited and interviewed them who are creating beauty in different areas of the world.
Our second interviewee is Séaa Lim, the first Korean haute couture designer of Dior, a global luxury fashion house.
Using my unique qualities to their full potential has helped me form my own sense of self. Confidence stems from that identity. I’ve come to realize that people see beauty in the self-assurance that comes with learning to love oneself.
- Séaa Lim on her journey of discovering true beauty … ＜from the interview＞-
- Séaa Lim on her journey of discovering true beauty … ＜from the interview＞-
Generally, when we think of fashion-related occupations, we picture a fashion designer basking in the limelight. In reality, however, there is a lengthy and laborious procedure involved before any garment ever makes it to the runway. One of the most arduous and cumbersome areas of fashion is the haute couture. The work of many people, including pattern makers, tailors, and seamstresses, goes into making a single custom dress, which also includes Séaa Lim, the first Korean to work as a modéliste in the Dior Haute Couture Atelier. The fashion industry, it is said, is more competitive than any other. Internship opportunities at prestigious fashion houses are in high demand, with applicants flooding in. We interviewed Séaa Lim, who works with great pride as an expert in the Parisian fashion industry, the center of global fashion, and asked her about her journey and if she had any advice for her juniors.
Q.
Last spring, you appeared on ＜You Quiz on the Block＞, hosted by Yoo Jae-Suk, an extremely popular show in Korea. Please tell us about how you felt when you were initially contacted, and how you felt after the appearance?
I was thrilled when the show first contacted me because I’ve been such a huge fan. Watching and listening to the stories of hard working people who appeared on the show pushed me to work harder. But I would be lying if I told you I wasn’t worried or anxious. "What can I possibly talk about?" I thought. Once the show aired, however, I realized just how many people were interested in the jobs ‘modéliste’ and ‘pattern designer’. I received a lot of words of encouragement and appreciation from those wishing to pursue a career in fashion. I was very glad that they found my story helpful.
Q.
You are the first Korean modéliste at Christian Dior. Not many people are familiar with the job, exactly what kind of work does a modéliste do?
A precise pattern that takes into account the volume or technique is required to transform the designer's sketch into actual clothing. Because of the time-consuming, labor-intensive nature of haute couture, the modéliste needs to be involved in every step of the process, from fitting to alterations. This is why modélistes are called pattern designers in North America, and modélistes in France. The modéliste’s job includes making custom mannequins for each customer, designing patterns that flatter their unique physiques, studying every detail and step of the process until the garment is finished to explain to the couturières responsible for sewing.
Q.
How is haute couture different from prêt à porter ? What are some of the unique qualities of the haute couture industry? Are there any specific types of qualifications that these fashion houses look for when hiring new talent?
Each piece of haute couture must be a work of art because it is made to order for a select clientele. Unlike prêt à porter, which is mass-produced, haute couture is made specifically for one individual, which allows for more freedom of expression in terms of volume and technique. For example, a design that accentuates the hip line and a slender waist, like a Betty Boop dress, can be hard to pull off for some, such as Asian women, whose hips and pelvis are typically smaller than those of Westerners. But in haute couture, various ‘tricks’ can be played on the dress’s design to make the wearer’s silhouette look more glamorous than it actually is. In a way, a modéliste’s job is much like creating a completely new body silhouette, which requires a lot of originality and an in-depth study of the human body. Moreover, teams of two or three people need to work together for at least 200 hours to create one dress, making teamwork and focus absolutely crucial.
Although talent and expertise do matter, I believe the most essential quality is the ability to collaborate with other creative individuals and enjoy their company. Patience is also a great virtue in this field, as we’re often required to work intently and repeatedly on the same pattern for days on end.
Q.
What was your fashion journey like? Were there any difficulties you experienced while studying fashion? Also, what should students coming to Paris to study fashion consider when choosing their schools?
The Académie Internationale de Coupe de Paris (AICP) is where I studied to become a modéliste. There is a wide variety of employment opportunities in the fashion industry, so picking the right school depends on your interests, skills, and goals. Those who have made their names in the fashion industry typically look first for interns at the school from which they themselves graduated, which is why selecting the right school can be the first deciding factor. I found it challenging to keep up with the classes during my first year at AICP due to the abundance of jargon. I remember staying up all night translating the notes and terminology, trying to make sense of it all. The language barrier is what made the process so difficult. Not at all fluent in French back then, I wrote down words as I heard them or even drew them out to ‘decipher’ them later. I used those notes as my guide for several years even after I became a modéliste.
Q.
You’ve worked at numerous fashion houses, from Paco Rabanne, Saint Laurent, to Jacquemus. How were they different, and what lessons did you learn in the process?
Each fashion house has its own processes and systems. So, there is a saying in the fashion industry that moving to a different maison is like stepping into a whole new world. During my time at Paco Rabanne, I worked with a variety of unconventional sleeve shapes and metal materials, whereas at Jacquemus, I enjoyed interacting with a creative, forward-thinking team. I also assisted the former queen of Qatar, Sheikha Moza, when she was preparing the launch of her haute couture line, Qela, at its atelier in Qatar, where I got to work with some very expensive materials, on top of collaborating with local embroidery, print and corset artisans, which helped me hone my skills and expand the scope of my knowledge.
Q.
Please share an interesting or memorable episode from your work.
Recently, I had a client who was expecting a child. Because personal mannequins are designed and manufactured for each customer in the case of haute couture, I had to study her body type, the shape of her belly, and the position of the fetus at a specific point in pregnancy to make her mannequin. It was so meticulously made to the extent that I could call it a sculpture. During the last collection, there was a dress that required 25 different fabrics. We had to use charts and tables, making sure that they didn’t get mixed up in the process. Several hundred meters of fabric went into making that dress. I guess all these one-of-a-kind experiences, or should I say experiments, are what makes haute couture special.
Q.
You once said that the emerald-color dress worn by Sigourney Weaver was one of your most memorable works. Please tell us about some of the other pieces you worked on, and any behind-the-scenes stories.
The Oscar season is by far the most stressful time in haute couture ateliers. This year I made Oscar gowns for Natalie Portman and Rachel Zegler, and for Sigourney Weaver and Charlize Theron last year. Pulling all-nighters is common during that time of the year, and we often run into uncontrollable factors or unexpected accidents. Once, while packing up after the Golden Globes Awards, we got a call saying that Renée Zellweger needed to be measured for a Dior vintage dress. Ultimately, I had to reschedule my flight and spend an extra day. Since the Golden Globes takes place during the same time as the haute couture show preparations, I have to head straight back to the atelier as soon as the ceremony ends. Because of the time crunch, I get some shut-eye on the flight and get ready for the show as soon as I land. The extreme amount of stress during that time of the year is also what makes it so memorable and worthwhile.
Q.
It’s every fashion student’s dream to work with world-famous celebrities and make the dresses they are going to wear. Are there any challenging aspects to this work?
The stunning gowns worn by celebrities at award shows always inspire an other-worldly sense of pride and admiration because the actresses pull them off greatly. But everyone is different in their job style and personality, and I intentionally get an unwanted glimpse into their personal lives because we need to meet them on multiple occasions for alterations. That calls for extreme tact. Finding that middle ground between respecting their tastes and keeping the house’s unique design can often lead to complicated situations.
Q.
You studied the French language before working in the fashion industry, and you’ve also worked as a backup dancer for DJ DOC and PSY. How did you end up in fashion?
Looking back, I think I subconsciously admired my grandmother's boutique. How else do you explain enrolling in a fashion school while on vacation in Paris after getting hurt on the job as a backup dancer? But I also think I was at a time and place where I was ready for a change. Interestingly enough though, dancers also require a creative sense, along with teamwork and perseverance, so there are many similarities between what a modéliste does and a dancer does.
Q.
Your career took a wide turn, to say the least. Any words of advice for those having a difficult time making a choice in front of the path not taken?
As many say, better late than never. And to be honest, I think It’s never too late to push oneself to pursue what you truly wish to pursue. But, as with anything else, it takes time and persistence to reach any milestone. Just stick with it, work hard, and you’ll eventually get there.
Q.
You own a wine bar in Seoul, named Comme Chez Toi, and you also have a YouTube channel titled ‘Sewabang’, in addition to a restaurant in Paris called ‘Bistro Dam’. What were the motivations behind opening these restaurants?
Since I enjoy and study wine, I opened a wine bar in Korea named Comme Chez Toi with my mom. The idea for "Bistro Dam" came from Kim Chi-heon, CEO of Hanwadam, a longtime friend of mine. My heart leaped with joy when he suggested that we pair some delicious Korean dishes with wine and introduce them to Parisians. I also feel that my grandma strongly influenced this decision, as my childhood was filled with fond memories of helping her sew garments in her boutique and eating meals she prepared with the vegetables she raised. There weren't many places to eat chicken in Namhae where she lived. I still remember vividly how she and I brainstormed ways to make seasoned chicken because we wanted to eat it so badly.
Q.
You work quite a few jobs. How do you maintain your mental and physical balance?
Apart from work, I try to stay away from activities that require a lot of energy. Except for that, I'm quite mindful about maintaining a healthy diet and practicing yoga. In my opinion, yoga is excellent for keeping the body in balance.
Q.
You must get a lot of beauty tips and insights as a modéliste. Is there any beauty know-how you would like to share with us?
Since I’m always running short of time, I make due by horoughly cleansing my face and putting on facial mask sheets frequently. When possible, I opt for organic options. Working out is my go-to remedy. With a good complexion, people can take on a whole new appearance. Just think about how hard Hollywood celebrities exercise!
Q.
Do you feel that K-Beauty has become popular in Europe as well?
More French people are buying Korean cosmetics these days. I get asked constantly about the products Koreans use to get that flawless, transparent-looking skin. But it’s relatively difficult to get my hands on Korean cosmetics products, so I think it would be great if the sales network could be strengthened. My hair used to fall out a lot due to the demanding schedule and constant stress from my work, and someone recommended that I try Amorepacific’s herbal shampoo, which quickly fixed the problem. I wish I could buy the shampoo here in France as well.
Q.
Amorepacific pursues ‘New Beauty’ to preserve the values of beauty according to the change in times. Do you have any suggestions for Amorepacific?
Nowadays, companies and brands are more influential than any single government or group. That's why, in my opinion, the way you frame your products or services matters so much. I definitely hope to see more organic and environmentally friendly goods, in addition to corporate-level support initiatives so that those in need in our communities can have access to Amorepacific's great products. Personally, I would love to see Amorepacific launch a pet product line because there aren’t many pet-only products available in France or Europe.
Q.
What was the journey of discovering true beauty like for you?
sing my unique qualities to their full potential has helped me form my own sense of self. Confidence stems from that identity. I’ve come to realize that people see beauty in the self-assurance that comes with learning to love oneself.
Q.
Last question. How would you define fundamental beauty?
I believe that true beauty originates from within. Attitudes, facial expressions, and body language all reveal inner thoughts and attitudes, which together become the person’s aura. Yes, different people look different in the same clothes due to their unique facial and bodily features, but isn't it really just a matter of how those features are expressed that makes each person unique? So, I believe that the truest form of beauty comes from qualities that develop on the inside over time, such as a sense of inherent worth, a positive attitude, and confidence.
※ Courtesy of Séaa Lim
Written by: Writer Lee Ji-eun
Editor: Journalist Ahn Dong-sun
All interviews and manuscripts are copyrighted by News Square.
Written by: Writer Lee Ji-eun
Editor: Journalist Ahn Dong-sun
All interviews and manuscripts are copyrighted by News Square.
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