An often-overlooked aspect of discussing the notions of Reality and Simulation in the digital age is their plural nature. Within the globalized and interconnected experience of life exists a mesh of singular and collective realities, all converging to create a heterogeneous yet all-encompassing experience of Reality itself.

Shifting perspectives and embracing alternative experiences are essential for fostering a sustainable way of being in the world. This sustainability not only supports the adaptation of traditions but also ensures the material durability of cultures through artifacts. J.Kim by Jenia Kim has contributed to this shift since 2014, infusing her designs with both Korean and Uzbek heritage.

Cyana-Djoher: You started J.Kim in 2014, could you walk us through the brand brand’s history over the past decade? Have you always operated from Uzbekistan or did you relocate?

Jenia Kim: At the beginning of the journey when I was still exploring my style, most of the collections were experimental.

However, since 2016 I started creating pieces inspired by Uzbekistan.

Back then, I was making backpacks from dead stock and vintage fabric, incorporating subtle oriental elements like traditional Uzbek tassels that were mostly used as hair ornaments. I was doing photoshoots with ordinary women we found in local bazaars and cafes as models. In 2018, I started traveling around the country in search of artisans, and four years later, in 2022, the brand finally relocated to Tashkent. I decided to settle in Uzbekistan as I realized that I could make a significant contribution to the local industry, and help spread the word about this unique country far beyond its borders through my projects.

C: Uzbekistan has experienced significant cultural shifts throughout its history. With the country becoming more open and influenced by globalization and social media, do you think these ‘modern’ influences have led to a more homogeneous fashion landscape that follows global trends? How do you see these impacting ‘traditional’ modes of dress in Uzbekistan?

J: The influence is evident. Our SS24 collection touches on this topic – it is inspired by the vibrant local women and the Uzbeks' inherent love of color, reflected in suzani and adras, for example.

Sadly, with the advent of globalization, bright patterns and vibrant textures are becoming less appreciated every year.

C: Through your current location, and both your Korean and Uzbek heritage influencing your designs, do you perceive fashion design as a tool for developing a visual language and translate cultural realities beyond pure referencing?

J: For me, every collection is a way to communicate my current thoughts and feelings. In 2016, I had to talk about Uzbekistan because I wanted to break the stigma of a cheap labor market surrounding the country, and I had a perfect opportunity to show the multitude of its faces and the variety of cool things happening here. I started exploring Korea when I needed to delve deeper into myself and the trinity of my national identities – Korean, Uzbek and Russian.

My pieces always convey whatever I’m passionate about throughout the creative process.

C: Is design a vehicle for preserving and disseminating traditional craftsmanship and the visual culture of your personal heritage, a way to keep it real and contemporary?

J: Definitely. For instance, there are quite a few designers in Uzbekistan who work with suzani embroidery and abra fabrics – this helps preserve and spread the beauty of traditional Uzbek craftsmanship.

I think fashion is one of the easiest ways to discover local crafts and cultural heritage.

In fact, many customers become interested in the Uzbek culture through our brand.

‍C: How do you achieve this in your collections? Infusing culture is not an easy task especially when it comes to innovative designs. I believe your Tugun Bags are bridging these two concepts, right?

J: Tugun bags caught my eye as I traveled around Uzbekistan visiting the homes of vendors and embroiderers. In fact, I noticed them in almost every house I stepped foot in – usually in the closets where old things are stored. It felt like an important element that I wanted to share. I always try to dive into the subject, find things that are deep down below the surface and tell stories about them through my work.

I'm often inspired by forgotten and seemingly useless things that don't appeal to everyone – that’s exactly what happened with the Tugun bags.

C: It’s interesting that you mention this “everywhere-ness”of the Tugun bags, a little bit as if it was a background artifact you reworked. Do you solely draw inspiration from your visual surroundings, or do rituals, daily interactions, inherited traditions – something more of the unseen or unnoticed, automatic, also play a role in shaping your designs?

J: As I said, I am often inspired by all kinds of useless junk, so I like to go through old chests looking for vintage fabrics. I guess that’s where everyday life meets tradition to shape my designs. I also draw inspiration from whatever is on my mind as I work.

I think it was Yohji Yamamoto who once said that you can be inspired by things you don't like – I do that too. For example, one of the collections was about forced migration, people searching for home and my personal emotional struggle since the war broke out. I can't say that's an inspiration per se, but it's definitely the golden thread running through the collection.

Right now, I’m also in a strange state of mind – I recently became a mother and I'm consumed with thoughts of my daughter.

On one hand, I've always been a workaholic committed to the brand, but since my maternal instinct kicked in, I also want to be at home with my girl. This is some fresh food for my thoughts, and it will definitely influence the next collection.

C: Could you share more about your design philosophy and how you integrate all these facettes into your work? You seem to have both a minimalist and geometric approach to design which still subtly nods to traditional fabrics and patterns. It feels like the multiple layers of identity you project into your work kind of assemble through cut-outs and bows tying the pieces together.

J: There’s a VHS recording from the early nineties of my grandmother and other family members wrapping my aunts' dowry in a traditional manner – tying layered, contrasting sheets over themselves to create a kundimi, or bindle. In the background is me, mesmerized by the scene, not yet knowing that it would inspire a signature visual element of my future work, a flower-like knot.

As for me, I always look for balance – somehow, symmetry and bright vintage-inspired inserts are the synergy that forms the brand's DNA.

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C: Your practice seems very concrete and somehow contextual, which is refreshing. Additionally to your brand, you also curate and create several narrative-driven projects like “Welcoming Earth” (Feb 2024), “Excavating Narantuul” (Jan 2023), and “Childhood Memories from Uzbekistan” (October 2019). In these projects, you collaborate with many creatives from the region, do you intend to bring lesser-known narratives to reality and create a broader network of artists? Is it a core value of the brand?

J: Our main goal is to expand the network of artisans and local creative talents, as well as to broadcast an image of Central Asia as a large community that has never been seen or covered by the global fashion industry. I would like to set an example and create a precedent for people in Uzbekistan to represent the country in their own unique ways – especially, as a country of high-skilled talents.

I also want to share the story of my Koryo-saram origins through dedicated collections and projects, so that all non-Uzbeks born in Uzbekistan like me and feel multicultural without a sense of belonging are able to have a community and something to rely on.

As a small brand, we perceive collaborations as an essential part of our ecosystem.

So we constantly work with young artists, local craftsmen and artisan groups who are usually friends of the brand – that creates a platform for supporting and promoting talents, and helps us scale and establish new connections with like-minded people. This platform is at the foundation of J.Kim House, a cultural hub that fosters a larger community across various disciplines.