CHAE Gyeong-hwa is a veteran costume designer who has been active in the Korean industry ever since <Lament> in 1997. She has notably worked with Hong Sangsoo on <The Power of Kangwon Province> in 1998, and with KIM Jee-woon on <The Foul King> (2000), which famously starred SONG Kang-ho as an apprentice luchador. She has also been a long-time collaborator of NA Hong-jin, as she worked on all his projects starting with his debut feature <The Chaser> (20...
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CHAE Gyeong-hwa is a veteran costume designer who has been active in the Korean industry ever since <Lament> in 1997. She has notably worked with Hong Sangsoo on <The Power of Kangwon Province> in 1998, and with KIM Jee-woon on <The Foul King> (2000), which famously starred SONG Kang-ho as an apprentice luchador. She has also been a long-time collaborator of NA Hong-jin, as she worked on all his projects starting with his debut feature <The Chaser> (2008). Her first award, the Grand Bell Award for Best Costume, was actually earned through her contribution to NA’s sophomore feature, <The Yellow Sea> (2010), but it should be noted that she was nominated twice for that accolade, the other nod being for her work on the nostalgic comedy drama <Sunny> (2011), set in the 1980s. Although she often found the rights clothes or accessories among her parents’ belongings, she usually finds inspiration while browsing the flea markets of Seoul. As she was often called upon to work on films tapping on the retro fashion trends that swiped Korea in the 2010s, CHAE’s dedication to authenticity didn’t go unnoticed, most notably with her reproduction of the fashion that dominated the 1970s in <C’est Si Bon> (2014) and the 1980s in <1987: When the Day Comes> (2017). She played/toyed with the old-fashioned styles that most associate with elder ladies in <Miss Granny> (2013), and received credit for some of the most visually memorable Korean films in recent years such as <The Terror, LIVE> (2013), <THE WAILING> (2016) and <The Villainess> (2017). CHAE attracted plenty of attention for her work on <The Spy Gone North> (2017), as the production was lauded for its recreation of 1990s North Korea.
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