How this fashion designer co-created ‘Glasses’, the first Korean animated short film invited to Cannes Critics’ Week

Kiminte Kimhekim, known professionally as Kimhēkim, has built his eponymous fashion brand around what he calls his “obsessions”. In other words, his collections are often a homage to singular decorative elements such as pearls, bows, hair and hearts. After becoming the first Korean designer inducted into the prestigious Fédération de la Haute Couture in 2019, the rising talent makes history once more—this time with a 15-minute animated short film, Glasses (2025).

Co-created with Korean animator Yumi Joung, the project is the first Korean animated short film to be invited to screen at the 2025 Cannes Critics’ Week—the festival’s talent-scouting section that has launched emerging voices since 1962. The impact of this milestone is magnified given that no Korean feature made it to Cannes' main competition this year.

The contemporary film follows a young woman whose broken spectacles spark an inner journey. During an eye examination, she is transported into a surreal house where she confronts three shadow selves that represent repressed emotions and past wounds that have fractured her identity.

Kimhekim's sartorial universe merges seamlessly with Joung’s signature pencil-drawn aesthetic, shaping a dream-like narrative infused with the designer’s poetic motifs of glasses, pearls, hearts and hair. Through these symbolic elements, the protagonist transforms her worry, frustration and fear into a quiet act of self-acceptance.

In conversation with Tatler, Kimhekim reflects on the making of Glasses and how the project embodies his brand’s core philosophy: finding harmony between the inner and outer self through genuine self-love.

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Kiminte Kimhekim, fashion designer and co-creator of the animated short film ‘Glasses’ (Photo: Kimhēkim)

Glasses is the first Korean animated short film to be invited to Cannes Critics’ Week. How does it feel to be breaking new ground for Korean arts and culture?It’s an immense honour. I’ve always believed that fashion is part of a broader cultural dialogue—not separate from art, film or literature. To see Glasses resonate with such a prestigious international audience like at Cannes Critics' Week is both humbling and encouraging. I hope this opens more doors for Korean creatives to explore cross-disciplinary collaborations and share our unique voice with the world.

What sparked your collaboration with animator Yumi Joung?I’ve admired Yumi’s work since my school days. I was especially captivated by her pieceLove Games (2016)—so much so that I even used one of its characters as my profile picture back then. The black-and-white pencil animation had such a distinctive charm. It amazed me how a minimal, refined style could convey such a powerful emotional climax. Since founding Kimhēkim, it’s always been a dream of mine to collaborate with her.

What was your collaboration like during the production process?It was very organic. Rather than imposing a fashion concept on her world, I wanted to create an emotional dialogue. We began by exchanging personal stories and visual inspirations. I introduced symbolic objects from the Kimhēkim universe—such as glasses, pearls, hearts and hair—and Yumi interpreted them through her own animation language. It was a creative conversation built on mutual respect, allowing both of our worlds to breathe.

Official poster from the animated short film ‘Glasses’ (Photo: Kimhēkim)

Official poster from the animated short film ‘Glasses’ (Photo: Kimhēkim)

The film uses Kimhēkim's poetic objects to express repressed emotions. What does each object represent? We placed symbolic objects throughout the character’s journey as she transforms her inner turmoil into something beautiful. For example, the broken glasses represent a fractured view of the world—or oneself—but also signal the beginning of self-discovery. Pearls symbolise the idea that pain and adversity can be reshaped into unexpected beauty. Many more elements are woven into the film, and I hope viewers will enjoy uncovering them for themselves. These objects allowed us to express emotional complexity in a visual way.

What other aspects of the animation reflect the Kimhēkim universe?The setting—a blend of antique and modern elements—creates a timeless, borderless atmosphere. This sensibility closely reflects the Kimhēkim universe, which reimagines Korean heritage through a contemporary lens. Just as the brand continually explores the balance between tradition and modernity, the film invites viewers into a space where the past and present coexist in quiet harmony.

Film still from the ‘Glasses’ (Photo: Kimhēkim)

Film still from the ‘Glasses’ (Photo: Kimhēkim)

Film still from the ‘Glasses’ (Photo: Kimhēkim)

Film still from the ‘Glasses’ (Photo: Kimhēkim)

This isn’t your first time extending the Kimhēkim design language beyond fashion. What intrigues you about working with video and film?Video and film let me explore the emotional undercurrents of my work in a narrative, temporal format. A dress can suggest a feeling, but in film, you can show how that feeling moves, evolves, or lingers. I’m fascinated by the added dimensionality and nuance that film allows.

How did the experience of creating Glasses challenge you as a storyteller and creative?It taught me to let go. In fashion, I’m used to having control over every detail—the cut, the fabric, the styling. With animation, you have to trust another artist’s vision and embrace the unknown. It was both challenging and liberating to collaborate in such a fluid, emotional medium.

Can we expect more video projects from you in the future?Absolutely. Glasses is a beginning, not an end. I’m very interested in continuing to explore how the Kimhēkim universe can evolve through different forms—whether that’s film, performance or other immersive experiences.

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