CHO Sang-gyeong, born in 1972, is the most sought-after costume designer in the Korean film industry. After graduating from the Korea National University of Arts in stage design, she debuted in 2001 with RYOO Seung-wan’s <No Blood No Tears>. Her collaborations with some of the most prominent film directors of the 2000s such as PARK Chan-wook, BONG Joon-ho and KIM Jee-woon quickly raised her profile and she has now become a fixture in the industry. Even though she als...
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CHO Sang-gyeong, born in 1972, is the most sought-after costume designer in the Korean film industry. After graduating from the Korea National University of Arts in stage design, she debuted in 2001 with RYOO Seung-wan’s <No Blood No Tears>. Her collaborations with some of the most prominent film directors of the 2000s such as PARK Chan-wook, BONG Joon-ho and KIM Jee-woon quickly raised her profile and she has now become a fixture in the industry. Even though she also served as production designer for <Modern Boy> (2008) and <Cafe Noir> (2009), she remained focused on costume design only and established her company, Studio Gomgom. When she received her first assignment for a historical drama with <The Concubine> (2012), she went the extra mile in making sure that the designs of all the Korean traditional dresses were plausible for the period depicted. This attention to detail made her the best suited to take on the challenge that was <The Royal Tailor> (2014), for which she had to convey through the designs of more than a thousand dresses the rivalry between a traditionalist tailor and a young designer who is revolutionizing the fashion of the Joseon Dynasty with new shapes and colors. In two decades, CHO has been credited for the costumes of more than 100 films, TV series and plays. Her most well-known contributions include the polka-dot dress and sunglasses sported by LEE Young-jae in <Sympathy for Lady Vengeance> to give her a “dowdy appearance” as intended by PARK Chan-wook, or the historically accurate wedding dress Gianna JUN wore in the climax scene of CHOI Dong-hoon’s <Assassination> (2015), set in the 1930s, which had to withstand a physically demanding gunfight. She received Best Costume Designer at Asian Film Awards for her contribution to <The Handmaiden> (2016).
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