Recently, we made a short trip to Japan to visit a few of our brand partners and had the pleasure of dropping by the BeneDef showroom. BeneDef is an amalgamation of different facets in the fashion industry ranging from product design to brand direction, and is led by a poised and composed individual known as Duk Hyun Won.

The air conditioned showroom was a welcome retreat from the balmy summer weather, and was tucked away in a quieter area of Shibuya, away from the bustling shopping districts. Within the space, the focal points brought attention to his two brands - BLANKOF, a focused luggage brand which is known for using a one-of-a-kind proprietary fabric, and NEITHERS, an imaginative clothing line built on cultural references and subtle, but innovative designs and tasteful fabric selection. We’re fans of both lines, and excited to be carrying NEITHERS for the first time this fall season.

Over the last passage of time, we were also lucky to interview Won regarding his upbringing, creative influences, and his approach to operating a successful multi-brand retail business while simultaneously directing two brands.

Can you share insight into your upbringing, and how that led you to the design field? Were there other projects you had before BLANKOF?

I was one of the top students in my class during middle school, but when my parents divorced, everything changed. That moment created a kind of rupture—and with it, a deep sense of resistance.

I found myself drawn to cultures that felt more raw, more honest. Black culture, subcultures, street fashion, underground music, independent films… These weren’t just cool to me—they were real. They didn’t hide pain or rebellion. They expressed it. And that gave me a language when I didn’t have one.

Just before entering university, I was hospitalized for nearly 100 days. I didn’t get into the school I had hoped for, but during that time I realized something clearer: I didn’t need a perfect start. I needed direction and commitment.

I came from a family without financial backing. That became my one condition: since we didn’t have money, I had to be able to do everything myself. So I made a list of everything I needed to build a brand—from design to production to communication—and taught myself each part. Sometimes through part-time jobs, sometimes through books, sometimes online. Experience was my teacher, and real life was the test.

Before BLANKOF, I didn’t have formal projects, but I supported musician friends however I could—helping with visuals, event concepts, album art, whatever needed to be done. Those moments taught me how to collaborate, how to solve problems creatively, and how to express a vision without resources. BLANKOF wasn’t born out of a perfect plan — it came from necessity, resistance, and a need to build something real.

Growing up in Asia where the industry moves at a very fast pace, do you feel your approach to design is affected by this?

Growing up in a fast-paced city, I learned early on how important speed can be. But at the same time, I also saw what it can take away from us. The more we get used to chasing trends, the easier it is to forget why we started in the first place. That’s why I chose not to move faster, but to go deeper. My approach to design isn’t about immediate reaction — it’s about leaving a lasting impression. I focus on quiet details, on what feels essential, and on creating something that can stand the test of time.

Moving slowly in a world that’s obsessed with speed is never easy—but maybe that’s exactly why it matters. In fact, I often feel that this kind of mindset doesn’t always align well with the industrial pace or cultural expectations of South Korea.

But looking back, I think the reason I was able to think this way is because I wasn’t shaped by the traditional education system — I learned everything on my own. I didn’t follow a path that was already made. I had to build one, step by step. And in that sense, what once felt like an unstable, imperfect past wasn’t a misfortune at all. It was, in many ways, the greatest fortune that shaped who I am today.

It’s uncommon for brands to develop their own proprietary fabrics, as there are so many stock options readily available from different suppliers. What inspired you to develop ROOTSCOPE, and how does it stand out in the market?

You're right — there are countless great fabrics already available in the market, and we were fully aware of that. But for me, the question has always been: “Where does our core truly come from?” Developing ROOTSCOPE wasn’t just about creating a new fabric. It was about pushing the tone and identity of the brand with greater precision.

At first glance, it may look like a simple nylon, but there’s a lot behind it: the texture we wanted, the specific way it absorbs light, the colour depth, the durability, and how it feels against the skin. Every detail was intentional. ROOTSCOPE isn’t just a fabric — it’s a standard. It represents how we observe the world and how obsessively we approach details in garment making.

While many brands move with short-term trends or market cycles, we wanted to move at our own rhythm and density. ROOTSCOPE is the most tangible expression of that mindset.

"For me, creating isn’t about delivering a result — it’s about building quiet, lasting relationships with people. Through BLANKOF, NEITHERS, and Slow Steady Club, I’ve explored different ways to do that. But moving forward, I’m interested in even freer formats — ways to connect with people outside the usual frameworks." 

As BLANKOF does not often produce new silhouettes, could you share details of how the graphpaper collaboration came about and what inspired the new model?

At BLANKOF, we rarely introduce entirely new silhouettes. That’s because our philosophy has always been about refining the concept of “essentials” — building quietly, slowly, and intentionally over time, rather than creating something new every season. But the collaboration with Graphpaper began from a different place.

I’ve had a close relationship with Graphpaper’s director for nearly a decade. Over the years, we’ve found a natural alignment in our approach to work, our attitude toward design, and our way of seeing things. Personally, I’ve always seen him as a mentor and someone I truly respect.

So this collaboration wasn’t born from the question “what should we make?”, but rather “who do we want to make something with?” That mindset naturally led us to explore new forms — something we rarely do. We worked carefully to ensure that BLANKOF’s structural detail and Graphpaper’s sculptural sensibility could come together effortlessly. In the end, I was reminded that even when form evolves, the core attitude can remain completely intact.

For me, this project was also the realization of a childhood dream. To collaborate with someone who still shares a similar direction and rhythm — years later — is something I find deeply meaningful and, honestly, one of the most rewarding parts of continuing this brand.

Regarding NEITHERS, how has the brand evolved since 2013, and what can we expect from the upcoming season?

Since launching NEITHERS in 2013, the brand has always been rooted in the idea of staying in-between — never fully belonging to one side, but never losing its core. That’s the essence of what we mean by “Neither but Core.”

In the past, each season was a process of exploration — testing directions, expanding possibilities. But now, I feel we’ve entered a new phase. Starting with the 26SS collection, we’ve restructured the entire foundation of the brand. From fabric development to pattern-making to sewing, every part of production is now handled entirely by Japanese teams — everyone except myself.

This wasn’t just a stylistic decision. It was about precision and quality. I wanted to create garments that could meet the highest standards—not only in how they look, but in how they feel, wear, and last.

On the design side, I’ve taken full creative control again. Rather than expanding the number of styles, I’m choosing to go deeper—creating fewer pieces with more clarity, consistency, and emotional depth. Every element — from construction methods to material sensibility to production rhythm — has been refined to better express the brand’s identity. You can expect less volume, but more intention. This season isn’t about doing more. It’s about doing it right.

Since starting Slow Steady Club in 2014, which is a multi-brand retailer where you showcase domestic and international brands, have you noticed any changes over the years in the industry and consumer behaviour since you first started?

Since launching Slow Steady Club in 2014, both the industry and consumer behaviour have changed a lot — and naturally so. One shift I’ve observed is that, in the early years, more people seemed to focus on the philosophy or narrative behind a brand. But now, with so much information constantly circulating, there’s a stronger tendency to consume quickly and judge quickly.

Still, I believe there’s a lasting group of people who recognize sincerity — those who value trust, and who are willing to take time to build a deeper relationship with a brand. That’s why we’ve always chosen consistency over speed.

When selecting brands for our store, we look beyond short-term trends and focus on the brand’s attitude and long-term sustainability. I think consumers can feel that. And in the long run, those deeper connections are what make Slow Steady Club still relevant today.

It is clear that you are skilled in many different parts of the fashion business, such as creative direction, branding, and retailing. Beyond your current responsibilities with BLANKOF, NEITHERS, and Slow Steady Club, are there any other creative areas you’re interested in exploring?

Through running my brands, I’ve naturally become involved in all aspects of the business — creative direction, branding, retail, and beyond. But over time, I’ve found myself becoming more interested in not just the form of things, but in what those forms can make people feel. Lately, I’ve been drawn to other mediums — spaces, video, music, and publishing. I don’t believe creativity has to stay within fashion. As long as the work carries intention and sensitivity, the medium can be anything.

For me, creating isn’t about delivering a result — it’s about building quiet, lasting relationships with people. Through BLANKOF, NEITHERS, and Slow Steady Club, I’ve explored different ways to do that. But moving forward, I’m interested in even freer formats — ways to connect with people outside the usual frameworks.

In the end, what excites me most isn’t what I’ll make next—but how deeply I’ll be able to connect through it.

Can you share with us anything that’s caught your interest lately, whether it’s music, art, or a movie?

Lately, I find myself less drawn to specific genres and more moved by works that carry a certain attitude or emotional weight. One piece that stayed with me recently was Ryuichi Sakamoto: Opus, the documentary capturing his final performance.

What struck me most wasn’t just the music — it was the sense of time, the weight of silence, and his quiet acceptance of disappearance. Whether it's music or design, I believe creative work is about leaving traces of ourselves. And those traces don’t have to be loud or dramatic — they just have to last.

These days, I’m more drawn to things that stay with you quietly, over time. That’s also the kind of work I hope to leave behind: not fast, not fleeting—just quietly lasting.

Editor: Jason Liang  |  Translator: Yejin Yoon  |  Special Thanks: Impossible Objects
View more of BLANKOF products here.