We Tried On the Shoes Made for Meryl Streep and Anne Hathaway: How Riu & Viu Is Redefining Korean Fashion

maggieromano1
May 21
5 min read

There are designers you meet, and then there are designers you experience. Dojeon team Maggie's encounter with RIU & VIU sits firmly in the second category. It was not just a conversation. It was a moment of understanding — of how tradition can move forward without losing its weight.

Before we even began the interview, Maggie was offered something rare: the chance to try a sample of the red heels created for the Seoul promotion of The Devil Wears Prada 2 — the same design concept gifted to Meryl Streep and Anne Hathaway.

(Riu & Viu)

The Shoes — A Study in Balance

The shoes immediately grounded the entire conversation. They draw from ggotsin (꽃신), the traditional Korean flower silk shoes, but reinterpret the form through a sharp, contemporary heel. The red is not just aesthetic — it carries ceremonial meaning, tied to tradition, femininity, and occasion.

What struck me most was the control. Nothing felt excessive. Nothing felt decorative for its own sake. The line, the proportion, the restraint — everything worked together. Wearing them, even briefly, I felt the balance between past and present. Not as contrast, but as continuity. It was, in many ways, the perfect entry point into understanding the designer’s philosophy.

Holding Meaning, Not Just Form

When I asked how they approach reinterpreting hanbok, the answer was clear and deliberate: “When I reinterpret hanbok in a contemporary way, the most important thing for me is to understand how the original meaning of that garment, within traditional culture, can be applied today."

For example, if it is a ceremonial outfit, I want it to maintain that function even now — to still be worn in formal contexts. I am not interested only in its shape, but also in preserving its role and context. From a formal perspective, I work a lot on wide silhouettes. I focus on proportions, balance, and the use of color, especially combinations and contrasts. I believe the silhouette communicates more than we think — more than details, it is the overall impression of the form that has a strong and direct impact. ”This is not designed as a surface. It is designed as a structure."

Milan — A Shift in Perspective

The brand’s debut at Milan Fashion Week through Milan Loves Seoul marked a turning point. Showing in Milan brought a different kind of clarity: “Presenting my first collection in Milan was a decisive moment, because it allowed me to better understand the potential and direction of my work." In Korea, I often felt there was a limit in having tradition-inspired design recognized as contemporary fashion. In Milan, I received confirmation that elements of tradition are not just references — they can become real design elements, capable of building an independent and distinctive visual language.

”Even more revealing was the contrast in perception: “In Korea, my work is often seen as something that is ‘no longer hanbok.’ In Milan, the reaction was completely different — many people immediately recognized it as fashion that comes from hanbok. That experience made me realize that the direction I was taking was not wrong, and it helped me define my identity more clearly.”

(Riu & Viu)

A Cultural Moment, Quietly Shifted

The Devil Wears Prada 2 Seoul promotion became one of those rare intersections between global cinema and Korean design. And in this case, RIU & VIU were directly involved:

“I participated in the design and production of the red heels for the Seoul promotion project.

I was inspired by traditional Korean ceremonial women’s dress and by craftsmanship connected to the color red, reinterpreting the form of traditional footwear through a high heel."

This project made me reflect on how elements of Korean culture can exist within a global context, and how it is possible to interpret international content through an authentically Korean perspective. I don’t try to consciously follow cultural flows, but I believe that when a brand with a strong Korean identity collaborates with a global brand, that alone is already an important sign of change — and a step forward. ”There is no attempt here to simplify or translate tradition. It is allowed to remain complex."

Performance and Precision

The conversation moved to performance, particularly the collaboration with ATEEZ for “Adrenaline”.

“The costumes were developed from the image of the Korean ‘warrior.’ Reproducing historical garments exactly would have practical limits, so we chose a more contemporary reinterpretation, inspired by figures like warriors, Hwarang, or military commanders. Since the overall concept was defined by the stylist, I focused on the details — balancing elements so they would not feel historically out of context or distorted.

I also reflected carefully on the use of Korean fabrics, choosing where to place them so they could enhance the overall design. ”Designing for performance adds another layer: “For performance costumes, movement, visual impact, and storytelling are all essential." The priority is to enhance the music and choreography, so everything is designed for maximum visual effect. At the same time, I try to maintain a narrative dimension — not only in form, but also in details like textile patterns. And of course, functionality in movement is crucial. I work closely with the stylist to balance aesthetics and practicality.”

Structure as a System

One of the most insightful moments came when discussing the structured nature of the silhouettes, which I had initially read as almost uniform-like. “One of the characteristics of hanbok is that, even as it changed over time, its basic structure remained the same." What changed were fabrics, colors, and details. I find this very interesting, especially considering how structured Joseon society was.

Personally, I focus a lot on color combinations and materials. I don’t think a designer always needs to create entirely new forms — in the end, it is the person wearing the garment who completes it. I prefer to leave space for interpretation, rather than impose a fixed way of wearing it. I think of design as a modular system, almost like a uniform — something versatile. Even when I design new pieces, I consider how they integrate with existing ones, building a base that can evolve. ”This idea of modularity — of garments as part of an evolving system — reframes the entire approach to design.

Beyond the Runway

On the relationship between collaborations and collections: “Stage costumes are, in principle, a different field from runway collections, because they must respond first to music and performance. At the same time, working with artists is always an opportunity to experiment. It allows me to discover elements I had not considered before and integrate them into my work. In the end, what matters is confronting possibilities I would not have explored alone. It expands my perspective and positively influences my design process.”

(Riu & Viu)

Looking Forward

The future, for RIU & VIU, remains grounded: “The most important thing for me is to continue working while maintaining a personal and consistent direction. Within that path, if collaborations arise that align with what I do, I am always open to them.”

Trying the Red Shoes

Trying on those red heels stayed with me longer than expected. Not because they were tied to a film, or to names like Meryl Streep and Anne Hathaway — but because they carried something quieter. A sense of continuity. RIU & VIU do not reshape tradition to make it easier to read. It allows it to remain intact while giving it space to exist now. And in doing so, it proves that heritage, when handled with precision, does not need to be reinvented. Only understood.