Cover It took a total of 930kg leather to make this custom 230kg table that presides over the upper floor of Polène London by Korean architect Jonghwan Baek
It took a total of 930kg leather to make this custom 230kg table that presides over the upper floor of Polène London by Korean architect Jonghwan Baek
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Jonghwan Baek, the Korean architect behind Polène’s Seoul and London stores, on the ethos of his firm WGNB, soft brutalism and bridging “the abstract with the functional”
A bag from Polène is a work of art. The Parisian leather goods brand’s ethos of minimalism, craftsmanship and timeless style has produced icons known by their names, such as the Neuf and Cyme. Found on the arms of the fashion set and celebrities like Princess of Wales Kate Middleton, as well as famously immortalised in the TV series Emily in Paris!, the bags, made by artisans in the Spanish luxury leather-making town of Ubrique, have achieved cult status.
Naturally, when it came to the brand’s brick-and-mortar stores, this artisanal quality had to be emphasised. The family business that started in 2016 and was recently acquired by LVMH now has five retail locations. Following Paris, New York and Tokyo, it opened its Seoul and London stores in 2024. The man for the job was Korean architect Jonghwan Baek, the founder architecture firm WGNB.
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Above The boutique occupies a corner plot in Gangnam and sports a soft spin on brutalism conceptualised by Korean architect Jonghwan Baek
The boutique occupies a corner plot in Gangnam and sports a soft spin on brutalism conceptualised by Korean architect Jonghwan Baek
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Above Soft lighting highlights the subtle textures of the facade
Above This cantilevered counter appears as if floating, softening the brutalist interior
Soft lighting highlights the subtle textures of the facade
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Anchoring a corner plot in Gangnam, the Seoul store building’s wavy lines and soft, textured beige stone façade evoke a feminine sensibility. Inside, wall edges curve around the bags like malleable leather pieces.
Baek had envisioned the Seoul store as an “architectural extension” of the brand – “almost like Polène’s largest leather product.” He elaborates, “We believe that a successful retail space should embody the essence of the brand it represents. By incorporating the natural characteristics of leather and a warm colour palette, we aimed to convey [Polène's] aesthetic in a spatial form.”
Above A solid wood bench invites shoppers to rest their weary legs and enjoy the view
Above The Seoul store building’s wavy lines and soft, textured beige stone façade evoke a feminine sensibility
A solid wood bench invites shoppers to rest their weary legs and enjoy the view
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The poetic shadowplay at Polène Seoul by Korean architect Jonghwan Baek
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Obviously, the brand was happy with his work, having tasked him to design their newest London store on Regent Street that opened on 9 December 2024. “We maintained Polène’s aesthetic and atmosphere in the London store, particularly in the colour palette and the use of soft-edged structures. However, we also wanted to integrate elements of the local architectural heritage.
Since this was Polène’s first store in the United Kingdom, we saw it as an opportunity to celebrate British vernacular architecture—specifically Brutalism—while maintaining and combining [the space] with the brand’s identity,” explains Baek.
It is not all grey concrete walls though. The atmosphere here is marked by a "soft Brutalism" through a brick wall made from compressed leather scraps on the ground floor, and a custom, 230kg table on the upper floor made with 930kg leather by the brand’s artisans.
Above Launched last December, the London store is located on Regent Street
Launched last December, the London store is located on Regent Street
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Above The storefront of Polène London by Korean architect Jonghwan Baek
Above On the ground floor, bags are displayed on pedestals made of leather
The storefront of Polène London by Korean architect Jonghwan Baek
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A key touch point is the woven leather banisters accentuating the bags’ tactile quality and made by artisans from Alma Studio, a historic British workshop specialising in leather-based furnishings. It uses a tubular braiding technique interweaving 32 thin leather strips without any welding. The precise, laborious process stretched more than five weeks.
Above The woven leather banisters made by Alma Studio, a historic British workshop specialising in leather-based furnishings
Above Close up of the rich colours of the marbled surface used for the interior
The woven leather banisters made by Alma Studio, a historic British workshop specialising in leather-based furnishings
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Korean architect Jonghwan Baek employs soft brutalism at the London boutique
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Craft is a cornerstone of WGNB’s ethos. “In Korea, craft and artistry are deeply tied to functionality. The process often involves repetitive, meticulous craftsmanship to create objects meant for everyday use. We frequently collaborate with local artists to integrate artistry and craftsmanship into our projects, creating unique spatial experiences that exist only in that specific place,” says Baek, who adds that this approach allows the firm to infuse spaces with “a distinct identity that feels both handcrafted and purposeful.”
Above Rather than creating a single, centralised circular wall, Korean architect Jonghwan Baek introduced multiple elliptical walls around the store
Rather than creating a single, centralised circular wall, Korean architect Jonghwan Baek introduced multiple elliptical walls around the store
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Above A corner at the SVRN San Francisco store is dressed in oxidised copper
Above A close-up detail of the sinuous interior elements
A corner at the SVRN San Francisco store is dressed in oxidised copper
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The Polène stores feature more natural palettes but the firm is not afraid of using colour, as evidenced in projects like the SVRN San Francisco store. Oxidised copper, stemming from “an authentic and natural material transformation”, inspired the chromatic elements and embodies the passage of time central to the brand’s identity.
The design of form and space is also equally tied to the physical extension of a brand. “In terms of form, rather than creating a single, centralised circular wall, we introduced multiple elliptical walls all around the store. This allowed us to establish a spatial rhythm that feels organic and dynamic, rather than being anchored to a singular focal point,” explains Baek of the SVRN San Francisco store.
Above The design of form and space is also equally tied to the physical extension of a brand
Above Korean architect Jonghwan Baek's signature soft brutalism is apparent in this corner
The design of form and space is also equally tied to the physical extension of a brand
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Clearly, WGNB’s design philosophy eschews formulas for experimentation. After all, the firm’s tagline is "see the same thing, but think differently". “Every project we undertake is distinct, and this constant evolution encourages our team to learn new things and approach each design with fresh perspectives. The diversity in our work naturally fosters a dynamic and stimulating environment for our staff,” shares the Korean architect, who was a creative child, drawing and painting since elementary school, “making them a natural part of my life.”
Above Greenery embedded in the ceiling softens the futuristic look of the boutique
Above This green element adds a biophilic touch to the interior
Greenery embedded in the ceiling softens the futuristic look of the boutique
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It is a direction he applies to all scales of projects, down to furniture design, although this discipline requires extra attention. “To us, a product is something that directly interacts with the human body, so it must be carefully designed. We focus on balancing functionality with a sense of playfulness; rather than taking an overly serious approach, we introduce witty and unexpected elements while ensuring practicality,” Baek articulates.
The firm’s name embodies this duality. “WGNB stands for ‘Wall-Ga aNd Brothers,’” explains the Korean architect. “Wall-Ga means ‘moon house’, which was the name of our firm before [we took on the new name]. The moon represents something poetic and intangible, while a house is a physical structure. By combining these opposites, we aim to create harmony between the abstract and the functional.”
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