When couture designer Jisoo Baik found herself seated between Jean-Paul Gaultier and Jeremy Scott at Björk’s orchestra concert, she was hit by the enormity of the moment.

“I used to be overwhelmed and appreciative to her stylist [Edda Gudmundsdottir] because they’re really open-minded to young designers,” said Paris-based Baik, who might be making her couture debut on Tuesday. “They really opened the brand to everyone who’s interested by design.”

Only months prior, the Icelandic musician, then preparing for the discharge of her 2022 “Fossora” album, had made an instantaneous beeline toward a light-weight and delicate structure that appear to drift across the human form — certainly one of Baik’s designs, from her graduate collection on the Institut Français de la Mode, inspired by the concept of safety and protection.

Beyond requesting more draping, Björk gave Baik nearly free reign on the design — “not even a color or a very detailed transient,” said the designer, who was born and raised in South Korea.

Archival couture from the Nineteen Thirties to Nineteen Sixties is a significant influence in her work, but she traces her passion for design back to her 15-year-old self’s discovery of the film of Alexander McQueen’s spring 1999 “No. 13” runway show, with its finale of automobile manufacturing robots spray painting Shalom Harlow’s dress.

As a baby, Baik had been drawn to music but her mother, a homemaker who went to be an artist with a lot of exhibitions to her name, spotted her young daughter’s talent for sketching.

Meanwhile, the longer term designer’s classmates tapped into her knack for putting outfits together. “I used to be just really having fun with [styling] them so my mother encouraged me to push in that direction,” she recalled, saying she enrolled in art-focused middle and high schools before heading to Seoul’s Dongduk University to major in fashion design.

After that, Central Saint Martins felt just like the logical destination. “I actually desired to go to London and study abroad because I wanted to check more about my design and fashion with wider eyes,” she said. There, certainly one of her professors suggested that the South Korean designer further her studies in France and advisable the IFM’s latest program.

That’s what she did straight after completing the London institution’s graduate program, enrolling in what can be the French fashion school’s first fashion masters’ class, an experience she described as enriching on knowledgeable and private level.

After her 2021 IFM graduation, Baik went on to work at Balenciaga, Saint Laurent and Mugler, experiences that taught her much, starting with the concept “design just isn’t the whole lot to hold a house and company,” she said. As such, she stressed that graduates and fashion students should tackle such experiences even when planning to make their very own brands.

But it surely also reinforced her concept that her path lay outside the studios of bold-faced names. “Each time I used to be doing a little design or mockup, I spotted I had my very own specific style, probably not following the home style,” she said. “Don’t lose your personal style when working for a house.”

In her case, it was making pieces which are greater than clothes and closer to “art pieces that may stand on their very own,” she said. “It’s like floating architecture.”

For her couture debut, she’ll be delving further the sculptural wirework that caught the attention of Björk and, most recently, pop star Ariana Grande. Paired with delicate lace and silk jerseys, she intends them walk a tightrope between being delicate and substantial, sensual and protective.

Her intention is to be “a latest couture designer and a few sort of sensation of high fashion,” a path she expects to pursue for the foreseeable future in Paris. While that can remain her primary focus, she revealed she is already developing footwear, with two kinds of heels that might be commercialized in coming months.