Yet to Max Out

So for the studio process, I have a very small team and in my workshop I tailor and drape the entire collection, all my collections, by myself. I do believe in that because I can't depend on someone to translate my vision. But sometimes the garments are draped around and most of the time, I think, tailors outside take a more controlled approach to things whereas I don't like to be in so much control. So unfortunately I have to do everything myself but I'm thankful I have a very supportive team and it's a very collaborative process. As I'm drafting something, my sewer will be with me and my sewer is my assistant designer, actually. So as I'm drafting we go into communicating on how certain things should be finished, whether certain things should be drafted this way.

So that in my process I involve him and in his sewing processes, he involves me as well. Take for example if there's a certain kind of finishing that we are looking at. I wouldn't just give him like a textbook 101 answer: "Oh, this is a piece of chiffon, please finish it in this way." Rather we take about two to three hours just to explore: "Okay, let's use emotive words to explore the finishing. How would an angry edge look like? How would a sad hem look like?" And in these creative workshops, we throw all the rules from the textbook answers away and come up with rather emotive solutions to fabric finishings.

I'm not too sure. I guess in Singapore there are few people who do that. And of course if we are talking about the scene as a whole; with regards to the whole world, I'm sure there are designers who would do that. But of course there are retail brands – for me, I would like to make a distinction between a fashion brand and a designer brand. I think a fashion brand is a brand that of course prides retail more than any other thing. Whereas a designer brand takes in a lot more consideration for how the clothes are made and the processes involved.

If you were to look at Yohji Yamamoto, he has a team of drafters and tailors but he's a very accomplished tailor himself. And in the case of Rei Kawakubo from Comme des Garcons she has a team of pattern makers. And she doesn't hire designers.

So I guess each designer house has their own practice. But it's very clear for a fashion brand. The practices are more template like: "Oh, let's do research. Let's do consumer research. What do the consumers want? Let's design according to that. And is this aligned to the brand's image? How do we sell this?" It's very business focused. Not to say that it's not important, but I think in the grand scheme, not grand scheme, but in comparison between a designer brand and a fashion brand, I feel creative processes are lacking in fashion brands.

Yes, that's right. I teach the final year of pattern making which is tailoring.

This is so interesting, because for the students, they behave as though they are only designer brands. And then you try to introduce the idea of a little bit of business and the business of fashion to them.

Yes, which is reality. So, it's very different. The priorities get switched a lot although I think I am a designer brand. At the same time while I teach the students the importance of creative and design processes and methodologies, I can't just neglect the business side of things.

Yeah, you're right. I think when I just graduated, actually when I first started my label it's a very steep learning curve for me in terms of making this label a sustainable business. But at the same time, we don't have a fashion industry to speak of. We have the 80s designers, we have the 90s designers. But I guess each decade and generation comes with its own set of problems and new things to learn and to observe, according to how the world is changing.

I'm very thankful to my mentors who have guided me along the way in the fundamental years. But at the same time, I think I can't just take their advice wholesale because what was relevant back then, isn't relevant to me when I first started. Take for example, someone told me: "Hey, you know, your things are too unapproachable. Why don't you start a diffusion line?", which I did. And I think it did very well. But I guess at the same time it took attention away from running the main core, the main line and I think that affected how I saw fashion differently. And, so I put a stop to the diffusion line, although it was doing relatively well.

I've never really thought about this. But I guess the way I design appeals to a certain group of women regardless where they are geographically. So while my agent is based in Paris, I think my strongest market is actually Middle East and the Scandinavian countries where it's just different. Say for my Middle Eastern markets; these are women who don't want to wear abayas but they still want to be modestly covered up, adhering to religious dress codes. So this is where I'm very thankful that they see my garments as something - that they see my garments as objects that they can express themselves but also adhere to and be respectful to where they come from. And all these other things in place. So yeah.

Well, I guess there's a reason why you're attracted to the clothes in the first place. I don't tailor my design according to 100% of their needs. For example, if buyer A says "Oh, can you do something more resort?" Well, I guess I will do a different kind of resort wear that can take you from work to the beach. But I guess my customers really do buy into my ideas and they are very discerning customers who appreciate and look for the little details in my garments and how they're constructed. They find little surprises in them. I've got some customers who tell me that they feel really powerful when they wear my clothes, even though it's so drapery. So I guess in a way I hope my garments still make people feel something. And I'm always very happy to hear that.

Because this communication really happens through my agent. My agent does this consolidated feedback on what is working; the business side of things – “oh the arm holes a little bit too loose this season, the skirt lengths are a little bit too short. Well, can we have more buttons on this?" So these are the feedback that I get through my agent.

But I also have direct conversations with my buyers who buy through my agent. And yeah, I guess in this time and age, it's always WhatsApp. They will take a photo screenshot: "I think this is working really well. Can you think about designing along this line or can we have more of these silhouettes? This is really interesting. Can we extend this idea for the next season?" So going back to your previous question, yes, I don't tailor to the end consumer needs. But yes, I do take feedback when they are a little bit more generic or allow room for extension and to think about things.

Well, I don't think I'm a veteran, yet. But because there's always something to learn and with each production it's different. I really do enjoy costume designing and fashion a lot but at the same time, I don't think I have the bandwidth to think about any other thing but if there's something I want to do, I guess it probably won't be fashion.

I'm really interested in cooking. And I love animals. So it's probably social causes for animal rescues and all that that I'm really interested in doing. But at this moment, I think fashion is my priority. And I really like the challenges that comes with it. It's a tough industry and I think a lot of fashion people who are in the industry would agree with me that it's a hard industry to stay in because there's just so many elements to balance and to work around with. We are always chasing timelines. We are not allowed... there's very little creative space or time for creative space and explorations, which is why I value creative processes so much.

Stay really receptive to criticisms and feedback. Take them all in, but at the same time, don't take them all in. Be very critical about who you are as a designer and the feedback that you can take in and decide whether that's even relevant for you or not. The fashion industry is not a one man show. Be prepared to work in teams or to be able to work with different people. Stay very hungry, stay very hard working. Because, it's a tough one to be in.

In the case of a young designer who is starting the business, I think when I say stay very hungry, it depends on what each person wants. For me. I value creative growth. So I hunger for creative growth with every set of new challenges that presents itself whether it's a collection or it's a new show. For example, if this young designer wants to start a fashion brand instead of a designer brand and I guess stay very hungry to make this brand a successful one and a big and a well-known one.

I search for... answers.

Dusk. I think dusk is a beautiful time to unwind or not think about things and it's, I go into this contemplative state whenever dusk comes.

Soya bean.

If I could, I would wear a one piece and that will only be a sarong. It's too hot in Singapore. And I really do think that the sarong makes a lot of sense.

The most underrated garment that we wear? Hmm… I've never thought about this. I think the most underrated garment that we wear would be a t-shirt. Yes, I guess I say a t-shirt because a well-made and relatively simple t-shirt will take us through many occasions. But yet, it always plays a supporting role you know, when layered under a dress it becomes an inner layer, but it's never really quite celebrated because it doesn't allow for that. I mean, it's a simple t-shirt, but if you look at it, it's a highly functional piece of garment to have ever come up from the west.

The slit of a lapel on a jacket. It's very difficult to get right because a commercial lapel just does not fit as well, because everybody's body shape is different. That's always the most difficult to get right or close to right.

Thank you. Thank you for having me.