In recent years, the influx of Asian designers making waves within the fashion world has been undeniable. Pushing boundaries and reinventing the wheel in their own ways, these designers have grown to be steadfast favourites among the fashion-fluent. Think Robert Wun’s showstopping collections that are now a staple on the fashion week calendar, Isa Boulder’s slinky and subversive swimwear or even Duy Tran’s Fancì Club that has resonated globally with fans of the Y2K aesthetic. Another Asian brand that is pushing the narrative forward is Chinese couture label Cheney Chan, which recently gained popularity for its viral celebrity dressings and runway clips on social media platforms.
At the helm of this buzzy brand is 32-year-old founder and creative director Cheney Chan. A self-taught fashion designer, Chan was born and raised in a small city in Jiangsu province to a traditional Chinese household. “Growing up, my parents always wanted me to be a pilot,” he shares. “I had cleared all the flying tests effortlessly back in high school, but it was unfortunately not where my heart lay.” Eventually, he would make it out on his own, pursuing a fashion media degree at Peking University before starting his namesake label in 2012.
Fast forward to over a decade and Chan’s vision is clearer than ever. His autumn/winter 2024 couture collection, titled Dream in Bloom, showed at the esteemed Salle Gaveau concert hall in Paris. The collection was a visual spectacle, with an array of showstopping silk gowns hand-embellished with sequins, crystals and feathers. Structured and voluminous in silhouette, the looks referenced various popular flowers, from a spiral-cut iteration that resembled calla lilies to bustier styles akin to irises. Feminine shades of baby blue, pastel pink and marigold yellow punctuated the collection, a nod to the beauty of these flowers in full bloom.
Muses Chan of the inspiration for the collection: “I was inspired by the women in Kunqu operas, each of them unique with their distinctive personalities. I used a different flower to illustrate the various personas, with the recurring motif of butterflies representing an emergence and rebirth of sorts, similar to the journey these women underwent to discover themselves.” Apart from the floral and theatrical references, the intricate hand-layering and construction of the garments were also a nod to pottery, a favourite pastime of Chan’s. “I collaborated with several Chinese heritage craftsmen to create the various headdresses for this collection, taking notes from the random shapes of ceramic and porcelain vases,” he adds.
Below, Chan speaks to Vogue Singapore on his creative process, how his heritage influences his designs and the state of couture in fashion today.
What was the primary motivation behind starting your namesake label?
I have always wanted my body of work to be a representation of myself, an extension of my beliefs and practices. It allows me to grow and develop a deeper understanding of who I am.
Who is the Cheney Chan woman?
Sculptures, femininity and fantasy are recurring themes that I base my design ethos around. My customers are dreamers who have a wanderlust for all things creative and a deep appreciation for the craft behind couture.
Could you take us through your creative process before starting on each new collection?
It always starts off with rounds of discussions, where my team and I would bounce ideas off each other. Once we have an overarching direction, we narrow down and zoom in on specifics. I believe in experiencing something firsthand before beginning to work.
How are art, architecture and history synonymous with your design ethos?
Art and architecture inspire me through their geometric shapes, volumes and lines, which are paramount to the design and construction of my garments. On the other hand, history provides me with knowledge that I can rely on to reconstruct my experiences and weave a story for my customers.
“I have always wanted my body of work to be a representation of myself, an extension of my beliefs and practices.”
How do you incorporate your Chinese culture and heritage into your pieces?
I love to use Eastern handicraft techniques such as needle embroidery, as well as traditional silk fabrics and decorative porcelain embellishments. I also have a soft spot for local handmade crafts and I collect as many of them as possible to use in future collections.
How do you think the couture scene has evolved over the years?
The definition of what is considered couture has been blurred, with the introduction of demi-couture brands and ready-to-wear houses that offer customisation or tailoring services. Technological advancements have also allowed for unorthodox materials such as stone, glass and even hair to be used in the construction of garments, widening the scope of what counts as quality materials and fabrics.
What would you like to see more of within fashion in Asia?
For over a century now, fashion has been ruled by the West. However, I think this narrative is slowly shifting. With more Asian designers growing up in environments with the proper exposure and opportunities, they are able to bring unique and refreshed takes, raising the game for the design landscape here.
What’s next?
I am currently working on some performance pieces on the side, custom designs that share the same ethos as my Dream In Bloom collection. Outside of that, I am starting the groundwork for my next collection, which I cannot wait to share with all of you.
The September ‘Kitsch’ issue of Vogue Singapore is now available online or on newsstands.
