The paradox of venturing outward to connect authentically inward is perfectly embodied by local multidisciplinary artist Erwinshah Hassan. At 28, he is the quintessential sartorial shape-shifter, navigating fashion’s many facets, such as image-making, creative direction and graphic design.
As for where it all began, Erwin traces his creative foundations to a slow and instinctive build-up. “It was more of an amalgamation of influences that rubbed off over time,” he reflects. “Fashion was the main soul—through learning in school, sketching, flipping magazines, celebrity culture, runways—the whole enchilada. As for image-making, it came from that same space, but also from my love for films, cinema, even music videos growing up.”
Nowhere is this convergence more evident than in Hastings Pictures, the production studio Erwin founded as a way to visualise the world through his own lens. What began as a personal self-portrait series evolved into a platform for storytelling and having fun. “It all started from my own self-portraits where I wanted a glamourised version of me to exist in the world. Almost like an alter ego,” he explains. “After all, Hastings Pictures is essentially an extension of me.”
Through Hastings Pictures, the local artist takes full creative rein, moving fluidly between roles—styling, shooting, editing, modelling, directing—often within the same project. “Every component creates a final vision,” he says. “A combination of all practices woven together in a visual language that essentially represents me.”
“Every component creates a final vision—a combination of all practices woven together in a visual language that essentially represents me.”
And while his editorial aesthetic feels tightly composed, the process behind it remains deliberate. “Oftentimes, it goes with feeling,” he says. “Exploration is always key in my work. My planning is usually derived from a specific item or idea and I work around it, followed by the styling, colours, the set and the whole production.”
Still, the magic often happens when he picks up the camera. “During the execution, I tend to imagine even more through the lens. Post-production is when I get to really express my creativity; it’s where I find beauty in the quirks and challenge myself.” And his background in fashion illustration and graphic design shines brightest in this digital phase. “The post-production process requires a lot of digital expertise, which I learnt at school and on my own,” he notes.
A case of the artist also being the muse, Erwin’s personal style is as nuanced as his work. “Everything I put on throughout has always been an expression of what I was feeling or what I was physically and mentally absorbing at the time,” he shares. “And it has definitely changed. I’m always evolving—and growth is part of us. I treat what I wear as a part of me.” While his on-camera looks lean into overt camp and drama, off-camera, things shift. “Behind, I usually aim for effortless but stylish—with a touch of something statement if I feel like it.”
“Authentically doing things your way—regardless if it’s the social norm or not—does not matter at the end of the day if you love what you do.”
What’s next? He’s manifesting a solo self-portrait photography show à la Cindy Sherman. Until then, he hopes his work sparks something deeper. “Authentically doing things your way—regardless if it’s the social norm or not—does not matter at the end of the day if you love what you do.”
As eclectic as the sartorial scene can be, the world of fashion still comes with its own set of imaginary rules, but peel back the layers of visual bubble wrap, and what you’re left with is something more honest: a bigger, more meaningful message. And in Erwin’s case, that message is simply and purely, himself.
Photography Danial Mirza
Styling Lance Aeron
Hair Ken Hong
Make-up Sarah Tan
Photographer’s assistant Kah Jun
Stylist’s assistant Hayley Rikke Lee
The September issue of Vogue Singapore—themed ‘The Big Fall issue’—is available online and on newsstands.
