In the realm of Southeast Asian fashion lies a Malaysian label with expertise in deconstruction and a reputation for fashioning the unconventional. Enter Kit Woo, a visionary label meticulously crafted by its founder, fashion designer Woo Kit.
Woo’s journey into the realm of fashion began during his childhood, when he was living with his aunt who was a seamstress. She instilled in him an appreciation for the art of garment-making. Drawing inspiration from his transcontinental studies in Singapore and the US, Woo’s creative journey culminated in the birth of Kit Woo, a brand propelled by the ethos of deconstruction and reinvention through avant-garde silhouettes.
At the heart of his design philosophy is a profound reverence for the creative process, where each collection serves as a testament to his brand ethos of innovation and experimentation. Inspired by the avant-garde principles of Dadaism, his latest creations breathe new life into everyday objects, transcending functionality to evoke a sense of surrealism and wonder.
As the brand journeys on into 2024, Kit Woo remains steadfast in its commitment to local craftsmanship and innovation. With plans to expand production within Malaysia and Southeast Asia, it heralds a new era of sartorial excellence, as Woo tells Vogue Singapore.
Why was fashion design your calling?
I grew up with my mum and my aunt, and my aunt is a seamstress. I spent a lot of time with her so I think that naturally directed me to this industry. Fashion design is my calling because I feel that it’s the fastest way to translate or communicate with your work. For art, you have to go to an art gallery. But in fashion, you see it everywhere around us. My impulse is to communicate through that.
What was the initial inspiration behind Kit Woo, the brand?
The brand’s name is my own, but with a twist. While studying in the US, I noticed their naming style differs from ours. My real name is Woo Kit, but I switched it around, putting ‘Kit’ first, like Americans do. The latest collection from Kit Woo is inspired by Dadaism, an art movement that resonates with my approach to garments. It involves making everyday objects almost useless, like removing mug handles. This idea is about turning ordinary items into decorative pieces, rather than functional ones.
How do you feel about fashion’s dual role in Southeast Asia?
We possess a cultural richness. I’m not solely referring to myself, but there are designers here whose work is deeply informed by their cultural backgrounds, a vital consideration for Southeast Asians. Whether it’s myself or other designers, certain aspects of our work unmistakably reflect our backgrounds.
“I want the people wearing my clothes to feel seen, and to be able to express themselves without verbal communication.”
What is your design philosophy?
The ethos behind the brand is to appreciate the process of creating. When I’m working on one collection, it will inform me what to do with the next collection. So it’s a really visual thing and the process is extremely important to me. Another philosophy is deconstruction. So we take things apart, put them back together and then see what we can come up with and reinterpret the design.
What are some of your bestsellers and why?
Our bestsellers are the ready-to-wear products. We have customers who come in just for custom pieces, and they usually like the craziest pieces, so it’s a balance between the two.
Who is the ultimate Kit Woo customer?
Someone who is very sure of themselves in terms of dressing. They are very comfortable with what they’re wearing and they resonate with what I do with the details on the garments that are not necessarily the most functional, but have an interesting aspect.
What does dualism mean to you when it comes to design?
While the design ethos is based on deconstruction and reconstruction, it’s also about working together harmoniously.
Your designs also explore gender fluidity. Can you tell us more about this?
I grew up with my mum most of the time because my dad was working out of state. She worked in a corporate setting but she was never the typical feminine dresser. She wore power suits or pants. That influenced how I design. In a way, I was automatically trained to translate clothes without labels. That was a natural thing for me.
How do you want people to feel when they wear your designs?
I want them to feel seen, and to be able to express themselves without verbal communication—in this case, it is in wearing my clothes and designs.
What’s next?
We always look forward to Kuala Lumpur Fashion Week. It’s happening again in August so we plan our calendar around that. That’s most probably the biggest event for the year. We’re also trying to ramp up our production in Southeast Asia. Of course, we can go back to producing in China again, but we’re trying to see if we can work with more local production houses. We’re also trying to set up our own sample-making production house because we have a really capable team.
The March ‘Dualism’ issue of Vogue Singapore is available online and in-store now.
