In recent years, the growth in the local fashion scene has been undeniable. With new names constantly emerging and creating a buzz, it seems the landscape is ever-changing and promising. These trailblazing young visionaries are shaping the trajectory of modern fashion, redefining style in ways that are reflective of both their brazen personalities and the current zeitgeist. And for those wishing to stay updated, a starting point would be looking at the graduating works of student designers from the various local art schools.
Last year, the collections from LASALLE College of the Arts, Nanyang Academy of Fine Arts (NAFA), and Raffles Design saw pieces that referenced ’90s vintage, rave and disco cultures, with an abundance of vibrant neon shades and statement textures. Maximalism was the name of the game, encapsulated not just through the shapes and colours but also in the styling and accessories, which paid tribute to Y2K style and turn-of-the-millennium Japanese Gyaru fashion.
This year, the script seems to have been flipped, with subdued palettes and pared-back designs a common thread in most of the collections. Lensed by local photographer Stefan Khoo, Vogue Singapore spotlights some of this year’s most promising names to watch, spotlighting each of these graduates’ inspirations, process, and hopes for the future.
Pricilla Chiquita Mintura, 20
Inspired by Chinese heritage, culture and architecture, Mintura’s sculptural designs look to celebrate tradition and empower women. “My collection highlights the importance of preserving heritage while embracing modernity,” she shares. “Each garment integrates elements from oriental houses and cosmological beliefs, resulting in designs that are both timeless and contemporary.” Her graduate collection—titledIn Between: Heaven and Earth—was one of blood, sweat and tears, involving many rounds of research, sketching, pattern-making and fittings. Each stage required meticulous attention to detail and took a total of eight months to complete.
Fernanda Kezia Hermawan, 22
For fans of the ‘corpcore’ or ‘office siren’ aesthetic, Hermawan’s designs pokefun at and reimagine conventional corporate wear through incorporatingshapes from common workplace items such as stationery and furniture into hergarments. The collection also explores the relationship between a person andtheir working environment, examining underlying themes of workaholism. “Iwish to spread awareness on the importance of a good working environment,especially how it goes a long way for one’s mental health,” she notes.
Jeniffer Seraphin, 20
In a showing of riding helmets, buckled cummerbunds and knee-high leather boots, Seraphin’s collection was one filled with equestrian nods. Bridging her interests between the worlds of fashion and the sport of horseback riding, Seraphin aims for the collection to exemplify the emotional bond formed between horse and rider. “Every detail and fabric chosen isn’t arbitrary; each element plays a role in representing heartfelt sentiments and capturing the trust between both parties,” she muses. “Every stitch, texture and hue is a purposeful expression of my passion and love for the sport.”
Yu Shan-Tung, 22
Titled Carving of Time, Yu’s graduate collection explores the intangible and elusive phenomenon of time, and how it results in varying perceptions and experiences depending on a subject’s context and situation. Warm, earthy hues of flax and umber gently pervade the otherwise monochromatic garments, a nod to the natural ebb and flow of life. “There is a focus on layering and fluidity within the collection, like how one would try to attempt to quantify time,” Yu adds. “Through donning the garment, the wearer establishes a profound connection deeper understanding of oneself, punctuated with fleeting moments that shape our narratives.”
“I hope to inspire people to be more daring with what they wear, using their wardrobe as a means of escape.”
Ponni Ashok, 21
Satirical in approach, Ashok’s work pushes the boundaries of conventional notions and ideals surrounding ethical fashion.Drawing references from anti-consumerist ideals of punk subculture and the Dadaist art movement, her garments are an intricate assemblage of discarded textiles and excess fabric scraps. “I hope that my garments serve as a physical representation of how culture and upcycling can go hand-in-hand to allow modern-day wearers to creatively express themselves. Fashion is personal, so I would love to shift the power to the wearer and allow them to explore textile modularity and draping to see what suits them the best.
Thirza Ariance Lilingan Lodo, 24
Maximalist and experimental, Ariance’s bold designs often feature unorthodox silhouettes that make a strong visual statement. Shares the designer of her unabashed approach: “Fashion, to me, is a gateway for self-expression. I hope to inspire people to be more daring with what they wear, using their wardrobe as a means of personal and artistic escape.” For her graduate collection, she looked to dissect the psychological and social challenges faced by the youth of today, while unpacking themes of reverie, nature and geometry. Flowers and dance were two key points of reference, symbols often used when illustrating serenity and utopia.“I noticed that circles were a fundamental shape in the structure of flowers, thus I played around with spherical forms and combined it with the organic shapes created from dancers’ free movements,” explains Ariance.
Photography Stefan Khoo
Styling Jasmine Ashvinkumar
Hair Yuhi Kim using Dungüd from Woorailoora
Make-Up Weeming
Manicure Ann Lim
Photographer’s assistant Alif
Stylist’s assistant Nurul Firdousee
Model Vira/Mannequin
The September ‘Kitsch’ issue of Vogue Singapore is now available online or on newsstands.
