Forms are unstructured, and the garments do not follow the Western ideology of assembling the fabric in a certain configuration. Just like how the Indian Sari and the Malay Sarong can be worn in multiple ways, it is interesting that this way of dressing includes the wearer’s skill – an expression of individuality sans intentional construction methods. Taking cue from the simple pattern pieces of South East Asian garments, the construction of the garments in this collection is made from minimal number of pattern pieces where fabric fall and movement is the emphasis.

The muddled calligraphy works of Nanyang artist Lim Tze Peng is abstract; while the calligraphy inspiration and the choice of medium (chinese ink) is traditional. The techniques are modern and not steeped in the past. The focus on form and technique rather than content is employed in the design processes and reflected in the outcomes of this collection. The art of calligraphy is inspected and explored in its entire entity – the respect of negative space, movement and the tension of brush strokes, sharp monochromatic palette and a harmonious result. Expressing Chinoiserie without a single mandarin collar in sight. Ethnic cuts and influence without presence of stereotypical heritage prints as cultural signifiers.

Photos by David Goh