Everyone who knows fashion, knows Dr Martens, but connoisseurs of fashion know Jun Takahashi’s Japanese streetwear brand Undercover. The combination of these two iconic brands was always going to be a cult collaboration.
Undercover is, itself, already considered a cult brand. It is described as sharing “a mutual punk aesthetic and rebellious attitude with Dr. Martens”, and to “epitomise the essence of ‘Japanese cool’, making this new collaboration obvious to those who know.
Takahashi founded the brand in 1990; its understated and underground vibe made it “one of the ura-Harajuku movement’s most coveted secrets for many years” but since 2002 the brand has been showing at Paris Fashion Week, making the jump from cult streetwear brand to cult luxury brand.
One of Dr Marten’s longest-running collaborators, Takahashi has worked with the iconic shoe brand creating remixed imprints for almost 10 years. The Japanese designer is known for his underground aesthetic and inspirations, making him a perfect fit for Dr Marten’s.
This Dr Marten’s collaboration was inspired by Takahashi’s love of 70s cinema, informing the colour choices of the three options – black, cherry red and blue – for the Undercover version of the Original 1461 3-eye shoe that is made in Dr Marten’s original Wollaston factory.
The shoes are printed with a grid-check pattern from the Undercover archive; embossed with the brand’s signature – We Make Noise Not Clothes – and have the traditional yellow welt stitching on the smooth leather, both logos on the sock liner and come in designed packaging.
The Dr Martens X Undercover collaboration collection is available exclusively from drmartens.com.au. Follow the brand on Instagram at @drmartensaustralia.
For more information about Jun Takahashi’s Undercover, go to undercoverism.com, and follow the brand on Instagram at @undercover_lab.
IMAGES: Undercover 2022 Autumn Winter Psychophilia & Dr Marten’s
Thai designer label Takara Wong was founded in 2015 by designer Thakorn Wannawong around the concept of ‘trial and error’, and influenced by subcultures and musicians across the world and history.
According to Wannawong, iconic tropes from the 70s or 60s for example, are mixed with an “aerodynamic sporty silhouette” which makes the garments timeless. The latest collection for 2020 is all about streamlined 70s leather and glam for the menswear pieces, and sexy leather and suiting for the womenswear.
“Imperfections are what make things truly interesting, that is why the brand focuses on the underdogs of society and rebellious spirits,” states Wannawong on the website.
Wannawong is a graduate from Japanese design school Bunka’s Bangkok school, and he has always been interested in fashion, starting with designing pieces for family, and then moving onto creating costumes and outfits for his musician friends.
There is a very new YSL feel to the latest Takara Wong collection – lots of leather, lots of skinny guys and girls with shaved heads, tight and narrow cuts combined with slinky velvet. This is a very sexy collection; but there are also a number of sharp suits that can take you from day to night.
These pieces aren’t exactly cheap, but there is a level of quality and detail that is worth the cost – many of the pieces are ‘demi couture’ and need to be pre-ordered.
For a long time Australian fashion has been known only for its swimwear, beach wear, resort wear, flip flops, shorts, jeans, casual tees and Ugg boots. Now, with the world made smaller via the internet, some Australian designers are beginning to branch out into areas that are more fashion, than retail. In fact, some of the more interesting Australian brands have been around for decades … You just didn’t know about them.
Here are three of my current favourite Australian fashion brands …
Et Al
Et Al is a Melbourne brand that has been around since 1987 when it was founded by Christine and Les Doughty, who still own and run it. This is one of my personal favourite Australian independent labels; it’s very Japanese-art-gallery-worker crossed with 90s goth and bits of Vivienne Westwood.
This is a brand that is strongly influenced by the Japanese designers of the 80s – think relaxed tailoring, lots of black, few patterns, multi-use garments and gender neutral designs. The current brand designer is Anthony Capon who won Project Runway Australia season two.
Et Al is known for its quality of fabrics and finishings; there is a type of timelessness to the designs that make the pieces trans-seasonal. Et Al also supports other young and emerging Australian designers via its accessories stocks that feature artistic jewellery, as well as shoes and hats. The brand offers womenswear and menswear, but many of the styles are unisex. The use of muted colours and some prints adds depth to its more basic black core collection.
The brand produces limited runs of only 8 to 24 pieces of each style, and 70% of their garments are made in Australia. It is also size inclusive running from Australian size 8 to 18. Et Al is even age inclusive, featuring models of all ages in its social media and campaigns.
Another one of my favourite Australian fashion brands, Alpha60 is Melbourne born and bred, founded in 2005 by brother and sister duo Alex and Georgie Cleary. The brand’s name comes from the sci-fi classic movie Alphaville by Jean-Luc Godard.
Alpha60 is another brand where you can clearly see the influence of the Japanese designers of the 1980s.
While there is not so much black, there are lots of cocoon shapes, volume, asymmetric cuts, simple patterns, little glitter or gloss, natural fabrics and size inclusivity ie. nothing’s too tight or too structured.
Alpha60 is a brand that sticks to small production runs, using local sewers, and although it has around 10 boutiques in Australia and New Zealand, is still affordably priced in the lower contemporary range. I’ve bought a fair few pieces.
This menswear brand is an interesting mix of JW Anderson menswear with touches of Off White and Korean brand Junn J. Based in Melbourne, this brand is probably the most experimental of the local menswear brands. Lin is inspired by “architecture, structure, and texture” which can be seen in the cuts, volume and use of wool fabrics.
Lin is also known for his quality, but still interesting, knitwear. The use of various techniques to create lacey sweaters or bodycon tops, gives the brand the JW Anderson feel. Recent collections have shown a brighter and sharper use of colour, particularly the Uniform collection; note the ‘logo’ and use of red. It rather reminds one of something, does it not?
Although primarily a menswear brand, Lin has recently branched out to create a few womenswear pieces, and items that are distinctly non-gendered as well.
These appear to be more like luxe basics with a more elevated feel, rather than Lin’s more artistic runway garments. The newer items look to be more wearable for a wider range of body types as well. A good move in these uncertain times.
For a long time I’ve had an issue with Singapore media describing certain companies that make clothes as ‘fashion brands’ but which are actually ‘retail’ labels. These brands – Love, Bonito is one of them – are not really ‘fashion brands’; they are companies that make nice clothes, at reasonable prices, with a bit of personal style, for people to wear on a daily basis. These brands are more similar to Topshop and Uniqlo than they are to Dior or Chanel, or even Vetements.
In Singapore there are number of quite successful retail brands that have been making their way into popular shopping memories, but which are not fashion brands per se. Brands like Love, Bonito, By Invite Only, Beyond the Vines and Benjamin Barker, were recently featured at the Singapore Fashion Awards 2017, as part of the ‘marketing’ section, not as part of the design awards. And having been a founding judge for the awards, I know that the reason these brands are featured is because they are popular and much more retail-friendly than many less wearable or conceptual designer brands. Designer brands that are more appropriate to be considered as ‘fashion’ labels.
Now, don’t get me wrong. I’m not saying that more retail-friendly brands are worse than the more fashion-forward labels. What I’m trying to highlight is that these types of clothing companies are not ‘oranges and apples’, they’re more ‘oranges and coffee-smoked buffalo tongue’. The first is something that doesn’t scare the shopper, the second is only for the very adventurous.
I have a great deal of respect for Love, Bonito’s founders. They have created a very lucrative business in a fashion retail environment that’s been under a great deal of pressure for the last 2-3 years. The brand knows exactly who their customer is; they know what she wants; and they know how to give it to her in a seamless online-to-offline experience. The brand has a variety of price points, but retains its core directive from its launch, expanding only as much, and as directionally, as is needed to grow the business. Love, Bonito is not a fashion brand swinging on the weird wind of trends and concepts; it’s sailing along smoothly along in a clear direction. And this is not a bad thing.
Image from Love, Bonito Chinese New Year 2018 capsule collection. Model: Jasmine Sim
While I may not consider Love, Bonito to be a hardcore fashion brand – you can read about the Singapore brands I do consider more ‘fashion’ – the founders have never claimed it is one. They are purposefully creating a business that has long term prospects in the retail market.
There are a few other Singapore brands that are also not exactly pristine when it comes to plagiarism. Whole9Yards has been cited for knocking off first, Self Portrait – the classic coloured lace dresses of its earliest collections – and now Malaysian designer, Jonathan Liang. Pleatation is obviously a copy of Issey Miyake’s Pleats Please label.
For Pleatation, the concept arose at the same time as micro pleated skirts started flooding Zara and Topshop; the brand cleverly linked up with this trend.
Image from Jonathan Liang SS17
When Whole9Yards first launched there was not a whole lot to talk about. The design concept was very ‘office lady’. However, after Self Portrait’s iconic lace dresses took off in 2013, Whole9Yards began to specialise in lace dresses the average OL could afford. The lace dress became a staple of its output. And very successful it was too. Although I’ve noticed that the brand has massively increased their prices now that they’re doing items that look like those of Jonathan Liang.
Image from Whole9Yards AW17
Again, I’m not saying that affordable retail options are an entirely bad thing. What I am saying is that making items that so closely echo the creative work of other designers is not fashion; it is copying. It is the lack of original design coupled with riding a wave of commercial popularity that makes it ‘retail’ and NOT fashion. At least as far as I’m concerned.
As I was quoted in this very flattering story by Adele Chan, the Editor-in-Chief of Nylon Singapore … “As always, I want to remind readers that this is my personal opinion, and as with anything, you can always have your own.”
There is a tendency in small communities to rave about any local brand or designer simply because they ARE local.
While it is important to support local talent, it is just as important to give praise where due, and to not simply celebrate the ‘localness’ for its own sake.
This is what has happened over the last 6 years in the Singapore fashion industry. Local brands with little to no true originality have been patted on the back and given media coverage simply because they exist. It’s like giving all the kids in a race a certificate and no medals for first, second or third.
When you don’t appear to get anything more for standing out from the crowd and being better than others, what’s the point of trying?
Conversely, just because you have a lot of friends in the local media, it shouldn’t mean that your work is placed higher on the tent pole of adulation.
In Singapore there has been a general creep towards admiration for retail brands that have successful social media accounts, rather than support for labels that do their own thing and focus on creating original work.
Yes, we should be proud of the brands that have continued to be economically viable in the current difficult retail environment – and indeed, they deserve praise simply for surviving. However, retail-successful brands are not going to be cutting edge fashion design in a trend-focused, shopping-driven country like Singapore.
Over the last 9 years in Singapore I have seen so many fashion brands come and go. Some deserved to disappear from our fashion radar, but others succumbed due to the lack of media attention, the lack of fashion education for shoppers – also media-led – and a general oversupply of any, and every, fashion brand in the world. Not to mention, of course, the increasing rise of online shopping.
Out of this complicated mess of being ignored in favour of someone’s friend’s new blogshop sourced from Dongdaemun Market; fighting for sales against global retail giants; and forever being forgotten by the fashion media except for the annual ‘Singapore issue’, there have risen a few fashion and accessories brands worth talking about.
These are my personal picks for Singapore fashion brands that actually work from a creative base of originality; no, they’re not all perfect (no brand is) but they have worked to ensure that they have a brand identity that doesn’t depend on ripping off other brands.
DEPRESSION
Image: Depression
Yes, I admit that I am personal friends with the designers behind Singapore streetwear unisex brand Depression. However, this doesn’t mean I can’t objectively appreciate what Kenny Lim and Andrew Loh have done over the last 10 years. Yes, Depression is 10 years old.
A brand that began as t-shirts for the impoverished junior industry creatives and hairstylists of Singapore, has grown into a brand that has a distinct DNA, is stocked globally and has shown at Berlin Fashion Week.
Depression is not a brand for everyone. It’s mostly black, drapey, oversized, punk-influenced streetwear for guys who work in the creative industries and girls who don’t like wearing pink lace dresses. But this doesn’t mean it’s not good.
Depression has a particular point-of-view and a targeted customer. And these are the reasons why it has survived Singapore’s ‘retail apocalypse’.
Image: Depression
Depression does have some issues. Over the years the brand has had hiccups in fabrication and fitting, but the team of designers tend not to make the same mistakes twice. As the brand owners have branched out into a multilabel store – Sects Shop – and a number of in-house brands, their ‘learnings’ have been incorporated into improving the Depression label.
Despite, or in fact, because of this, Depression is a Singapore fashion brand worth celebrating, whether or not you love an all black wardrobe.
Depression is available from Sects Shop located at Orchard Gateway #04-14, Singapore, and online at www.depression.com.sg.
IN GOOD COMPANY
Image: In Good Company
Designed and owned by the creative team behind now-defunct original Singapore brand Alldressedup, In Good Company is a tight collaboration between two designers who have their own specialties, and who know exactly who they are designing for. I’ve always said that the team, who worked together for about 10 years, made all their mistakes with someone else’s label, which is why they have grown from strength to strength since the brand launched in 2015.
Image: In Good Company
Jaclyn Teo, Sven Tan, Kane Tan – no relation – and Juliene Aw, are the co-founders of In Good Company, which started out with contemporary womenswear designed specifically for Singapore and the Southeast Asian region’s hot weather in a series of capsule collection ‘drops’, and has now expanded into matching ‘mini me’ collections for kids, and menswear. The brand is stocked in a number of stores in Singapore and the surrounding region, including in Jakarta, and has its own ‘tropical minimalist’ flagship store in ION Orchard on Orchard Road.
Image: In Good Company
The reason I describe the brand as being ‘tropical minimalist’ is that its aesthetic is a mix of Scandinavian minimalist design (yes, there’s a fair bit of COS in the shapes of the clothes) combined with a love of strong colours, ease of wear and machine-washability; perfect for tropical weather.
Image: In Good Company
Cuts tend to be on the smaller, Asian side, however the brand launched first as an online store and has a wide range of global customers. The signature very-fine shoulder and back strap details, and unique fabrics like machine-washable silk and cotton ‘neoprene’ means In Good Company remains modern without being trend-driven. Pieces from early collections can just as easily be worn with the latest launches and also fit nicely into ‘arty’ wardrobes that feature a lot of Comme Des Garçons. Yes, there are a few ‘basics’ that have a tendency to look like COS summer collections, but overall, In Good Company retains its own voice.
Image: In Good Company
The co-founders knew exactly who they were selling to before they launched the brand, and continue to stick to that very defined demographic despite the brand’s increasing profile as original Singapore design. They’ve been offered opportunities internationally – in countries that are definitely NOT tropical – but have stuck to their guns when it comes to designing for the region, not being beholden to global weather and not sticking to arbitrary fashion seasons.
It’s the combination of sticking to their preferred business model, knowing their customers and always exploring technology to create new, more comfortable fabrics, that has seen In Good Company continue to grow and establish itself as a strong independent Singapore fashion brand. This is not a brand that wants to become a global behemoth, the founders are all about staying true to their personal aesthetic and likewise living a life that allows for family and friends.
In Good Company is located at ION Orchard, 2 Orchard Turn, #B1-06, Singapore. Open daily: 10am – 9:30pm, Tel: +65 6509 4786. You can shop the brand online at www.ingoodcompany.asia, and the store is also home to a cool cafe, Plain Vanilla Bakery.
CARRIE K. ARTISAN JEWELLERY
Image: Carrie K. Artisan Jewellery
Once again I have to own up to being personal friends with the team behind Carrie K. Artisan Jewellery, but hey, Singapore is a small place.
Carolyn Kan, the founder and designer of the brand is the perfect example of a Singapore creative just doing her thing, being excellent at what she does, and ignoring the shallow, wider world of globally focused trends and social media ra-ra.
Image: Carrie K. Artisan Jewellery
Carolyn launched the label way back in 2009 as a way to ‘tell stories’ after changing her career. Almost immediately the brand took off as an international jewellery exporter; her quirky designs based on everything from nuts & bolts to paint splatters and morse code, struck a cord with people looking for ‘wearable art’ that was not only affordable but also unique and told a personal story. Carolyn has always done commission work, creating very personal pieces for customers who want something that tells their own story.
Image: Carrie K. Artisan Jewellery
The retail side of the business has grown over the years to encompass pieces in silver for less than a $100, to fine jewellery versions that can go for thousands. Every collection starts from Carolyn’s odd-but-interesting brain and continue to tell fun and unique tales about her world and the fans who have bought into it.
Image: Carrie K. Artisan Jewellery
On top of all this, Carolyn has been the backbone of the creative design scene in Singapore. Her creation of the Keepers Studio concept from pop-up weekends and stores, to a permanent retail space at Singapore’s National Design Centre, has seen her become the most important person in the national design scene. Without her, there would not be successful Singapore brands – a bold claim but one I’m ready to defend.
The Carrie K. Artisan Jewellery atelier is located at National Design Centre, 111 Middle Road. #02-03 (Annex building along Queen Street), Singapore. Open: Monday to Saturday, 12:00 – 7pm, Tel: +65 6352 2559. You can also shop the brand online at www.carriekrocks.com, and at the Keepers store. For a full list of stockists including international, go to www.carriekrocks.com/stores.
These are my current best Singapore designer fashion and accessories brands. I’ll continue to update and add to the list.
Singapore, while being a geographically small country that punches above its weight in any number of industries, has had some difficulty in producing fashion brands and designers that have been able to go on to worldwide success. It’s not been impossible; accessories label Charles & Keith is a prime example and brands like In Good Company – which won the inaugural Designer of the Year – is currently making waves with its affordable fashion with a ‘designer’ sensibility. However, there have been a number of Singaporean brands that have recently downsized or closed – not just ‘designer’, in fact, previously solid contemporary and high-street brands have disappeared too.
Thankfully, however, there’s been some new blood to fill in the blanks and some brands who have been plugging away for years, have finally been recognised.
THE SINGAPORE DESIGNERS OF THE YEAR …
Image: Dzojchen
I was particularly excited that Chelsea Scott-Blackhall of contemporary luxury brand, Dzojchen, won Designer of the Year. Chelsea has been growing her label since 2013 and over the years has shown on runways in Paris, New York and Seoul. It’s also being stocked in major multi-label stores and showrooms. I actually sat front row at Seoul Fashion Week for Chelsea’s first show there, and I’ve been supporting her strong, personal take on luxury mixed with a sense of ease and nostalgia ever since I saw her first collection. A well deserved winner. Yay Chelsea!
Image: Marilyn Tan
Another well-deserved winner was jewellery designer Marilyn Tan. Marilyn has been creating artisan jewellery pieces for 20 years; the brand shows in Paris twice a year, and is stocked at the Museum of Contemporary Art Store in Chicago, plus at designer stores in New York, Miami, Toronto, and London. Marilyn is one of the loveliest people I’ve ever met; she’s always stayed true to her unique design sense that mixes precious metals and stones with a Singapore aesthetic and the organic shapes of nature.
The winner of the Emerging Designer of the Year, Elizabeth Soon of Ametsubi, may be a relative newcomer to the Singapore fashion world, but her win was loudly applauded by the fashionista crowd at the awards.
Ametsubi is an interesting mix of Japanese aesthetics and contemporary womenswear. These are clothes made for women who love fashion but aren’t necessarily into following trends. Although based and produced in Japan, the brand does have a more practical bent that shows its Singaporean roots. This is definitely a brand to watch. You will eventually be able to shop Ametsubi on its website (although it seems to be still under construction), but you can check out the new collection and then stalk the site. That’s what I plan to do – I really want this whole outfit.
Image: Ametsubi
The Emerging Accessories Designer of the Year award went to the team of Afzal Imram and Lin Ruiyin behind fine jewellery label State Property. The brand has a very modern aesthetic, quite geometrical and minimal, mixed with a Singaporean’s love of colour; it’s very easy to see that this is a label that can become international. There is also an artistic quality to the pieces; an interesting sense of balance between the materials, the skin of the wearer and the spaces between. The earrings are particularly clever – they look both current and timeless, something that’s very difficult to do. I personally like the Coda earrings.
Image: State Property
THE CHAMPION OF THEM ALL … CAROLYN KAN
Image: Carrie K.
First up I have to declare that I’m great friends with this individual who I feel has done more for the Singapore fashion and design industry in the last 10 years than anyone else.
The designer and founder of artisan jewellery label Carrie K., Carolyn Kan, is someone who has been a tireless worker for Singapore’s design scene. Her jewellery brand is international, but what’s more important is that Carolyn has created numerous environments for Singapore designers to come together and make money; all on her own initiative.
Her positive personality, energy and genuine care for creatives in Singapore led to the Singapore Fashion Awards committee creating a special award just for her; the Champion for Creatives and Designers Award. Carolyn was behind the Multiply: A Majestic Playground event by Keepers Singapore and The Straits Clan – featuring over 50 Singaporean artists, designers, makers and craftspeople – and more than 6,000 visitors. Carolyn was also the driving force behind Keepers, a platform for Singapore’s creative businesses that has gone from pop-up weekends in the Carrie K studio, to a pop-up store on Orchard Road and now has a permanent space at the National Design Centre.
Carrie K. also won the inaugural Bespoke Award for a unique ring designed for a wedding anniversary that managed to combine not only the client’s many personal requests, but still held onto the Carrie K. design aesthetic. And, she won the Best Collaboration of the Year Award for the Carrie K. and Disney Beauty and the Beast Collection (another personal favourite – I’ve got two of the rings).
We all love and adore Carolyn.
THE SINGAPORE FASHION AWARDS EVENT …
I have to say something about the actual event for 2017. This year it was held at W Singapore and the organisers went all out on creating an environment that was an eclectic mix of Singapore, luxury and dare-I-say, fun. The was a real sense of occasion created by Singapore’s ‘Godfather of Fashion’ and author, Daniel Boey … towering flowers, fabric, Singaporean models, crazy lighting, an actual triumphal arch on the stage and lots, and lots of Singapore fashionistas in their best Singapore designer threads. Congrats darling! It was definitely ‘fashion’.
Sects Shop has been collecting streetwear subcultures since it opened its doors in 2014. From skater to sports, from kpop to streetgoth, and now for this season, it’s NERD PUNK. Shot in collaboration, and on location, with one of Singapore’s leading fashion institutes, La Salle College of the Arts, the FW17 video and photo lookbook is a presentation of street kids, geeky on the outside, punk on the inside.
Creative Direction/Styling: Niki Bruce Video Director: Leona Ziyan Videographer: JC Wong Photographer: Jasper Yu Grooming: Sha Shamsi Models: Chanil, Sungsoo, Carl, Seokyoung, & Ashley Threads:SECTS SHOP by Andrew Loh & Kenny Lim Depression
Who says Singapore doesn’t have style? Not us. We pulled together 15 Singapore fashion, jewellery, homewares, shoe and bag brands to create our very own ‘Singapore’s got style’ fashion shoot featuring two of the country’s top models as well … #supportlocal all the way!
11 ways to get the look WITHOUT looking stupid (or like your parents on holiday) …
Creative Direction: Niki Bruce Styling: Randolph Tan Styling Assistant: Jordan Ong Photography: Jasper Yu Photography Assistant: Cheryl Raharjo Makeup: Sha Shamsi using Estee Lauder Hair: Ash Loi using La Biosthetique Paris Models: Woan Ni (Mannequin) & Roh Jinwook (Now)
niki bruce 