sand
Dissecting the creative culture ISSUE #2 — FUEL
“there are some moments in the telling when timings shift about a bit; the age I say I am ‘now’ isn’t always consistent. I’ve let the inconsistencies stand. You’re a grown up, I know you won’t mind.” — Tracey Thorn, Bedsit Disco Queen
#2: FUEL
sand magazine BASED in—Singapore editor in chief—R.L. contributors— Alexandra Teng, Ana Mei, Nic Shields, Bodil Jane, Amanda Tan, Ester Keate,
Jiahui Tan, Amanda Lin, Olivia Lin, Jazz Williams, Kelly Raphaelle, Trishna Goklani, Nicole Ngai, Matt Sekiya, Manjit Thapp, Subsonic Eye, Marina A., Maria Barton, Jingqing Goh, Marcus Cheong, Shaista Dinis
STOCKISTS (including but not limited to)—Singapore, London, Taiwan, Australia SUPPORTED BY—BooksActually PRINTED BY—AlsOdoMinie MORE STORIES ; submit —wearesand.com ; info@wearesand.com
editor’s note
Issue 2 — FUEL begins and closes a little differently from the last. Seems almost
redundant to limit every issue to fixed portions, don’t you think? If art can embody different forms, magazines should rise to the challenge too.
It’s been brought to my attention that everything comes in waves. In relation to
creative work, this would mean rounds of embracing a new art form. The viewer gets to decide whether it’s a trend, an asset or both. In this issue, we take a deeper look into the lives and minds of creatives and discover how their moods, desires, and surroundings gel with their art. These are stories we’d never want to become jaded with. The best way to digest them would be to think about the shift in your emotions each day and how they shape the way you interact and create. Books and music are scattered all over this issue—fuelled by the conversations we’ve had.
None of this would have been possible without—the team at BooksActually for
your tireless support, Aziel for embracing human flaws (of which, at least a quarter are intentional), Yang for sparking meaningful conversations and having immense faith in this tricky world of magazine-making, Shaista Dinis for gracing the cover with your power, wit and willingness to experiment, Chuck for challenging our limits, makers old and new, people from past to present—
Finally, here’s to taking the leap
and riding the depths of our ordinary selves.
Copyright © 2017/18 by SAND. No part of this publication may be reproduced without the permission of the publisher.
SAND
A child of the world has no concept of escapism in the cosmopolitan sense. She is not lulled in the slightest by a force that has been romanticised and sanctioned in one word: Wanderlust. Copper-toned backs against the sea
This isn’t the new normal. She has roots so deep—but those are in the Who rather than Where. Be not fooled into thinking you have pledged your immeasurable inheritance to the soil you stand on. It is our prerogative to question the people we’ve been, not the papers and passports we hold. The blood that courses our vessels speaks much more passionately of our heritage than artefacts at the museum can. Each time we cross borders, a transfer of immeasurable resources takes place. The virtue of a lifetime is on the shoulders of another government. In this, I know I am home. I am my home—I carry it behind these ribs. I guess what I’m saying is this: You are the great beyond. Traverse new horizons. Lend your affection to cities, castles, caves and countrysides—but never leave wishing you had been born someplace, let alone as somebody else. Because of kith and kin that have come and gone before, the narrative of how you got here is sensational, quizzical and sometimes heart-rending—but it is the trip most worth taking.
Essay: Alexandra Teng / Photography: Alexandra Teng (p 6 – 11)
breeze, wide eyes under wide brimmed sun hats.
MANJIT THAPP, Illustrator “Femininity sometimes has connotations of being ‘weak’ or ‘dainty’ when in fact it encompasses the power and strength of women in whichever form that may be.”
manjit thapP
INTERVIEWED IN: LONDON / PHOTOS SHOT IN: LONDON
Upon deciding to create an issue that addresses the intricacies of the everyday, Manjit Thapp came to mind. What drew us in was the far away gaze captured in her portraits, whether it is of a woman in her room or runway models with designer bags. It’s how anyone looks like while waiting for a bus, getting in line to buy lunch or idly feeding his or her thoughts with music. Even in her fashion illustrations of Balenciaga and Gucci runways, her subjects are reachable. At the forefront, the pencil texture in her works provides the viewer with a sense of familiarity— seeing as it’s a tool that almost doesn’t own a singular identity, as one would assign a watercolour or acrylic palette to a painter. It wouldn’t be unusual to view her works as another wave of feminist art—but perhaps that’s a superficial notion drawn from the fact that she primarily draws women. Thankfully, many big names such as Frankie, Dazed, Cartoon Network and Adobe have managed to get past that and see her art as relatable despite the ambiguity—two important factors that contribute to the reader and consumer’s ability to immerse but not enough to get jaded by.
SAND
Hi Manjit, who are your muses?
Matisse, Frida Kahlo, Cy Twombly, so many!
What about faces speak to you?
I’m not sure what it is exactly but they are my favourite things to draw.
I like being able to convey emotions through expressions and the eyes—which, over a period of time, became the focal point to my illustrations.
What do you think about when you see colours and patterns?
Colour is so important to my artwork and adding them to my illustrations
is definitely my favourite part of the process. I like putting together interesting palettes and patterns that will help to convey a particular mood or atmosphere.
What emotions do you draw from?
I like drawing from very relatable, sometimes simple day-to-day emotions.
This includes a mix of uncertainty, self-doubt, happiness and also feelings of power, strength and so on.
There seems to be a portrayal of different types of femininity in your works. Was that a conscious decision?
It’s not something I consciously think about but I’m happy to hear that
comes across. Femininity sometimes has connotations of being ‘weak’ or ‘dainty’ when in fact it encompasses the power and strength of women in whichever form that may be.
MANJIT THAPP
Do you believe in distancing yourself from the world or reality?
No. It’s important for me to stay
connected and up to date with what’s going on around the world. It can be a scary place but it’s important for me to stay educated on these issues and not be oblivious to the struggles that affect
incorporating my works on t-shirts. I love seeing my artwork manifested in various ways on tangible objects.
What’s your latest obsession?
I recently finished reading The
Handmaid’s Tale (1985) by Margaret Atwood—which was great and I’ve just started watching the TV series.
many across the globe.
Although it’s set in a dystopian world
Have you ever spotted your art anywhere without fully expecting to see it?
crazy how relevant the story is to the
how the tone of the book can be eerily
I recently did some work for a
and written almost 32 years ago, it’s world today—I couldn’t help but draw parallels to the situations we face. I like
market festival in Greenwich London.
quiet—it definitely created powerful
I was going for dinner in the area and
messages from the narrative.
saw all these posters lining the street— it was the most surreal feeling!
It would be fun to see your illustrated portraits being interpreted into photographs. Are there other forms of mediums or expressions you’d like to venture into?
DAMN. Some of my favourites are
I’d love to give that a try at some
point. Even just to collaborate with photographers in one way or another would be fun. I’ve been thinking of giving ceramics and jewellery making a shot. Also, I’d love to explore more fashion-related projects other than just
Music wise I’ve been in love
with Kendrick Lamar’s latest album— Element, Yah, Love and God. I love the storytelling, narrative and themes that he explored in the songs.
AMANDA TAN (Empyreal), Visual Arist & Film Director “I’ve been asked whether I think a VJ should be more prominent—my answer to that is, it would be nice if the visuals were. It sure feels good when people from the audience can point a piece of work to its artist... At the end of the day, it’s important that it’s not just me doing whatever I want without consideration for the artist that I’m creating for.”
EMPYREAL
INTERVIEWED IN: SINGAPORE / PHOTOS SHOT IN: SINGAPORE
“I don’t want to know what’s going to happen. As frightening as that
is in real life, it’s a crucial aspect in creativity. Being predictable is boring, and it’s also disheartening and uninspiring.” — Carrie Brownstein, Hunger Makes Me a Modern Girl
It’s convenient to associate live visuals with a blurry face. After all, prominent credits are an uncommon sight for visual artists—how and where exactly are you supposed to place the name without taking attention off the performing act? It takes a discerning and familiar viewer to be able to recognise a piece of work, especially while bobbing and dancing to the music with hundreds of other partygoers. Yet for Amanda Tan who single-handedly helms Empyreal (the name of a visual art and film company that eventually morphed into her identity), that doesn’t seem to be as heavy a concern as compared to making her visuals emotionally stimulating for the audience. For her, the visual artist side of Empyreal is one that connects her passion for music with her unique form of art. Constantly seeking for more to challenge her artistry, she possesses the grit and tenacity that reminds us of Carrie Brownstein—who, in the 90s, trudged the road of success—faced with having to agree to things that would presumably lead her to her goals—while keeping her mind on creating good art.
SAND
Was there a moment that sparked your career in visual art?
is giving someone something to think
Syndicate does, things like that. At that
How do you manage to create something so personal out of music that isn’t yours to begin with?
point in time I was observing visuals
by Brandon Tay [also part of Syndicate]
to the musician. For example, when I
as well. Once, I spoke to him and told
worked with TOMGIRL for their debut
him, ‘you know, I’m not an animator
show in 2016, we conceptualised the
and I don’t do 3D graphics’. After
performance together. Ted (from
that, he showed me some references
TOMGIRL) was awesome because he
of visual artists who incorporated film
suggested a bunch of films for me to get
images in their works. That’s when I
inspired from.
Oh there was definitely a
moment. I mean, I watched visuals for shows that [people and groups like]
about.
It helps a lot when I get to talk
realised I could apply what I’ve been doing to a different art form.
Of course, such opportunities are
hard to come by especially when I’m
I think it also began because
creating for an overseas act or when
I was hungry for something new.
I’m hired by festivals to create visuals
Boredom would be too banal a reason—
for sets. I don’t usually get to talk to
it was more of me wanting to see how
the musicians before conceptualising
I could tell a story with great visual
the visuals—in such cases, I get into
impact without [necessarily] having
the music and think about what the
a script. Also, I used to be a dancer so
complementing imagery would be.
I kind of miss performing. I see my visuals as a way to fuel my need to be
With some works, I do draw
part of a live performance.
from personal moments from my life. I would adapt these emotions and
With visuals, you don’t have to
messages and come up with something
understand them exactly for them to
that people can still enjoy the music
be what they are. The beauty lies in
and party to. At the end of the day, it’s
the process when you know the artist
important that it’s not just me doing
EMPYREAL
whatever I want without consideration
Singapore, where film and visual
for the artist that I’m creating for.
making is primarily still a male-
Other times, I draw from imagery that
dominated industry. Besides, it would
I’m keen on executing.
be interesting to see what would the output look like. At the end of the day,
Would you say there’s a certain style to your works?
I just want to bring people together.
With visuals, I film my own
That being said, I do know
footage. I’m not a 3D animator or
that I don’t want to sell the typical
motion graphics artist. There are
heartlander story—a narrative that’s
certain animations involved but the
important for educating people about
base will always be original footage—
the culture in Singapore but I don’t
things that I capture with my eyes.
come from that world and so it’s not
There are other visual artists who
a story I know how to tell. It would be
do that too but I think this style is
nice to come up with something that’s
less common than works that are
more relevant to both myself and the
completely computer generated.
people around me.
past few years. I produce and direct
That’s true. A lot of stories told here are based on the living room or HDB perspective.
for advertising and corporate clients.
I haven’t done my own short films in
being filmed here, we get to see
a few years but this year, I’m planning
another side of Singapore in a movie.
on making a few music videos to come
It may not necessarily be the best side
back to it.
but it’s a different one.
but what I do know is that I want
Do you feel that the typical stories are somewhat glamourised?
to work with an all-female crew.
I feel like it has been done in other
do I put it? It’s [always] made to be
parts of the world but not really in
more heart-warming or depressing.
On the other hand, filmmaking
has been my bread and butter for the
I’m not sure when my next
proper film will come to fruition
I think with Crazy Rich Asians
Yeah, and a little poeticised. How
Video stills — Live Visuals for Ryan Hemsworth’s set (2016) by Empyreal
EMPYREAL
But I want to make a film that brings
a balance between placing your own
out a different set of emotions without
ideas and emotions into your work,
the need to present a sob story all the
and taking whom it’s meant for into
time.
consideration.
Visual installations are most often seen as abstract to an outsider; some have said that it’s a beautiful yet foreign concept. In your opinion, what is visual creation all about?
where meaningful stories are being
In terms of how it relates to
people’s understanding? I think it
Certain installations are different
from others but I think at this point in time, most works I’m focusing on are more aesthetic based. Of course, I would love to go deeper than that, eventually building a gallery show told.
depends on what you’re trying to
there’s an underlying message all the
What’s the best thing that could come out of your career— especially when you’re not pushing yourself to a certain specialisation?
time.
writing more because I’ve been doing
tell. If it were a music concert or gig, I would want the visuals to be immersive and hypnotising for people. I don’t think people need to feel like
When I did the human silhouette
Recently I’ve been feeling like
so many visuals and non-literary stuff.
visual for Ryan Hemsworth, my
That’s the new world we are living in—
approach was to try and tell a
we’re coming into this era in which
vulnerable story. At that time, I was
perhaps it’s not a bad thing to be able
going through losing someone special
to do a few things at a time.
to me and I thought, I’m going to play
this visual at a party but I don’t feel
very fun. Thankfully, Ryan Hemsworth
specialising in one thing and mastering
has some emotional music and it
that particular craft but I think that’s
worked out eventually. I also added
an old way of thinking. Why limit
colours and textures to make the
yourself to one thing? I’d rather work
visual look more exciting. It’s always
twice as hard to be good at a few
A lot of people believe in
EMPYREAL
different things. In fact, mastering
to which she replied that she really
visuals had made me a better film
enjoyed it. I mean, it was fun meeting
director. It’s good to have multiple
her and can you believe I actually had
roles and in fact, that’s the future
a conversation with Meryl Streep on
we’ve created—especially when
filmmaking for about two minutes?
opportunities come and go very easily.
When faced with low budgets,
What was your experience like being part of that project?
For that film, I was part of the
companies wouldn’t want to invest
finance and local distribution side.
in commercials or films and if that
I remember that job to be particularly
happens, what am I going to do if
challenging because it was an eight-
I were merely a filmmaker? I think
hour film and no cinemas in Singapore
the way we work now fits me better
were keen on taking it up.
because I like working on different things to inspire myself. That’s my
ultimate career goal—to be constantly
the producing seat that I’m often used
stimulated creatively.
to being on. For that project, I knew
That role pulled me away from
wanted to be involved in something
You met Meryl Streep at Berlin International Film Festival in 2016 – how was that encounter?
bigger than me. Lav Diaz is such an
like outside my world.
It was such a cool experience.
amazing and talented filmmaker. I wanted to, for once, observe what’s it
Meryl Streep was one of the judges who
Sorrowful Mystery—which I was one
What are you most motivated by?
of the EPs for. We had arrived earlier at
the Berlinale than other people.
I’m really trying to find a voice and my
saw the winning film—A Lullaby to the
Beyond a filmmaker or an artist,
place. I’m also trying to be comfortable
Of course, people were talking to
with what I’m conveying. It’s not
her but once they removed themselves
something that’s easy for everyone to
we approached her and mentioned
admit (even though that’s something a
that we were on the team for the film,
lot of artists face) but I might as well
SAND
say it—I always feel like I’m trying to
fuck art, eat tacos!
be good enough for something but I think at the end of the day, what I’m
What is ATTAGIRL to you?
searching for is to be good enough for
myself.
opportunity to create visuals. They
ATTAGIRL gave me my first
were one of the first groups who gave
Whatever that I do is motivated
me a stage to explore even though I
by achieving that inner balance and
was terrified—it worked out in the end.
peace. I want to be part of something
To me, they are my pals, my friends,
that’s spiritual and wholesome. I just
my girls. And obviously, people know
wish people were more conscious and
ATTAGIRL as an all-female collective,
in tuned with life rather than putting
which is a great thing for music and
all their focus on earning money.
DJs and VJs here. I don’t believe that our craft is too technical for any
How about being a real person?
Having thoughts and ideas, sharing
gender. It’s surprising that I don’t see a woman behind that often.
them with people. Like Picasso said,
every child is an artist. Society just
chooses to mess it up and convince
good-looking DJs get hired these days.
people that they are not. Look at how
I wish that wasn’t the case. I feel that
artists, writers and philosophers sit
looks shoudn’t be the reason why
at the bottom of the ‘list of things we
someone is up there. I’ve also been
should become’ whereas in the past,
asked whether I think a VJ should be
these people were seen as the elites—
more prominent—my answer to that
that’s a fine reflection of how we view
is, it would be nice if the visuals were.
creative work now and I think that’s a
It sure feels good when people from the
little sad.
audience can point a piece of work to
Also, I’ve noticed that more
its artist.
Serious conversations aside,
and enjoy your process. Like Bukowski
Where does the power lie in being part of a collective?
said, Great art is horseshit, buy tacos.
In modern terms it would mean,
back on. If we were performing at a
sometimes it’s totally okay to relax
It’s nice to have a team to fall
EMPYREAL
gig, we’re in it together. I like having
watch a lot of Netflix when we need an
a bit of both in terms of expressing
escape. So what’s the harm in talking
individuality and being part of
to someone when you’re not feeling
collaborations. Sometimes I create
right? If you’re considering therapy, go
visuals on my own, other times it’s
there knowing that your therapist isn’t
with them. They make it better too
going to fix your problems.
when they suggest things I might not have observed or thought of. Having
that second voice or opinion helps me
to discover tools to regulate certain
better my craft.
emotions and experiences from your
Instead, it’s a space for you
life—and you’re going to do all the
Did writing for PSYMBIOSIS help you find yourself?
work to make yourself feel better.
thinking about my past? But I have to
It helped me in getting my
Honestly, do I really want to be
frustrations out and just telling it like
do so to gain a deeper understanding of
it is. I’m not trying to inspire anyone
myself and why I’m feeling off.
with my writing. I’m just conveying can be hilarious and ugly all at once.
What do you think fear and uncertainty is fuelled by and how do you get past that?
my experience and how mental health
When I shared those stories,
What is fear fuelled by? I don’t
people started coming up to me and
know. But I do know that you don’t get
telling me that they felt the same
past it—you just keep going anyway.
way—‘you know, I’ve always felt like
I face a lot of fears everyday. It’s like,
that but never really got help’. People
I see you there, but we’ll just keep
are used to thinking, it’s not that
going! You can’t just stand there and
bad—that’s what I told myself too. At a
scream for it to go away. To me, fear
certain point of my life, I had a doctor
isn’t something that disappears. It
tell me, ‘you should get some help
stays there and you just keep going.
before the situation spirals. Why wait?’
My fears stem from my personal insecurities. I don’t love saying it but
We take care of our bodies and
go to the doctor when we’re ill. We
that’s the truth and it’s the same for a lot of people.
SAND
Were there moments when you felt like your career was falling apart?
it. I would love to reach a certain level
than being a famous artist. I would
Yes but I never wanted to stop. I
of success but I think at the end of the day, being human is more important
don’t really think I’m good at anything
like to get to the point where I’m so
else. What would I be? (laughs) There
confident and happy with my progress
were definitely moments—I owned
and all the things I’ve done that I’m
a film company for three years and
able to not take up jobs without feeling
when that ended, I didn’t know what
like I’m missing out—I would have
I was going to do next. That felt scary.
the freedom from within to dedicate
I needed something new to break out
myself solely to jobs that I want to do
of my comfort zone. This is something
and not because I have to.
I find myself constantly questioning the younger artists (whom I’m close
Right now, I still say yes to a
friends with)—are you hungry? If
lot of things. I’m always thinking,
you’re hungry, go and get it.
is this going to drive me forward in my career? Is this going to make me
There’s no shame in that and
enough money? Am I going to lose out
it doesn’t stop. As long as you’re
on other jobs? And maybe I’ll never
an artist, you’ll always have to put
get there. Perhaps the point is not to
yourself out there. Of course, there are
get there but to just constantly work
times when I don’t feel as ready—that’s
towards that satisfaction.
when I decide that it’s just not my day to socialise, I’m going to drink and
Sometimes I feel like a dog
relax. I burn out too. There are times
chasing the carrot and I do enjoy the
when I don’t feel like doing any jobs
chase. Someone (who happens to be a
but ultimately, the hunger drives me to
pretty successful art director) once told
pick myself up again.
me, ‘I’m done chasing the carrot. I’m
good.’ Well, I’d love to get there one
Ultimately, what fuels you?
day and maybe it comes with age too.
I’ve also questioned, what if it’s never
Knowing that I’m good at doing
this and feeling like it’s my duty to do
enough and what if the goal is to never
it since I went through education for
be satisfied?
EMPYREAL
Video stills of live visuals by Empyreal
INVENTORY CO.
INTERVIEWED IN: SINGAPORE / PHOTOS SHOT IN: SINGAPORE
‘If you had to wear one thing all the time for the rest of your life, what would it be?’ Such a statement would ultimately spark the idea for the Bespoke Shirt Project created by Inventory Co. in collaboration with other designers, makers and artists from Singapore. When I first met sisters Amanda and Olivia Lin on a weekday afternoon, work had already begun. Amanda welcomes me into their space. ‘Olivia’s just finishing up. She will be down soon.’ She shows me to our meeting spot—a cosy corner of the studio where two racks of clothing to my right stood neatly. The atelier reflected their branding style—clean and straight to the point. Unlike the usual white walls and brightly lit studio that shout minimalism, theirs was simply decorated with comfortable lighting.
And the fabric table? Tucked comfortably in the upper section of the atelier kept to the privacy of Olivia, who handles the cutting before sending each piece of clothing to the master tailor. Their partnership seems balanced. While Olivia handles the fabric work, Amanda works on branding and marketing for Inventory Co. Building the label out of active examination of consumers’ behaviours and the fashion industry, the duo adopts a purposeful approach towards their craft.
SAND
What motivated the both of you to start a label?
O: We noticed that people were increasingly more style-conscious. What
we also realised was that people didn’t actually need many things and tend to fall back on the same few pieces. For our made-to-measure pieces, we came up with 13 go-to pieces for day-to-day activities and travelling. These are clothing that will take you from a meeting to a gig. Our name was based on the desire to create clothes that people could make an inventory of—clothing that is able to last for a lifetime and beyond.
A: We create bespoke and made-to-measure clothing for men and women.
The pieces are more or less made for every day wear. We make sure that the designs are always ready to be packed in a suitcase for travel. A lot of people are very trend-driven but we aren’t aiming towards that. We don’t follow or focus on trends.
What’s your favourite piece?
A: Every piece is a favourite.
If people are more style-conscious these days, what about their perceptions towards how clothes are made?
O: What do you think?
From what I’ve noticed, there are more awareness around bespoke clothing but the general population in some countries (and sometimes our own) may not be brought up to appreciate or understand the usefulness behind it.
O: There’s a huge tide of people who are becoming more quality conscious
rather than placing all their focus on being trendy or ‘relevant’. The people who come to us understand that we use very high quality fabrics. The beauty of it is that you get to choose the fabrics that you want and receive a garment that’s made in your size.
INVENTORY CO.
locally. I cut the fabric in the studio
What about your approach towards creation?
and send to the tailor to finish off.
We ensure that the end product is the
branding has to be simple and
best we can produce in Singapore.
reflective of our ethos.
Everything is manufactured
O: First and foremost, our
Of course, a certain sort of income is A: I cannot imagine anything else
needed to be able afford such services.
That being said, we still manage the
other than our current approach that
price points such that it’s affordable for
already speaks for what we do.
the average working adult.
How has the initial aim of Inventory Co. evolved since its inception?
O: The whole point of starting
Inventory Co. was to create clothing that’s well cut and well made. That has been our ethos from day one.
We try to create clothing that’s
comfortable to wear even under a tropical climate like ours. Our style is a mix of military uniforms, hardware and basics that can be worn and matched throughout various occasions.
A: Some labels place focus
on producing new collections and
O: I think it’s outdated to
define fashion relevancy by seasonal collections. Of course it’s fun for people to have new look books all the time but that’s unnecessary and a little too fanciful in our opinion. Coming up with new things that you don’t really need just because they are beautiful doesn’t really make sense to us.
Over the past ten years, we’ve
realised that most people we know don’t really buy things that are too crazy or colourful. They keep falling back on the same silhouettes. That was what inspired us to create the 13 staple pieces from our made-to-measure collection.
different for us—it’s crucial that we
What’s the challenge in creating bespoke pieces?
create staples that can last through
seasons and time.
what the wearer needs and wants
evolving from there. It’s a little
O: It’s about paying attention to
SAND
before coming up with a solution. For
extremely talented, very creative but
example, we created the Chore Jacket
their problem was that they weren’t
for people who need hidden pockets in
able to fulfil orders, which end up
their clothing when they travel.
getting cancelled. With that, you don’t receive fresh income and it eventually
I think bespoke clothing is
becomes a seasonal cycle. Such a
accepted for its versatility. You’re
format takes a toll on the label and this
able to dictate every detail instead of
exhaustion is ultimately not beneficial
sharing the same piece with another
to the creative process.
person on the street. The beauty lies in the collaboration between the maker
Looking at those dead stocks,
and wearer in designing and tailoring
these brands realise that they are
something that truly belongs to the
running short on capital to pump into
latter.
the next collection. That’s when they start backtracking, piling up bills and
What do you think leads to the short sustenance in clothing labels?
O: Do you want the long or short
answer?
debts. Eventually, it comes to a stage where sustenance is no longer possible.
That’s what I realise of most
failures but at the same time I think a business manager is needed to make
The long answer?
O: The DNA of those brands
sure that there is an understanding of the merchandising side of things.
is such that there are at least two
It’s a shame because such failures are
collections every season. In order
common and some of these brands are
to fulfil the orders, there is usually
run by very talented designers and
greater supply than demand. There’s
makers.
a constant push to come up with new A: I was also looking at Nasty Gal.
collections and in such huge quantities.
As a result, dead stocks pile up.
Money was always pumped into many areas to support their rapid expansion.
I’m looking at London designers
like Meadham Kirchhoff. They are
I think they had a very high turnover in the first four years. Whatever money
INVENTORY CO.
they earned was pumped into
competing with global fast fashion
something like a warehouse space. The
brands—you’re always going to lose in
pace at which they expanded caused
numbers and end up wearing yourself
them to go into this huge production
out!
spill where they created more clothes than they could sell.
A: That being said, the 19 to 20
year olds are very savvy these days.
Nasty Gal took on a fast fashion approach. But what is it about slow fashion that’s not apparent in the former?
O: Better craftsmanship,
They know what’s good for them. Even if something costs as low as 30 dollars, they will make sure their money is well spent. They are able to make quality comparisons between clothing,
definitely. When you look at fast
which is why so many blog shops are
fashion brands, most of the clothes
closing down and major brands aren’t
look like they are ready to be thrown
patronised that often by these people
away. Most of the time, you look at
anymore.
something that’s 39 dollars—pretty affordable and attractive but you don’t reckon you’d wear it more than a couple of times.
Often, the designs are also
very recognisable. Ultimately, such clothing reflects badly on the wearer because it shows that you don’t know what you’re buying. Then again, some people like students can only buy fast fashion items. It’s the working adults that we’re looking at. These are the people who recognise that fast fashion serves as a temporary wardrobe solution. That’s the gap that we are filling. We aren’t interested in
What I’m trying to say is, there
is certainly better understanding as options for clothing increase. Youths and working adults are guided by their experience with fast and slow fashion brands.
O: You find these things out with
experience and age. There comes a point when you get tired of throwing clothes away. To be better discerners, people have to question their options— ‘I don’t really want this. Is there
something better?’
SAND
What about the exposure to these brands? You know, media advertisements and billboards…
A: We had this conversation
is that, for the next 50 years, these clothes will remain stylish. When I first explored fashion, what struck me was Wim Wenders’ documentary on Yohji
a pretty long time ago—I didn’t
Yamamoto — Notebook on Cities and
understand why most brands needed
Clothes (1989). It’s interesting how it
a model to speak for their clothes.
was produced in the late 80s but the
For a long time, quality was defined
clothes still look so relevant even as we
by the fame of the model endorsing a
watch it now.
certain brand or clothing. Why place our perceptions on clothes based on a celebrity, model or idealised figure?
O: Our campaigns place focus
In the documentary, Yamamoto
showed how a good piece of clothing could be your best friend—that’s how I perceive style and clothing. You
on the everyday person. We try to put
cannot possibly have a connection
people from the streets in clothes that
with something and end up throwing
we create for them. They don’t have
it away. When a maker adopts that
to be the most beautiful person on the
philosophy that Yamamoto believes in,
planet. Rather, we attempt to bring out
he or she will start to create clothes
their uniqueness with a piece of well-
that possess great meaning.
tailored clothing. It’s important to
the made-to-measure collection.
What sparked the idea for the Bespoke Shirt Project? O: We felt that a shirt is the only
Clothes are supposed to fit you, not the
item you would really, really need if
other way round.
you had to strip your wardrobe down
create a piece of clothing for a person’s body. That was how we came up with
to a single item. If you had to wear one
Seems like you’ve chosen to focus your energy effectively.
O: When I create something,
I look at how it can last through the years. I seek reference from vintage menswear books. What fascinates me
thing all the time for the rest of your life, what would it be? We wanted to find that out from the creatives we worked with.
Photography: Maria Clare Khoo To p : Inventory Co. (from the Bespoke Shirt Project with Theseus Chan)/ Sleeves attached to bodice / Silkscreened text on shirt: S o h e c a l l e d i n e ac h one of his master’s debtors. He asked t h e f i r s t, “ H o w m u c h d o yo u o w e m y master?”
Photography: Anton Lim To p : Inventory Co. (from the Bespoke Shirt Project with Ly d i a B i n d i ) / F i r s t r e l e a s e f r o m Lyd i a ’ s Die Hard Lover (DHL) brand / Design is built by a three-color silkscreen finish.
INVENTORY CO.
The designs were based on their
strong aesthetic to her art and at that
needs and how the details would
point in time, she was interested in
complement their daily activities.
creating a label that reflected her ideas.
For Clifford Loh of Vulture, he prefers
We wanted to be there for her and
rolling up his sleeves instead of letting
work on something that could help her
them fall down his wrists. With that, I
stir these ideas.
came up with the idea of having straps A: The entire shirt project was
that secured the sleeves so he wouldn’t
have to worry about it for the rest of
created so that we could give them
the day.
a blank canvas and come up with something that we haven’t thought
Amanda used to be a product
about as clothing makers ourselves. It
designer. She thought that a sofa
was interesting to witness how those
was one of the most basic and boring
ideas pushed a shirt’s boundaries and
things to create. I felt that even though
be part of that process.
it’s such an ubiquitous object, there
look—by actively reinterpreting an
It was eventually exhibited at the National Gallery of Singapore.
object, you might create an item that
might prove to be even more beautiful
output of this collaboration with other
and functional than its existing
people. Gallery & Co. has always been
counterparts.
a platform that showcased the works
were many alternatives for creation. The idea was to transcend a common
A: We wanted to share the
of local artists and so we felt that it was
The idea behind Lydia Bindi’s
the best place to exhibit this project.
shirt was centred on her new project called ‘Die Hard Lover’. The design
was inspired by the DHL print used
local designers and works and that’s
in one of Vetements’ collection. We
something that we stand by as well.
thought she would enjoy something
There’s a new wave of talent here that
more street wear-oriented. The output
needs to be seen.
was a Cuban collared shirt that she incorporated graphics onto. There is a
O: They are very supportive of
SAND
We’re just glad to have met
Dragset. My collection spans various
fellow creatives who share the same
areas of interest. There’s also Fashion
mindset, such as Yah-Leng Yu (Foreign
Scandinavia because I’m crazy about
Policy) and Darren Loke (Omitir
the way Scandinavians look at clothes.
Concepts) and the people at Knuckles
There’s Bompas & Parr that creates
& Notch, a risograph studio in
fun jelly works. There are advertising
Singapore.
books too!
How does such a pool of efforts contribute to a greater level of individuality among creatives?
O: It helps people build
The aesthetic vision of these
books is one thing but the ideas are what inspire me ultimately. For example, Damien Hirst might not be
conversations and gels creatives who
the best artist in the world but he has
are individualistic in their own ways.
some pretty interesting ideas that
For example, when working on the
are translated very well in this book
Bespoke Shirt Project with Theseus
created with Gordon Burn (who’s one
Chan of WORK (WERK Magazine), we
of the best art critics globally, by the
found that he has his own unique ideas
way) called On The Way To Work.
and processes them in a very specific way, which we admire. When working with other people, it’s always about creating that positive alchemy between two or more individual styles and ideas.
someone come up with a garment that they like. For instance, most people come to us with an idea of creating something that they cannot buy elsewhere. It’s interesting to listen to
At the end of the day, what are you most fuelled by?
A: For me, it’s being able to help
O: Often, I’m most inspired by
music. I’m always looking for new music and I buy a lot of books. Most of these in the studio are mine— from cookbooks, vintage menswear books to art books like Elmgreen &
what they need and be able to solve that.