Local Talent: Part 2
01-02 Designers Tina Tan-Leo (pictured in image 01, center) and Lionel Leo's latest collection from Alldressedup; 03-04 Pang Ai Mei's latest collection from Mae Pang; 05 The latest collectoin from Dzojchen; 06-07 The latest collection from Max Tan.
In the latest part of our report on the Asia Fashion Exchange shows, we canvas four Singaporean labels that stood out on the runway at the Future Fashion Now shows.
Experience, know-how and an international perspective have propelled Alldressedup’s journey since its inception in 2005 by husband and wife Lionel Leo and Tina Tan-Leo. Exuding the label’s usual confidence, the majority of the A/W2012 collection uses single hues in muted colours to show off feminine silhouettes and draping, structured outerwear, short skirts and wide-legged, calf-length trousers. Black-and-white prints of different designs pop up – sometimes alone, sometimes paired with a contrasting print – to give character to the collection.
Mae Pang combined street attitude with an unfussy, approachable aesthetic to create a functional and sometimes tomboyish pre-Spring 2013 collection. Inspired by a representation of the female as a porcelain vase, designer Pang Ai Mei explored the relationship between the fragile and the strong, with bold shapes, simple silhouettes and sharp lines. Toughness is introduced through silver mesh and zipped shirts, and softened by occasional sweeps of chiffon.
Quality fabrics and craftsmanship are important to Dzojchen, which began life in 2008 with a focus on denim garments. This pre-Spring collection, though, is all about leather, another material that fits the luxury-casual niche Dzojchen tries to fill. With Robin Hood as the inspiration, it’s dark and moody – part rebel, part outlaw. Tank tops, button-down vests and caped blazers in lambskin leather bring to mind Sherwood Forest, archery and ambush. Crochet-effect leather sweaters show Dzojchen’s exploration of the material.
The work of experimental, theoretical architect Lebbeus Woods was the inspiration for Max Tan’s collection, which plays with the relationships between elements and materials. Wood and air form the schema for this conceptual collection, which includes a column-style, suede-finish empire dress and an upright corset, alongside a floaty tent dress in silk voile and a translucent, loose silk blouse. Unusual silhouettes and complexity mark a collection that is both feminine and structural.
