Vogue Italia Online - Video Featuring New Talents, April 2013
Featuring sheer chiffon top and crystal knitted hat (appeared after 1:26)
62nd Floor Art-Zine, Issue 7, Mar/ Apr 2013
Arch heels on cover page, corset featured
Please visit fashion video at http://vimeo.com/58615054
Hong Kong Tatler March Issue, 2013
Featured with designers Haizhen Wang, Yi Fang Wan, Yangdu, and more
NYLON SG, DEC/ JAN 2013
Featuring White Corset and Jacket
http://www.nylon.com.sg/read-newsphoto-6-0-792-issue--08-dec-jan-2013--party-people.nylon.singapore
http://www.nylon.com.sg/read-newsphoto-6-0-792-issue--08-dec-jan-2013--party-people.nylon.singapore
VOGUE ITALIA
Featuring Hat from Guardian of Souls Collection
Published: 23/11/2012
http://www.vogue.it/en/talents/talents-shooting/2012/11/colors-in-harmony
Photographer: Nuria Rius
Stylist: Ines Fravezzi
Model: Pau Bertolini @ Viva London
Hair: Takashi Sano at Phamous for SANO using Bumble and Bumble
Make up: Martina Luisetti using MAC cosmetics
Assistants: Alyona Briukhanova, Julieta Piacenza Vanderhoeven
Published: 23/11/2012
http://www.vogue.it/en/talents/talents-shooting/2012/11/colors-in-harmony
Photographer: Nuria Rius
Stylist: Ines Fravezzi
Model: Pau Bertolini @ Viva London
Hair: Takashi Sano at Phamous for SANO using Bumble and Bumble
Make up: Martina Luisetti using MAC cosmetics
Assistants: Alyona Briukhanova, Julieta Piacenza Vanderhoeven
NYLON SG, SEPT 2012
Featuring Fashion Designer Victoria Kwong, styled by Ines Fravezzi and Photographed by Phil Knott
Interview
There's not a lot about you online—tell us more about yourself and how you got to be interested in fashion design, and how you ended up at CSM.
I used to do fine art, and all I wanted at that moment was the chance to play with a wider range of media and something I never touched on before. Fashion is an art that affects people directly and because of that, it has the most possibility. I chose Saint Martins because I know they treat fashion as a way of life and encourages more originality, for which I value.
The satisfaction from knowing nothing much in fashion design at first gave me the anxiety, but curiosity and surprising turnouts made me try outside my comfort zone every time, to give myself even more thrill in bringing life part of myself, parts that I never knew it existed.
You've got a patent registered in Asia—what is it for? What made you want to specifically protect that creation?
The patent is for the use of laminated wood material as the collar of shirts. I discovered a way of making a sculptural wooden fastenable collar in shirt project during my first year. At the critique session, tutors were curious how I made it, and it happened to be a method, which has not been used or registered before. It is not very often that you discover something new, and I became aware that young designers have to learn to protect what they worked on, no matter whether the work will be copied or not.
Are you in Hong Kong or London right now? How do you feel about the dynamic between the two places and how does it show itself in your work?
I am now in London. In my work, I never really exploited my cultural identity deliberately in any ways. I try to keep an open mind and stay true to my intuitive responses after filtering out my peers’ opinions with my research work done behind. No matter how much research you do, at the end of the day, everything is about intuition and nothing more. This is how culture subconsciously influences my work. I try to visualize the outcome exactly as I imagined in my head over and over again until I get it right without sketching too much.
There's a lot of debate about YBA (Young British Artists) and how places like Hyper Hyper have given way to in-house designers for high street brands like Topshop—where do you see yourself going in the future?
I want to be a young artist for now, and I hope to be working on many of my small personal dreams one by one, but all these requires time and luck. At this moment, I am open to all sorts of collaborations and hoping to open doors. I want to continue developing my vision.
I believe my childish curiosity and the joy of discovering will lead me to greater creations in the future.
What was your inspiration for this collection shot by Phil Knott?
The succinct feeling of crisp light, savageness, and sensitivity of masked ceremony in African image caught me. I wanted to show the sense of presence and absence of how one space can intrude into another. I created embossed textures made with invisible threads. This starting point led me to sensual yet raw and unrefined fabrics. By creating all patterns from scratch, and altering the sketch as I go, or simply draping without referencing garments until after the first draft toile, no basic block was used. It was pure creation with fabric. Although it was experimental, I try to create pieces that would feel comfortable when someone is actually wearing them, beautiful as separate pieces, and the headpieces show the worship of the spirit of isolation.
Interview
There's not a lot about you online—tell us more about yourself and how you got to be interested in fashion design, and how you ended up at CSM.
I used to do fine art, and all I wanted at that moment was the chance to play with a wider range of media and something I never touched on before. Fashion is an art that affects people directly and because of that, it has the most possibility. I chose Saint Martins because I know they treat fashion as a way of life and encourages more originality, for which I value.
The satisfaction from knowing nothing much in fashion design at first gave me the anxiety, but curiosity and surprising turnouts made me try outside my comfort zone every time, to give myself even more thrill in bringing life part of myself, parts that I never knew it existed.
You've got a patent registered in Asia—what is it for? What made you want to specifically protect that creation?
The patent is for the use of laminated wood material as the collar of shirts. I discovered a way of making a sculptural wooden fastenable collar in shirt project during my first year. At the critique session, tutors were curious how I made it, and it happened to be a method, which has not been used or registered before. It is not very often that you discover something new, and I became aware that young designers have to learn to protect what they worked on, no matter whether the work will be copied or not.
Are you in Hong Kong or London right now? How do you feel about the dynamic between the two places and how does it show itself in your work?
I am now in London. In my work, I never really exploited my cultural identity deliberately in any ways. I try to keep an open mind and stay true to my intuitive responses after filtering out my peers’ opinions with my research work done behind. No matter how much research you do, at the end of the day, everything is about intuition and nothing more. This is how culture subconsciously influences my work. I try to visualize the outcome exactly as I imagined in my head over and over again until I get it right without sketching too much.
There's a lot of debate about YBA (Young British Artists) and how places like Hyper Hyper have given way to in-house designers for high street brands like Topshop—where do you see yourself going in the future?
I want to be a young artist for now, and I hope to be working on many of my small personal dreams one by one, but all these requires time and luck. At this moment, I am open to all sorts of collaborations and hoping to open doors. I want to continue developing my vision.
I believe my childish curiosity and the joy of discovering will lead me to greater creations in the future.
What was your inspiration for this collection shot by Phil Knott?
The succinct feeling of crisp light, savageness, and sensitivity of masked ceremony in African image caught me. I wanted to show the sense of presence and absence of how one space can intrude into another. I created embossed textures made with invisible threads. This starting point led me to sensual yet raw and unrefined fabrics. By creating all patterns from scratch, and altering the sketch as I go, or simply draping without referencing garments until after the first draft toile, no basic block was used. It was pure creation with fabric. Although it was experimental, I try to create pieces that would feel comfortable when someone is actually wearing them, beautiful as separate pieces, and the headpieces show the worship of the spirit of isolation.