Female (Singapore) - - CHAPTER TWO -

Three names who fuse the tra­di­tional and con­tem­po­rary rein­ter­pret the sea­son’s key cat­walk looks.

The that artist/il­lus­tra­tor’s had been fused to­gether, “look” of yet choice the re­sult was Ba­len­ci­aga’s has a ro­man­tic mon­strous painterly swing qual­ity coat made rem­i­nis­cent up of mul­ti­ple of early out­ers 20th cen­tury fash­ion il­lus­tra­tions. Her raw, ex­pres­sive strokes feel mod­ern in their min­i­mal­ism, but the 27-year-old ad­mits to also be­ing in­flu­enced by time-hon­oured crafts like East Asian cal­lig­ra­phy. “I like tra­di­tional medi­ums for their hu­man­ity and im­per­fec­tion,” she says. “I’m most at­tracted to wet medi­ums (such as gouache) be­cause of their un­pre­dictabil­ity. I never know how a paint­ing will turn out, and I don’t sketch be­fore I paint be­cause the lines are re­stric­tive.” It’s a tech­nique that she’s re­fined over the years, and earned her com­mis­sions from brands rang­ing from Uniqlo to Her­mes. The lat­ter dis­played her ocean-themed in­stal­la­tion The Big Blue – co-cre­ated with Th­e­seus Chan’s creative agency Work – in its win­dows at Takashimay­a in 2016. While par­tic­u­larly rel­e­vant at a time when talk about na­ture and con­ser­va­tion is rife – even in fash­ion – sea an­i­mals have al­ways been a per­sonal ob­ses­sion. (Her de­but solo ex­hi­bi­tion at the now de­funct stu­dio K+ last year was “Ma­rine Fan­tas­tic: An Il­lus­trated In­tro­duc­tion To Crus­taceans”.) “When I dis­cov­ered that we’ve only ex­plored less than 5 per cent of the sea, it awak­ened my cu­rios­ity, and I ended up mak­ing a book about it for a school project,” she ex­plains. “Since then, I’ve been re­search­ing and paint­ing these amaz­ing or­gan­isms that live in our oceans.” How she wants to evolve is equally for­ward-think­ing and con­trary to the mil­len­nial more-is-more cul­ture: “(My work) used to be about cap­tur­ing de­tails. Now it’s about cap­tur­ing essence; I’ll only paint what’s es­sen­tial.”

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