Can the little red dot stand shoulder to shoulder with the little black dress? A native islander and friends look at fashion (and such) in Singapore, and, occasionally, among her neighbours, and a little further afield
The Textile and Fashion Federation of Singapore has a new moniker
The Textile and Fashion Federation of Singapore or TaFF is no more. In its place is the Singapore Fashion Council (SFC). The name change was announced in July and the new moniker took effect on the 28th of that month. But TaFF has kept relatively low-key about its rename. As of now, the TaFF website remains as it is, although under ‘About Us’, they have started identifying as SFC. Their social media accounts continue to sport the old name. Email communications are still sent out under TaFF. We were told that there would be a media announcement some time this month. Until then, one of the official events that comes under the new name is the upcoming Singapore Stories—the ‘Finale Runaway’ will be staged under the banner of SFC at TaFF‘s favourite museum, Asian Civilisations Museum, on 28 October. Presumably, this would allow SFC to be inaugurated with a major, museum-worthy show.
The renaming of the 26-year-old TaFF came two months after their “retail showcase” Design Orchard was “relaunched”, following a cosmetic makeover of the space in May. Now, with the SFC, it is likely that the former TaFF is looking to refresh its positioning, and show both members and the public that the organisation is keeping abreast with the times. The name change, to some industry observers, is overdue. TaFF was formed in 1996, the year our once-laminated NRICs (‘boomers’ might remember) was no longer usable. In the present, nearly post-pandemic era, when the ‘textile’ component of the industry is wanting, the old moniker was not only unwieldy, it sounded rather bygone. It didn’t help that TaFF was referred to as a federated body, which has a decidedly pre-1990s ring. One designer told us that whenever he referred to TaFF in its full name, he would think of lianbang (联邦, especially in Hokkien), which means federation, in particular, the Federation of Malaya (1948—1963). Some years back, when we attended Bangkok Fashion Week, a Thai designer asked us if the garment industry on our island was so big that it came under the stewardship of a federation. We could not provide a convincing reply.
Our island’s sole “trade association”—as TaFF referred to itself—that supports the industry was, in fact, the result of the 1996 merger of the Society of Designing Arts (SODA, co-founded by Dick Lee in 1975) and the Singapore Textile & Garment Manufacturers’ Association (STGMA, founded in 1981). While both bodies did organise fashion events during the hey days of SG fashion, such as the hugely popular SODA Shows and STGMA’s Singapore Fashion Week (the first, not the 2015 version, staged by Mercury M&C), co-organised with the Singapore Tourism Promotion Board [pre-STB]), their influence appeared to be waning. By the time TaFF was formed, the fashion industry here was quite different from what it was in the ’70s and ’80s: manufacturing was rapidly facing what the media then called a “sunset”. STGMA likely found itself to be an extraneous entity, especially when, according to DOS figures, manufacturing output has declined, so had global export. Between 1980 to 1999, we went from 19th biggest exporter of apparel in the world to the 28th.
TaFF has largely been a relatively quiet industry supporter—at least in the public eye—until in recent years, when it began to manage the Cocoon Space at the Design Centre in 2018, and create the annual design competition Singapore Stories, an event “to promote, support, and develop the local fashion industry”. A year later, it launched The Bridge Fashion Incubator (TBFI) to “groom early stage fashion, beauty brands and related tech startups to refine and validate their products, services or solutions, and commercialisation strategies”. In 2020, after the failure of its predecessor Naiise, TaFF was appointed as the operator of Design Orchard Retail Showcase. Thereafter, they launched their first e-commerce site, the One Orchard Store with merchandise found in the Design Orchard retail space (it is not known why Design Orchard did not get its own e-shop). There was also TaFF Talks, “a series of intimate conversations” with known industry names, such as Guo Pei, Joe Zee, and Andrew Gn. TaFF had been really active.
Singapore Fashion Council, the former TaFF, is housed in Design Orchard. File photo: Chin Boh Kay for SOTD
Now as Singapore Fashion Council, the organisation has not really released its mission statement, although on the current TaFF web page, it does say that SFC will “bring together leaders across multiple sectors to bolster the fashion industry both in Singapore and internationally” (such as facilitating the Singapore Stories 2020 winner Carol Chen’s Paris debut?). In addition, it “actively works to develop the entire industry, positioning Singapore as a key partner in Southeast Asia centred in technology and innovation, sustainability, and Asian craftsmanship”. For all the industry-speak, the name change still aligns with their marketing language heard before and frequently used by its executives. The question that many of those we have spoken to is now asking: Will there be real change?
The Singapore Fashion Council could be mistaken as a part of DesignSingapore Council, the Singapore Economic Board agency—established in 2003—“that promotes design”. While those that DesignSingapore Council’s support is multi-disciplinary, with eyes mainly on architecture and urban design, it does acknowledge fashion, as seen through the prestigious President*s Design Award (P*DA)—past recipients of the Designer of the Year category include Andrew Gn (2007) and Alfie Leong (2013). It is also tempting to see Singapore Fashion Council modelled after the British Fashion Council, the organiser of London Fashion Week. Therein lies the poser for SFC: Would a fashion council do without a fashion week that showcases the talents it purports to support? Or, is a sole retail outlet and an e-shop sufficient? It is unlikely that anyone in the industry here would hold SFC against the BFC or compare Singapore Stories with P*DA. Yet, how would they address the skeptics? One industry veteran said to SOTD, when asked about the new name, “it’s like giving a crumbling house a fresh coat of paint without repairing its foundation.” Perhaps, as in the business of fashion, all it matters is that someone buys a new dress.
After Kanye West announced the end of the Yeezy Gap partnership, the three-letter brand has announced the elimination of jobs as margins shrivel
Gap has been stricken with one bad news after another, all in less than three months. In July, reports emerged that the Indian-born Canadian CEO Sonia Syngal was dismissed after a mere two-year tenure, with Bloomberg describing the move as somewhat unceremonious: She was “fired after failing to rescue struggling retailer”. The Gap has not announced a replacement. Then last week, the announcement that “Gap and Kanye West are Ending their Partnership” was made by The Wall Street Journal. Few people were surprised by that news. And now The Gap has said that they would be laying off staff—up to 500 corporate jobs—in offices in San Francisco, New York, and in Asia. Was Mr West’s bowing out timely for The Gap?
It has been speculated that the once-loved San Francisco brand was not terribly thrilled with what Ms Syngal had done, including signing up Mr West to bring about Yeezy Gap, and that what she put in place was taking too long to see real results. Ms Syngal was previously with The Gap’s sister brand Old Navy, having arrived at Gap Inc in 2004 with no background in fashion (before that, she was with Sun Microsystems and Ford Motor Co.). Yet she was considered to be instrumental during the family-centric Old Navy’s admirable height of success, escalating the brand’s revenue to more than double The Gap’s. But just because she was able to realise the potential of one sibling did not indicate that she could bring to fruition the aspirations of another.
For a while, The Gap as a fashion player has been languishing. The world has basically moved on and on, and without The Gap’s washed chinos and straight-legged jeans, and, most definitely, their logo-ed tees. Did the 53-year-old clothier ever consider that their all-American fashion, often described as “laid-back style”, has lost considerable appeal, especially since Donald Trump took office in 2017 and the US is a different place. But critics say that The Gap’s lost its punch even earlier, in 2004, a year before Uniqlo, who does American laid-back better then the Americans themselves, opened their first store in New Jersey. That year, when a chap Mark Zuckerberg launched The Facebook (later shortened to Facebook), The Gap scored Tommy Hilfiger alum Pina Ferlisi to tweak the retailers offerings so that things could look up again after two years of decline. Few remember The Gap from that period and later, and the brand continued to fizzle.
When they had Mr West onboard in 2020, it was thought that The Gap finally took a close look at their merchandise, and realised that a major refresh was desperately needed, and Mr West was their guy even when his own Yeezy clothing line was not the epitome of brand success. So convinced they were that they signed a 10-year deal with him to birth Yeezy Gap. But the first year was not all rosy for the new brand. News emerged that back of house, things were messy. Mr West’s pal Demna Gvasalia was called in to help and very quickly Yeezy Gap was “Engineered by Balenciaga”. Despite the added edge, it is not clear if the collab is making pots for The Gap. But one thing is obvious: many shoppers did not like buying merchandise out of bulk bags. Rapidly, Mr West revealed that he wanted out and had his lawyers make it happen, claiming The Gap did not open Yeezy Gap stores as they agreed to. According to Forbes, “Gap president Mark Breitbart immediately shot off an email to all Gap Inc. employees suggesting it was a mutual decision”. Still, it appears that Kanye West had The Gap in his grasp. We’re not near a cliffhanger yet.
The supposed ban on the use of English names by Chinese artistes and celebrities, could mean that Dior may have to give up using the 4-letter word in place of Han characters. And other foreign brands too?
Could this be how a Dior store in China would look in the future? Photo illustration: Just So
Much to the disappointment of Chinese stars who like using a Western name in addition to their Chinese moniker, there is now a rumour that non-Han names would not be allowed in China. According to one Chinese screenwriter Wang Hailin (汪海林), who shared the news on Weibo, the Chinese National Radio and Television Administration (NRTA) had “requested” that local stars not use “foreign names” or any that ”sounds foreign” to identify themselves in—probably—public or during public performances. He gave an example: Shanghai-Hong Kong model/actress “Yang Ying (杨颖) can no longer use Angelababy”. It is not known if her name can be uttered in private or if her family and friends can call her by what most fans know her by. Nor did Mr Wang say why NRTA made that unusual—and likely, unpopular—request.
We know Chinese artistes and celebrities like to use non-Han appellations, even if it is one not shown on their identity card. Or, especially when not. It isn’t understood why a Western name would pose a problem in China or why the authorities would think so, or how the use by stars would diminish anything, whether personally, professionally, or socially. Does the prohibition include those English names that sound like given Chinese names (or Cantonese, as it is the case in Hong Kong), such as Eason that precedes Chan Yick Shun (陈奕迅) or Hacken that comes before Lee Hak Ken (李克勤)? The use of a moniker associated with the West is, for a long time, not uncommon. In fact, the more uncommon the name the better. Whether drawing from fruit and vegetable (rather popular), the animal kingdom (the choice among the Chinese themselves, although mostly in the past), or the gaming world (a Gen-Z love), unusual determines the choice.
Presently, the prohibition (or discouragement) is not confirmed. Yet, Chinese influencer-turned-actress Lamu Yangzi (辣目洋子) announced on Weibo that she would revert to her original name Li Jiaqi (李嘉琦) henceforth, even when her self-chosen moniker does not sound especially English or Western. But if Chinese authorities are allegedly asking private individuals not to use whatever version of Western proper nouns they have adopted, would they, we wonder, request the same of Western brands? Would we soon see 爱马仕 (aimashi or Hermès, not to be confused with 赫耳墨斯 [heer mosi], the name of the Greek god), 巴伦夏卡 (balun xiaka or Balenciaga), 圣罗兰 (shengluolan or Saint Laurent), 宝缇嘉 (baotijia or Bottega [Veneta]), 古琦 (guqi or Gucci) or 迪奥 (di ao or Dior)? In the case of Dior, the maison was one of the earliest to encourage the use of Chinese characters on their products when they ran the ABCDior personalisation service for the Book tote in 2020. The two-word 迪奥 appearing appearing above store entrances may, therefore, now even look cool.
In China, most lovers of luxury brands use the respective Western names (pronounced with varying degrees of accuracy, but that is the same here, too) rather than those in hanzi (汉字). Most foreign brands, if not all, register their Chinese names as trademark. They are often displayed, although somewhat discreetly, on store-front windows. It is not known if shoppers there seek brands out by their Chinese moniker since it is likely that most would recognise English alphabets even if they are not always able to read them. Purists and branding professionals do think that brand awareness—and to a large extent, their appeal—is tethered to their foreign moniker. Even the Hermès-backed Shang Xia (上下) has yet to enjoy the same cachet as its French endorser. Semantically, the Chinese language is different to the Western names that desire a Sino-form, and indelicate naming, there are those who argue, may dilute brand value. Some of these Chinese names may sound odd too, even silly. And when uttered, they could phonetically be unlike how they’re pronounced in their native language. But, in some cases, the Chinese names may help with, for example, the silent ‘s’ in French. The Chinese characters of Louis Vuitton 路易威登 (luyi weideng) could, perhaps, allow some to simply say the first name as loowee.
H&M’s girlish sibling is finally open. Could this be the closest we’ll get to Cottagecore?
The first & Other Stories in our city
The storefront two weeks earlier, at its opening
Back in April, after seeing the hoarding of the & Other Stories store in ION Orchard, we were told by the helpful staff at COS next door that their sister brand and new neighbour would open in the last quarter of the year. As it turns out, & Other Stories welcomed shoppers on the 19th of last month, considerably sooner that expected. As with any new opening (or for that matter, closing down!), the store drew a large, rummaging crowd, like pigeons at feeding time, in the first weekend of its rather quiet debut. To avoid the crush, we paid the store a visit two weeks later, and on a week day. And it was a pleasant roll in the barn for us. The imagery of the country building is deliberate. This is probably the closest to Cottagecore—an aesthetic trend that emerged around 2017—we’ll get here in a retail concept.
To be sure, it is not all-out rural charm. But on the day we did not enter the store—just after it opened, the entrance was flanked by a profusion of flowers in jars and plants in pots, and a kiosk-on-wheels that would not be out of place in a Tenille Townes music video. When we were there last week to shop, the country props fronting the entrance were removed, but the hint at Western agricultural life is still evident. From the farmhouse chair and wooden screen in the window to the coated iron racks and display tables with timber trestles, the vast interior is far more bucolic than the stores of its sibling brands, H&M and COS, have ever been, or desire to be. Atmospherically enhanced, this could be & Other Stories’ selling point: There is the very real possibility that you’d linger.
It is likely that the store’s visual merchandising is a strategic approach to capture the attention of shoppers increasingly accustomed to the near uniformity and predictability of e-shopping. Physical stores (H&M brands are primarily a brick-and-mortar business) have to try harder than their online counterparts. Although there is something old-fashioned about the in-store look of & Other Stories, the layout avoids lines of racks after racks of clothes, with pockets of space that are islands of accessories and others in what would otherwise be a lake of garments. This may bode well for the store’s ability to entice and engage those who do not consider shopping as a grab-and-go moment. Sure, there are many who do not consider physical stores to hold real value, but it is possible that more might not be underwhelmed by the physical sum & Other Stories.
The not-modernist lines of the store make for a space that is less cold, less uninviting than other similarly not-atas brands. The entrance is lined with plants on both sides, hinting at a warm, even cosy, interior ahead. Clothes are worn on tailor dummies, augmenting the interior’s subtly old-fashioned vibe, circumscribed by pale, near-white walls. These are not left bare, but appended with photo collages and what look corkboards (or the rear of framed canvas panels?) on which clothing hang, or more photographs are attached. We sensed that there is an attempt at recreating a schoolgirl’s room, with its natural disorderliness, but no clutter. Plants, placed on the tiled or wood-panelled floor, or on wooden stools, as well as dried variety on tables—continue to appear throughout the space, ensuring its calculated homeliness.
Although a single-brand store, the irregular-shaped space is separated into zones of various sizes. It is not immediately discernible if in each there are different fashion categories (excluding accessories, footwear, and bric-a-brac), but there are pockets in which discoveries could be made. This could, of course, be due to the novelty of a first visit. The clothes are, consistent with the Cottagecore sensibility, largely print-driven—flowers the mainstay. If the florals are insufficiently feminine, there are dresses with frills and flounces, and “flutter sleeves”. For most international brands, this is the season of the first drop for fall, but at & Other Stories, the collections seem to reflect a far warmer season, which could make a more sensible product launch for their debut here.
At the rear, the space is akin to a boutique—“more atmospheric”, as one SOTD follower said to us, which could be reference to the seemingly warmer lighting here, as well as the pale wood floor. Impressive is the width of the aisles, with the racks and shelves assigned to the perimeter, providing adequate room for a group of girlfriends to amuse themselves without creating too much traffic obstruction (regrettably, there is no space for bored boyfriends or spouses to wait, or even a stool on which to lay a heavy backpack). The clothes here seem dressier, even party-worthy. Plunging neckline, the halter neck, and the one shoulder provide the sexiness that frills and the like may not. It is also here that the fitting rooms (unusually not hidden) are situated. Each is a wood-framed unit with curtains for doors. And there is sufficient foreground for queues when they are necessary, or for those offering their opinion to observe comfortably. As we turned to walk away, we heard a young voice behind us exclaim approvingly, “yes!”
& Other Stories is at Level 3, ION Orchard. Photos: Chin Boh Kay
Another streetwear brand banking on a family name. This is, however, not by that Wang
Team Wang Pop-Up store at The Shopping Gallery, Voco
It is probably the buzziest store opening since the start of the pandemic. Team Wang Design, a rising star in the firmament of “luxury street wear” opened yesterday evening to intensely enthusiastic response. If you are unfamiliar with the newish label, it is understandable that you’d think that Team Wang is linked to the designer Alexander Wang. But it is not. The label is, in fact, the brainchild of popstar Jackson Wang (王嘉尔). He has, as fans are well aware, added fashion designer to his resume. But if Team Wang sounds familiar, it is because Alexander Wang (王大仁) had used it too, and the phrase was employed for his collaboration with H&M in 2014. But Alexander Wang’s “team” of musicians, muses, and models who were associated with him were often referred to by the press as his “squad”. Team Wang is thus dissimilar as it is not about a clique (or, worse, hangers-on). Rather, it was initially set up to manage Mr Wang’s growing commitments in China and then to include a record label and now fashion design too. And Mr Wang seems to acknowledge that the brand’s creative output is a collective one.
And the clothes have found their way here through the auspices of Club 21 who has set up the eponymous pop-up—dubbed Mudance—not only on our shores, but in Chengdu and Bangkok, concurrently. As early or late (it really depends) as eleven yesterday morning, The Shopping Gallery at the former Hilton Hotel, now Voco Orchard, was busy, not with shoppers, but with construction crew setting up the opening of Team Wang Design (the shop was still merchandise-free) and, unsurprisingly, numerous female fans reserving a spot to catch their idol (this was an invitation-only event). Two hours before the party was due to start, there was a dispiriting crowd, restrained by mills barriers just to the left of the main door to the lobby of the hotel. The side entrance to The Shopping Gallery was shut too. The girls were visibly excited, presumably expecting the star they had been waiting for to arrive by car and alight at that very spot. This was happening as it rained. If the reception the fans gave Mr Wang at Changi airport yesterday was any indication, this really was not surprising.
Outside Voco Hotel, fervid fans waiting patiently despite the rain
But unexpected was the wait that invited guests had to endure. The invitation to the event stated 6.30pm—presumably the time it would the start. Jackson Wang had arrived some fifteen minutes earlier to a screaming welcome. He was escorted to a room in the hotel, where he went to “freshen up”, as the chatter at the lobby of the hotel went. Guests were held around the escalator to the second floor, where the proceedings would unfold. An hour had past, but most of the attendees were still waiting in the increasingly unbearable heat. Nathan Hartono in a salmon-coloured, sweat-soaked tee, would later share on Instagram a snap of him and Mr Wang, with the comment, “…I am clearly sTrUgGliN 🥵🥵🥵”. But still-waiting Fiona Xie, togged in Team Wang Design, appeared to be getting impatient. Jean Yip, the beauty mogul, and her family were seen heading for the exit, telling someone, “we’re leaving. Bye.” Those with more clout could make a phone call while aggressively pushing their way through the crowd and be ushered up the escalator, immediately. Word started to go around to explain the delay: Mr Wang had accepted a media interview. Ms Universe 2016 Cheryl Chou, chatting with someone, was cheerily indifferent to the crowd’s waning patience.
Sixty five minutes later, the escalator was ready to transport the guests one floor up. Wrist bands issued earlier had to be shown for entry. At the top of the escalator, a large crowd had already formed. A fellow escalator rider was heard wondering angrily: “We were waiting for so long, but actually so many people already here?!” Inside, the pop-up, Mediacorp stars and influencers had first dib of the offerings, including the man of the hour himself. Dressed simply in a black T-shirt (with sleeves folded up) and black pants (not jeans), he was obliging everyone who approached him with selfies and polite chatter, but remained inscrutable behind vaguely cat-eyed shades, which he kept on all night. When he left the store to address the crowd outside, grown women near the door were hyperventilating: “Oh my god! Oh my god! Oh my god!” The people who should be there—the screaming fans—were not. They continued to wait in collective high for their idol to exit the hotel. Somewhere above them, he was dancing enjoyably, fenced by more-delighted, also-bopping lasses.
Jackson Wang addressing the crowd outside the Team Wang Designpop-up at Voco
Jackson Wang was born in Hong Kong before he moved to Seoul to be part of the group Got7, a name that would work very well on our island. As fans know by now, Mr Wang was spotted while playing basketball in school by JYP Entertainment (Stray Kids!) agents who managed to persuade the school goer to join an audition for the company’s global search for talents. Among 2,000 participants, he came up top. Although around this time he was offered a Standford University scholarship for fencing (he was very much a sportsman, following the footsteps of his fencer father and gymnast mother), he turned it down. Instead he answered the calling to do music. He accepted the JYPE offer and moved to Seoul in 2011. Ater two years of notoriously tough K-pop training, including a made-for-television competition which pitched trainees of JYPE against YG Entertainment (Blackpink!), Mr Wang was made member of Got7, debuting with the single Girls Girls Girls in 2014. The rest is, as is often the case with K-popstars, has been the unstoppable rise of Jackson Wang.
Last year, it was widely reported that Got7, JYP Entertainment’s “most successful boy group”, has “terminated” their contract with the company. This came amid fan dismay that JYPE had allegedly not done enough for their boy groups, with Got7 singled out (their career had curiously been dominated by EPs rather than full-length albums, for example), leading to the thread on Reddit, ”JYP STOP SABOTAGING GOT7”. Fans were distraught that their fave septet would be no more. But, The Korea Times clarified in an editorial just three months ago that without JYPE, “this was not the end of GOT7―instead, it was a new beginning”; the group released a self-tiled EP. Even when recording new material with his band mates, Jackson Wang was forging ahead with his own carrier, concentrating on his homeland market, China. He founded Team Wang in 2017 as, first, a record label. The 28-year-old is considered to be quadrilingual—“fluent”, many say, in English, Cantonese, Mandarin, and Korean, so the plan was to establish him as an international star. His first single under Team Wang was 2019’s all-English Papillon. A year later, he released a duet with soon-to-begin-his-world-tour JJ Lin (林俊杰), the R&B-ish Should’ve Let Go.
The one print of the collection—tiger tails hidden in the profusion of peonies—that seems to draw shoppers
Team Wang Design was birthed in pandemic-high 2020, reportedly after three years of gestation. HBX, the e-store of the streetwear news site Hypebeast, describes the label, which it carries: “Wang’s vision is to align his brand with his wardrobe”. But the rapper-turned-designer is known to be partial to Fendi (although he has been associated with Armani and Adidas). He is, according to Vogue, “a Fendi muse”, and so enamoured he is with the Roman label that he even rapped about it in the track Fendiman from 2018, and urged his listeners with the plea, “call me Fendiman“. That possibly lead him to sign, a year later, with the brand as their China ambassador. Although his own label was not released until two years, he did rap in the same song, “Team Wang, label what I made”, preempting that the clothes would be on par with Fendi’s. The first collection and the core line that reflects the brand’s DNA, Cookies—The Original, comprises what are almost synonymous with streetwear: T-shirts, hoodies, blousons, trackpants, and hoodies, and all in black. The images for the launch are admittedly arresting, and are evocative of brands with European roots.
Team Wang Design, in many ways, treads the path already paved and trodden by HK-star-conceived brands such as Edison Chen’s Clot or Shawn Yu’s Madness. Celebrity multi-hyphenates are really crowding the pop/design sphere, and it would take more than references to Chinese culture, motifs and whatnot (a direction also adopted by Clot), to stand apart from the rest, or the West. The latest collection of Team Wang Design is part of another line called Sparkles. Like Cookies, the pieces would be considered staples that Mr Wang’s fans would not find challenging to accept. The brand says on their website that “pastel pink, flowers, and this season’s iconic floral design” are for “creating the perfect midsummer party”. Mudance, a play on the name of the Chinese flower mudan (牡丹花) or peony, is about enjoying oneself; is about play. Mr Wang told Vogue Thailand last month, when he was in Bangkok to shore up support for the Bangkok leg of the pop-up, “It’s summertime and summer is fun, and it’s crazy. Everybody jump (sic), and everybody needs to dance. So that’s why this collection we call it Mudance.” If the word would not excite lexicographers, the print may move graphic designers. He explained further: “It is a mixture of, of course, the mudan flower and the year of the tiger.”
The queue outside the Team Wang Design pop-up this morning
This morning, along the sidewalk between Voco Hotel and Wheelock Place, many youngsters were carrying the familiar Club 21 paper bag. Emerging from the side entrance of the renamed hotel, two teenaged girls in oversized tees and invisible shorts were each with the same carrier. We asked them if they had just visited the Team Wang Design pop-up. They froze with shyness. We told them we just wanted to know if it was any good. “Yes,” they chorused and giggled. “We came last night, but they won’t let us in. No invitation. So we try again today, lah.” Was it packed? “There is a queue,” they replied in unison, again. “The store opens at 10.30, but we were here at nine.” Your bags are full. Did you buy a lot? “Yah,” and they moved off with a gurgle of giggles
The pop-up is in an actual shop lot. Outside, two gold, metal trees (palms?) rose out of an irregular sand pit, set on a plywood floor in the colour of, well, peony. (The sand suggested the seaside and, therefore, beach wear. According to Mr Wang, it “is something I’ve always wanted to do; I’ve always wanted to do a beach pants [sic] for guys and then, a bikini for girls”.) Inside, the massive space, with just two racks of clothes, looked like it was half-dipped in pink cream. The light emerging from it cast a pale patina the shade of strawberry milkshake over the beach set-up. A queue that continued to lengthen had formed on the perimeter of the sand pit. There were mainly girls in the line. One of them was heard exclaiming, “I love this pink”, concurring with Jackson Wang, who said in the Vogue Thailand interview, “I chose pink because—honestly, personally—I’m a big fan of pink… And I just wanted to do it… I’ve always had a feeling for pink.”
Team Wang Design pop-up store is at Voco Orchard until 31 August 2022. Photos: Chin Boh Kay
It is increasingly common for retailers to use social media to hawk their wares. Design Orchard is no exception. We really applaud them for their enthusiastic online marketing efforts, and the smile they bring to our cheerless lives. On their delightful Instagram page, shopdesignorchard, two hours ago, our island’s premier retailer of all things local—not just fashion—shared some of their “new brands, new choices” in a strangely slipshod post. To be sure that what you’d be acquainted with are SG brands, they were certain to let you know that they “love seeing and supporting up and coming (sic) local designers” and that the three-year-old store has admirably “quite a line up (sic) just for you”.
What might that tantalising “line up” comprise? Nine brands—four fashion labels, two jewellery, one skincare, one fragrance, one home ware—are in the dazzling selection. Like Design Orchard, we too love supporting the brands that are proudly birthed on our shores, such as As’Fall, which, according to their own ‘About Us’, first “opened in Lausanne Switzerland in 2009” by French-Sengalese designer Astou Montfort. She moved to our island in 2017, and her label is now “made in SG, Bali” (islandic!), with “embroidery in Senegal”. Design Orchard’s IG post told us (all the following quotes are verbatim) As’Fall is “a brand that works with small family businesses and communities who are rich of long craftsmanship experiences that are inherited down the generations in embroideryy (sic), beading, dyeing or weaving”. Long, indeed. And, experiences inherited, but not the actual craftsmanship?
Then, we were introduced to Flair by Tori, “a Singaporean fashion label (with links to Australia) made for the confident cosmopolitan woman”, not including, naturally, the rest of us diffident kampong girls. Ms Tori’s Flair is in ‘One Wear’, ”uniquely gorgeaous (sic) piece s (sic) that let women go bra free (sic)”. In modest and provincial Singapore, you can’t be more confident and cosmopolitan than that. And if you are seeking “sustainable activewear made upcycled from post-consumer plastic waste that keeps you looking good and feeling good while you lunch, lounge and lunge (or whatever else it is you enjoy doing)”, you are covered by MYË (“pronounced: me-uh”, we learned. How Gen-Z!), whose founder, Raffles Design Institute alumna Mai Takemori, creates “workout clothes designed to last, crafted for performance, and hella cute and comfy”, their corporate message makes darned clear.
If accessories are more your thing, Mildly Pink, which touts itself as “homemade brilliance”, is exceptionally a “Singapore-based female hand-made jewellery label, born out of the founders; passion to portray the world with a magical twist”. Forget the founders, or what they can bear. The world, as we know, isn’t twisted enough. Or adequately inclusive: We need “female” labels. For skincare aficionado, you may gravitate towards Jill Lowe. A blast from the past, the name—once associated with image consulting—now offers you “skincare solutions to rebuild one’s character and image”. Should Siriwipa Pansuk consider this wonderful overhaul? And if you cannot resist a good fragrance, how about those by Scent Journer? They are “on a mission to empower you with perfumes… and only the highest quality organic sugarcane alcohol is used to boost your mood in a nano scond (sic)”. Take a deep whiff: This is better than laughing gas.
The Kanye West-steered sub-brand of the Gap has its own space in a Gap store at last. But there is no shelf, no table, no rack. Everything is placed in bulk bags. Like merchandise to be discarded, or incinerated
The Gap store in Times Square, New York
Kanye West is paving the way for the Gap, literally with bulk bags. At its inaugural IRL retail run, a “pop-up” inside the Gap in Times Square, the space dedicated to Mr West’s much-hyped partnership with America’s most recognisable mall brand is nothing like what you might expect. Outside, at the corner of Broadway and West 44th Street, the blue façade and its lighter blue box-logo are all unmistakably the Gap. On the roof, above the large three-letter name are two billboards—one of a dove in flight, the other, a still, dark spectre—that stand ominously. Inside, it is just as sinister: In a narrow space the width of a hospital corridor, it is all black and dimly lit (low-light ambience even Abercrombie and Fitch has abandoned), like an entryway to a secret lair. Only this is not an unremarkable passage. This is where the hottest and most anticipated collaboration is sold, shockingly in those typically one-ton (here, they seem more capacious) receptacle of polypropylene for packing and moving goods, all two dozens of them. This could be easily a receiving bay, if not a dump site.
After two years of considerable hype, inconsistent drops, and online-only availability, the Yeezy Gap, presently “Engineered by Balenciaga”, retail space opened last Thursday to long queues. To avoid the possible crush, we visited the store on a Monday afternoon. It was not busy. But it was not the lack of a crowd that hit us immediately, like a slap (such as this one); it was the strange grimness. This is the highlight of summer shopping? This is the Gap? There is more cheer in a Yohji Yamamoto store. We knew there would be a predominance of black, but this drabness and gloominess? And what’s worse, those waist-high, black sacks on the floor! Walk into the store and they are on the right, placed in two rows, like oil drums, in the middle of the passage. It’s like visiting a wholesale market for secondhand clothes. You walk around the bags and look inside them to find what you want. And you have to rummage to find your size. This is worse than excavating a sales wagon at the OG Orchard closing down clearance.
Two rows of bulk bags in which you are encouraged to diginto
We were not the only ones shocked by the refuse point. One Black guy was heard saying to his buddy, who looked like he stepped out of the rooftop billboard: “Are they kidding? Trash bags?” Our photographer, who visited the store earlier said, “it was very unnerving for me to see the black bags in the black surroundings. Can you imagine what it would be like for the tourists?” The containers already looked a mess when we approached, even when there were six staffers folding the clothes and arranging, and returning them to the rightful vessel, tagged with images of the garment that reside in it and the price, after customers have finished with one and moved to the next. There was an unmistakable lack of allure, but since we were there, we thought we should just join the unconventional way of shopping for clothes and just dig, like everyone else. But, we kept thinking of meigancai (梅干菜, dried pickled Chinese mustard) in Albert Centre Wholesale Market. There is something menial about going through the clothes in this manner, too. No pleasure.
We looked at a mock turtleneck T-shirt with a surprisingly tiny white Gap logotype right in the centre, about 5 cm below the neckline. For some reason, the tees are made of very thick cotton jersey (and it was 28°C outside). A pile of, say, five of them is heavy to lift. A woman, frustrated by the hard work she had to do, muttered, “why is everything so fucking heavy?”. To see what what we were digging, we had to bend over the bags’ massive opening. After three minutes, it was too much. One of us decided to try a T-shirt, for the heck of it. At US$140 a piece (or more for other styles), they were rather hard to swallow. We picked the simplest: the mock turtleneck. The fabric was disturbingly thick. No one around us, we noticed, wore anything that heavy, except the staff. When we pulled the top down over our head, it was stuck; when we yanked harder, we thought we popped the stitching on the neckline! Why was it this tight?
Each bag is tagged with illustrations of the style of the garment as well as a number—the price
When we managed to remove the T-shirt, we noted that the neck was ribbed, but why was there the poor “stretch and recovery”, to borrow from production speak? The problem, it appeared to us, was technical: Somehow, Mr West and his team decided on this heavy fabric, and the rib on the neck had no Spandex in it. With possibly mis-calibrated knitting tension, the rib is limp and won’t stretch sufficiently. When we brought this up with a former Gap merchandiser, he was surprised that that could happen. “Is this the Gap we’re talking about here? They do the neck stretch test there (they invented it!), even for children’s clothes!” As for the heavy jersey, one designer told us that this has been the fabric choice—the dry-touch compact jersey that is rather ’70s—for many brands wanting to appear “luxe”, but “luxe,” he added, “does not need to be heavy.”
We did not want to look into the other bags—they were all equally uninviting. There is so much you’d wish to do if the Gap made you feel like you’re at a quartermaster’s retrieving uniforms. It is possible that Mr West wanted to create uniforms for his tribe of eager followers and, in due course, improve the sagging fortunes of the Gap. But these clothes are not the one-time uniforms of teens craving the Gap’s ubiquitous jeans and graphic tees. A far cry from what the Times Square website describes on it pages: “clean, classic and comfortable clothing”. When we first saw the pieces on the Yeezy Gap website, it is clear the line is aesthetically apart from the 52-year-old American brand to which it owes half its name. The Gap has lost its mojo for so long that even fans do not remember when they last brought anything from them (all Gap stores here closed in 2018). The brand needed a life buoy and it was tossed one. Kanye West could, apparently, be to the Gap what Alessandro Michele is to Gucci. So he got the job.
Quite a sea of clothes dumped in those bulk bags
But in the first 18 months of the collab, just two products—one puffer and one hoodie—were made available and only online. Compounding that, the e-retail model was troubled by missed datelines, low stocks, and late deliveries. Mr West seemed to need a life buoy too. So pal Demna Gvasalia came to the rescue and became co-conspirator, an unsurprising turn as the two desire to dominate the fashion world with their oversized, body/face-obscuring clothes. Additionally, Mr West announced on social media not too long ago that he had already spent US$4 million at Balenciaga so far this year (how much more before this is unknown. The former wife’s and daughter’s bill were not tallied either). Why not allow Balenciaga to make more by getting them to “engineer” Yeezy Gap? Speaking to The New York Times recently, Mr Gvasalia revealed that he wanted “to create a solid foundation for Ye’s aesthetic on which they can now build”. The paper also reported that Mr Gvasalia was “engineering the prototypes in the Balenciaga studios in Paris and Zurich”. Most of us already knew the clothes were based on Balenciaga blocks.
Kanye West might have been too busy to see Yeezy Gap through. After the partnership was announced, he ran for the US presidency, saved his marriage (tried to), insulted his ex’s boyfriend, and put out the album Donda, whose overall visual was co-conceived with Demna Gvasalia. Was he too busy to handle Yeezy Gap on his own unaided? Or was he, as the rumours flew, really unschooled in fashion design for a mass brand? According to the photographer Nick Knight, who also spoke to NYT, “if he wants to spend a year looking into the colour blue, we’ll spend a year looking into the colour blue, which is extremely inspiring when so often schedules take priority over creativity. He doesn’t see himself in any way constrained by deadlines or seasons. I don’t think he would even use the word ‘collection’ for what he is doing.” Mr West, in other words, marches to his very own Roland drum beat.
Digital screens to welcome you: The Yeezy Gap metaverse that apparently is taken from a related computer game
Moving to the back of the dedicated space for Yeezy Gap Engineered by Balenciaga, we saw that provision was made for the line that was expected to form at the cashier’s counter, which was just as black as the rest of the store. The rear wall, where a video screen was installed, was dark this afternoon (another two screens to the left of the entrance were aglow with some sky-like background, in front of which two avatars were dancing/spinning in mid-air). We stood comfortably in the quieter rear and sized up the near-monochromatic tableau before us. The shoppers were mostly male, dressed unmistakably in what Mr West desires them to: oversized tops and bottoms. Many gravitated to the T-shirts, with which they could probably at last enter the expensive world of Balenciaga, whose very temple of cool is about 1.5 kilometres away on Madison Avenue. This was far more accessible, and the clothes could be binned when desire, for some reason, was not aroused.
As we were leaving the store, more people dashed in excitedly, like they were approaching some concert merchandise. Would they leave as disappointed as we did? Stepping out into the afternoon warmth, we thought of that thick jersey T-shirt again. For the higher-than-the-Gap prices that Yeezy Gap charges, what incredible experience did the store offer or was it just the letdown that was indelible? It was hard to imagine that this would be how the Gap intends to move forward or ensnare the unconverted. One Singaporean working in New York later told us that he was “completely turned off by the experience” and that he could see a “stark disconnect with mainstream Gap”. When we asked him if it could be just some high concept that escaped him, he replied, with palpable disdain, “high concept, my pantat!”
Yeezy Gap is at the Gap, 1514 Broadway, New York City. Photos: HL See for SOTD
Design Orchard is “re-launched” after it closed last month for renovation. Is the store “elevated”, as they promised. Is it rejuvenated? Is it, finally, sensational, almost two years after TaFF took over its operations?
The day after its re-opening on 20 May, Design Orchard was considerably quiet. Two or three courting couples were browsing, but no purchase was made, as it appeared to us during our reasonably long visit. Two Caucasian women were happily looking at what could be resort wear. One had wanted to try something, but it seemed the dress she picked was not available in her size. They, too, left—without buying anything. A day earlier, the Textile and Fashion Federation (TaFF)-operated Design Orchard opened to brand owners and friends of the store after a month of “transforming to a fresh new look”. It was a roaringly festive affair, with lion dancers in red and white 狮子 (shizi) costumes prancing their way through the re-configured space—most obvious, the runway display that directly faced the entrance was now removed. It was rather surprising that, for a retailer that had proudly touted its offering of top local fashion, the re-opening welcomes shoppers with a Wellness Festival, which, according to them, was staged in conjunction with the inaugural Wellness Festival Singapore, “an initiative by Singapore Tourism Board (STB)”, the statutory board that “owns” the Design Orchard project, which is jointly supported by two other government agencies, Enterprise Singapore (ESG) and Jurong Town Corporation (JTC).
Two and half weeks after that rousing re-opening, a by-invite-only “official relaunch” party was organised last night to introduce Design Orchard’s stable of brands, some new, some not, as well as “a lot of enhancements” given to the three-year-old, 9,000-square-foot store (touted as a “retail showcase”), according to TaFF CEO Semun Ho. Contrary to what the invitation tantalised, a runway-less fashion show—forty minutes late—took place on the central aisle of the made-over space. About thirty designers and labels participated in the presentation, all with varying degrees of calibre, originality, relevance, attention to finish, and design savvy. The show may have been in a refreshed space, but the clothes seemed the “same-old, same-old”, as a few attendees shared, disappointed by the staleness. One industry veteran said to us, “The renovation, at most, was superficial. More important—which wasn’t done enough—was that they should have used this opportunity to completely overhaul their labels”.
Designer Carol Chen (right) with two models in her “couture” gowns
The “highlight” of the show, someone was heard saying, was TaFF’s star designer Carol Chen, with her newly established “Couture” label. She sent out two of the ten looks that were presented in Paris three months ago, during—but not part of—Paris Fashion Week. The first was a green, long-sleeved, belted, polyester-mesh column. On the bodice was an embroidered encrustation that appeared to have been something molten, flowed from the right shoulder to cover the breasts, and then solidified. That was followed by her finale gown (also the last to appear in Paris), an atrocity of pleated polyester organza, bunched at the shoulder to create a towering protrusion on each side, with the left that refused to stay upright. The tented skirt was an amusing disarray of swirls that one attendee described as “an explosion”. Someone followed with, “Where did she get her fabrics from? Arab Street?” Before the show commenced, chatter emerged between the clinks of champagne flutes that, initially, only one of Ms Chen’s gown was picked for the show. Dismayed, she allegedly went straight to the top to know why a mere gown was selected and why she was not closing the show (the organiser had, apparently wanted her to open). She had her way.
It has been said that we were harsh on Carol Chen Couture’s Paris debut. It was the label’s first time showing in the city, we were duly reminded. A baby first step. Re-reading the post now, we realised we should have said more. We wanted Ms Chen’s show in the French capital to be good, to do our nation proud, to justify her lofty standing in TaFF. But, at the same time, we did not want to lie. When we listen to a vocal performance, for example, we want to be drawn into the singing, without being too concerned with the technical failings (there shouldn’t be any). Whether from fry to falsetto (assuming a he is behind the mike), the marvelous octave leaps, we want to be able to sail into the story telling. Similarly, when we read, say, Jane Austen (a name that just came to us), we want to be absorbed into her narrative. There is a discernible intelligence in her work that we, the readers, feel, and this can be attributed to, among many things, the unmistakable skill of her writing. Perusing her novels, we do not need to be disturbed and distracted by problems of syntax or construct. We cannot, regrettably, say the same of Ms Chen when we acquainted ourselves with her designs: the lack of technical finesse was as confounding as the crude white running stitch she used in one pink couture confection to hold part of a bodice to the inner garment. “An artist’s principal task,” wrote Truman Capote in A Voice from the Cloud, “(is to) tame and shape the raw creative vision.”
The in-store fashion show to mark the “re-launch” of Design Orchard
To be sure, Ms Chen, basking in her post-Paris pride (in the presence of her “mentor”, Vogue Singapore publisher Bettina von Schlippe and her ardent supporter, fellow American Paige Parker; both were dressed by Ms Chen), should not have to bear the brunt of essentially an inflated show to evince what Design Orchard lacks: Design. Carol Chen Couture was not the only label that set the conversation going about the paucity of imaginative, high-calibre, laudable, well-executed designs in this city-state. Much of what was presented in the show was saved by clever styling—it rescued the presentation from tanking into complete blah. As it’s usually said in the image-making business, “styling to hide”. What, indeed, was the styling concealing? If you broke down the looks, there was really nothing much to see—the proverbial all show but no substance. Even veteran designer Thomas Wee’s relaxed elegance was lost in the convivial busyness. No woman—or man—should need to go to such lengths to look fashionable because there was no fashion to begin with. Spirited can be meaningless, just as jovial can be mere façade. We have to admit that we expected too much, thinking, this time, we could see design, but if design manifested, it was thin and, mostly, unfelt.
And what was Design Orchard projecting? It was hard to tell from the show clothes. Was it streetwear? Resort wear? Or, sartorial rojak? What struck us was the odd plethora of ethnic styles. It seemed like we were watching a show that was part Night Bazaar of Chiangmai, part Love Anchor of Canggu, Bali. Two weeks earlier, we did notice in the store that there was an increase in clothes made of folk fabrics, such as batik, ikat, and the tie-dyed. These were in addition to the already-plentiful resort-wear-seeming clothes (including one “luxury resort fashion brand”) that have taken a firm grip in the merchandising of the store. When we asked around with the hope of finding the answer to why the prominence of these clothes, a repeated reply was, “ask Tina”. When TaFF took over the running of Design Orchard from the ill-fated Naiise in 2020, one of the first hires was Tina Tan, the fashion doyenne behind the Link Group, and the sole owner of the multi-label store Link Boutique, the fashion label Alldressedup (precursor to the independent In Good Company), and the home-furnishing/lifestyle shop Living the Link (all three are now defunct), as well as the ad-hoc, travelling showroom Privato. Ms Tan, as we understand it, is the consultant curator, and she has been instrumental in bringing the inchoate mass of brands into the store. According to staffers, there are presently “more than 100 fashion labels, with 30 that are new to Design Orchard”. As TaFF’s Semun Ho concurred, when she spoke to the guests last night: “What can we do without Tina?”
Design Thomas Wee (third from left) with his models
It is not clear if Ms Tan’s strategy is to turn her retail charge into the next Island Shop (once owned by Tangs before it was sold to Decks, the retailer/manufacturer that resurrected M)phosis—one of the eight brands the company now holds), or to bring in as many labels as she could to improve the reportedly weak gross profit of the selling floor. These days in retail, there is scant regard for the relationship between quantity and quality. Earlier, during Naiise’s stewardship and the TaFF years preceding the renovation, Design Orchard had a strong gift-shop vibe. Even their fashion accessories, such as scarves and handbags, would strike a chord with tourists needing obligatory souvenirs to bring home. For a rather lengthy period of time, they sold a staggering range of merchandise that included kitchenware, rempah pastes, teas and such that were connected to fashion only by their proximity to the clothes in the store. They were looking rather like the annual Boutique Fairs (only with better looking interiors and fixtures), with some items so cringe-worthy that we feared someone might start a page Terok SG Souvenirs on Facebook! After the renovation, Design Orchard seems to have scaled down the number of brands that target the mari-memasak market or those individuals decorating to WFH. Yet, for some reason we have not determined, the store is still unable to entirely shake off its souvenir-centric leaning.
In a VisitSingapore video shared online last February, Design Orchard’s general manager Julynn Tay said that the store was conceived to “allow both locals and tourists to come to discover a range of Singaporean talents”. That positioning has not changed, but the target still seems to be tourists. Clearly addressing the shopping needs of foreigners vacationing here is important to the merchandise mix of the store. It is hard not to see this as meeting the expectations laid out for Ms Tay and her bosses by STB, just as it’s reasonable to assume that the tourism board wishes to have a tourist-friendly retail product they could promote overseas—as ESG did, for example, in Shanghai in 2018, with 12 Singaporean brands (that included Love, Bonito and Yacht 21), before the pandemic struck. But, a city must, foremost, be adored by its own people before it could be one loved by tourists. If Design Orchard could first appeal to shoppers here, it is conceivable they’d score even better with overseas visitors. So few of us have adopted batik fashion as a wardrobe staple. Yet, the store stocks a strangely inordinate selection of baju batik. Does it not comport with the suspicion that Design Orchard is aiming for the tourist dollar and those still seeking the exotic far east? In her opening address last night, Ms Ho admitted that “it is difficult” working with government agencies. Is Design Orchard’s barely discernible makeover and unaffected merchandising hinting at a possible strain?
A new men’s corner is introduced at Design Orchard
Much of the refurbished interior of the store appeared unchanged to us. According to Ms Ho, the “redecoration” is meant to be “meaningful” to the brand owners and the customers. In achieving that, they have been “conscious of the sustainability” aspect, “reusing a lot of the fixtures and (the) furniture” If that’s sustainability, that’s naive. A guest was heard saying, “that means they have no budget to really renovate.” It appeared to us that it was largely an exercise in moving things around. To be certain that we were not mistaken, we asked a member of the staff to tell us what was changed. “The cashier is moved to the back,” she gladly told us. Pointing to the left side of the store (along Cairnhill Road), she added, “the fitting room is moved to the back of the cashier.” In addition, we noticed that there’s now a new men’s zone. Apparently, a common refrain among male shoppers was: “We like to support local, but there’s nothing for us here”. To be certain, Design Orchard did have men’s from the beginning (Depression and Q Menswear were early supporters), but their products did not, as we were informed, move. We have said before that the entire store is suitably configured for shopping. In the past, the mixed floor layout may have been a tad messy, but it is now neater and better zoned. Still, the merchandise placement seems rather curious. When you enter the store and turn to the right (as is the common navigational instinct), the first rack on the prime location that you’d encounter in this Orchard Road Singaporean fashion flagship were hung with plain tank tops!
In the end, it is not just the attractiveness of the store that would set Design Orchard forward in their quest to be “where local brands flourish” (note the avoidance of ‘design’ in the phrasing). For anything to thrive, it must advance in an environment conducive to collective and nurturing growth. As a “retail showcase”, Design Orchard has to offer showcase retail too. Even with a celebratory relaunch, there was a disconcerting lack of attention to detail in the visual merchandising, for example. From the opening in late May to yesterday’s bash, many garments have remained unpressed, including one shirt (the whole collection was messy) by Silvia Teh that has remained stubbornly creased from the day it first enjoyed an upfront position in the store. Design Orchard not only has to espouse quality of design, it has to cradle quality of vision—which is still not immediately clear. And, consistency of message. One of the suggestions offered in response to Carol Chen’s admirable standing among TaFFers was that she speaks with an (American) accent—one thought to be delectable, admirable, even superior. If so, the presence of a brand such as wetteeshirt (of the Prata Kosing and Don’t Say Bojio fame) would appear at odds with Ms Chen’s atas vibe. Or, is that considered, inclusive, and vice versa? TaFF has been indomitable, a trouper, but did they do better than their predecessor, Naiise? It did appear so. Were we then in commendable, first-rate design territory? Not quite the day yet.
The latest luxury brand and sportswear collab is strictly for die-hards
By Lester Fang
It’s groovy, but is it for me? Regardless, I wanted to see for myself what the Gucci X Adidas hype is about. There was a daunting queue when I arrived at Design Orchard, where the pop-up popped out in part of the complex’s top-storey incubator space that overlooks the rooftop park. Some 25 individuals were standing between a railing and the stanchions and ropes that were erected outside the recently renovated Design Orchard’s “retail showcase”, where pillars urge you to “Shop SG Brands”. In the 30 minutes that I had spent waiting, the few shoppers heading for Design Orchard wondered if they had to queue to get in, even when it was dead quiet inside. One Gucci X Adidas staffer of three in attendance had to direct them to “just enter”. One of them approached me and asked, “do you have a Gucci profile?” Do I need one to enter? “If you buy later, you can collect points,” she tried to convince me. It’s okay, I don’t need them.
A Filipino family of four was in front of me; the kids—two below-fives—were getting restless, monkeying from railing to rope. The parents were looking at the father’s phone to decide what they shall be buying. Behind me, a mainland Chinese teen seemed impatient. Suddenly he leapt over the rope and dashed to the counter that sat next to the staircase at the side of the building that would lead us shoppers upstairs. I could not hear what he said. He returned, and spoked to me directly. He told me in Mandarin that he had to rush off to a class, and wondered if I could buy something for him when I get to enter the shop. I was very surprised by his request and did not how to react. I asked him what he desired and he told me it was a pair of sneakers. He asked me to pay for it first, and he’ll transfer the money to me. Scam alert! Would he not want to try the kicks first? He said he already did, this morning! I told him I derive no pleasure in helping others, 助人不乐, (it’s the heat!). The guy ran away.
I was the only one to leave the line when it was my turn to ascend to heaven. The whole stairway there, where “the experience begins”, another staffer told me, was covered with the Gucci X Adidas logos; the walls too. As the rooftop garden came into view, it was clear why the brands-in-collaboration needed this place. The Gucci X Adidas pop-up store is not erected at either the atrium of ION Orchard, as was the 100th Anniversary capsule, nor the Paragon (Gucci has a store at both malls). Rather, it is sited at Design Orchard, about 1 kilometre away from their two-level flagship at Paragon. Up here, where you can see our beloved Orchard Road, Gucci has set up a veritable temple complex to their partnership with Adidas. There was a pavilion of sorts to my right, saturated with the two brands’ logos that were conflated for this exercise. On the terrace, where on a weekend night, courting couples come to moon-bathe, huge cushions were scattered around, as if in preparation of some mid-summer soiree.
To justify the dazzling dollars they’re charging you for the merchandise, there are, apart from the queue, the climb to the pop-up (work up an appetite?), the spacious store, and the attendant surroundings of retro excess, SAs to accompany you as you explore the well-appointed space. As it looked to me, no more than six shoppers were permitted inside, which was roughly the size of a HDB three-room flat. When I stepped in, it was, as expected, more Gucci than Adidas. But no one, I keep getting told, goes there to partake in the interior loveliness. They’re there for the clothes. But when I asked the SA assigned to me if there were sizes left, rather than enquiring which item I was interested in, she told me most were sold out. Earlier, in the line, I was already warned by the girl who wanted to know if I had a Gucci profile that “not many products would be replenished”.
I am not a star/celebrity/influencer, such as Yung Raja, who had first dib of the merchandise. I should be grateful for whatever crumbs I could find. This is the ultimate high-fashion-meets-streetwear collab, or so people have been trying to convince me, however ill-favored (flavoured?) the clothes appeared to me. After its debut at Milan Fashion Week not long ago, the capsule is so hyped that even the Yeezy Gap Engineered by Balenciaga release seemed lost in some shadow play of who among the Kering brands could put out a cooler collaboration. Perhaps I was coming in from the blistering heat, but what I saw was making me sweat. Everything I touched was oddly thick, and I am not referring to those oversized track tops. The helpful SA was trying to interest me in some of the items socially-distanced on the rack. She showed me a knit top (why was it so scratchy other than thick?) and then pointed to a short-sleeved button-down Oxford shirt (why was this a heat trap, too?). I did not want to deprive her of her sales commission, but there was nothing—zilch—I would like to buy. I told her that the Gucci X Adidas uniform she was wearing looked good. Would she get to keep it? “We don’t know yet”. Good luck.
Gucci X Adidas Pop-Up store is opened daily till 27 June at Design Orchard. Photo: Zhao Xiangji
So it’s true: COS’s sister brand will be here. At the store’s neighbouring unit in ION Orchard by the year’s end
Fans of labels under the H&M Group that is not, well, H&M, would be thrilled. The one with the longest name, & Other Stories—sister brand to COS, and the yet-to-be-here Monki and Weekday—will indeed open on our island. The first store will, in fact, be COS’s immediate neighbour on level three of ION Orchard. So the rumours circulating since January is true. Back then, no one was able to say for certain where the store would be situated. Hoarding at the unit clearly confirms its arrival, and at that very space. Curious about its opening, we went next door to ask when & Other Stories would welcome shoppers. The first person we met answered with a “what?”, suggesting to us she knew not of the new neighbour she will “soon”—as the notice next door informed us—have.
A more helpful reply came via a second, cheerier sales associate. She eagerly told us that & Other Stories will “open at the end of the year”. Really? “Yes,” she said with certainty, “some time in Q4, but I do not know exactly when.” Does the renovation and fit out take that long? She added, unexpectedly: “Actually, we will be closed too. We will also undergo a renovation. This whole store.” We were, in fact, not really surprised. COS, opened in 2013, will want to look as spanking as the newest retail entrant, more so when the latter is kin. But will the simulateous renovation of two retail units affect the opening of the other?
Launched in March 2013 in Europe, & Other Stories is thought to be aesthetically skewed to appeal to the “cool girl”. Or, we suppose, those self-proclaimed fashion junkies on TikTok. But more noted (and appealing?) is the brand’s price point: a comfortable, hence tempting, somewhere between H&M and COS. Our first visit to & Other Stories was in Paris, at the Rue St Honoré establishment, just across from the charming little French accessories store Goossen. Our first impression, we recall, was that it reminded us of the American chain Athropologie. Atmospherically, it was not as severe as COS and it was not as low-brow/low-cost as H&M. Merchandise-wise, we thought it was more fun than the two. Housed in a hippy-ish space with an inner courtyard of artfully neglected greenery, & Other Stories is the kind of store you will uncover “finds”. It is not known if our first store here would be similarly positioned. We will find out. In December. Probably.
Watch this space for more information on the opening of & Other Stories.Photo: Chin Boh Kay
Daiso has announced that they will be opening the Standard Products concept store here
Daiso’s Standard Products in Shibuya, Tokyo
Just as we predicted! Hot on the heels of the opening of Japan’s Nitori at The Heeren, compatriot retailer Daiso has shared that the company will be opening their barely-a-year-old concept store, Standard Products, here in Jurong Point, soon. First unveiled in Tokyo’s Shibuya last May, Standard Products is what Tokyoites has described as “Muji-like”, but priced to be “slightly” easier on the pocket. To be more accurate, the new Daiso store is dedicated primarily to homeware, rather than general goods that the parent chain store offers (or, Muji—a veritable department store!). If they keep to the Japanese shop’s aesthetic for Standard Product’s debut here, expect a one-step-up stylishness that might draw those who find Daiso itself too messy to navigate.
It would appear that Daiso is intending to make their presence on our island felt, intensely. They have already introduced their Threepy chain (not really discernibly different from Daiso itself) to add to the Daiso stores found in almost every corner of our city except the off-shore islands. And now, on a yet-to-be-disclosed date, Standard Products, which, like merchandise at Threepy, is not based on a single price: $2. In fact, Daiso would very soon not be associated with SG’s lowest denominator on our dollar notes. From 1 May, the retailer would be charging GST, which means, each item will soon cost S$2.14 (when the GST is 7%. Some say that the new selling price is such an inauspicious number!). It is not yet known if shoppers will, too, be charged the goods and services tax for purchases made at Threepy or, before long, at Standard Products. The extra, we’re certain, won’t deter the hordes that will no doubt turn up.
Watch this space for more information on the opening of Standard Products.File photo: Jiro Shiratori for SOTD
Chanel has refused to sell to Russians overseas, who intend to use their merchandise back on home soil. Despite the ban, there are Russians who are determined to buy their fave bags, failing which, they take to social media to denounce the perceived Russophobia
Is it true that Chanel is presently Russophobic, as charged by some Russians online, after they failed to secure their desired items, even when abroad? According to media reports, Chanel stores across the world have stopped selling to Russians who reside in their native land (the French brand has, like their counterparts, stopped operating in cities such as Moscow). Chanel has stated that they are merely acting in accordance with EU sanctions that forbid the export of luxury goods to Russia costing more than €300 (or about S$445), as well as the sale of these goods to shoppers who intend to use them there. Bloomberg quoted a Chanel spokesperson: “We have rolled out a process to ask clients for whom we do not know the main residency to confirm that the items they are purchasing will not be used in Russia.”
Unhappiness over the drastic Chanel move was expressed swiftly on social media. Russian influencers were the first to condemn the purchase ban, as if it they were prohibited from buying sugar. One of them, Liza Litvin, who was shopping in Dubai, was quoted in many news reports to have posted, “I went to a Chanel boutique in the Mall of the Emirates. They didn’t sell me the bag because (attention!) I am from Russia!!!” The outrage was expressed by wealthy Russian fans of Chanel not only in words. Some went even further. Marina Ermoshkina, actress/TV presenter/influencer, was reported to have cut up her Chanels in disgust, and posted a video of the destruction, saying “If owning Chanel means selling my Motherland, then I don’t need Chanel.” It is not known if Chanel has calculated the cost of incurring the wrath of Russian influencers.
Customer browsing at the Chanel store in Takashimaya Shopping Centre
The Russians who were able to score Chanel merchandise were reportedly told to put their signature to an agreement that they will not use—or wear—their new purchases in Russia. Ms Litvin confirmed this by sharing on social media that Chanel “has a new order that they only sell after I sign a piece of paper saying that I won’t wear this bag in Russia.” The company has admitted to the press that “a process” is in place to ensure that what they sell do not cross into Russia. Many Russians call this need for signed assurance before a transaction can be completed “humiliating” and a slap to the staggering amounts they had been spending in Chanel stores.
It is remarkable that Chanel remains so desirable that some Russian women are willing to face painful loss of pride to buy something from the house. Despite repeated price increases globally in the past two years and, now, this ban, these Chanel measures have not put a damper on Russian enthusiasm for Chanel, or the die-die-must-have stance that many women here would relate to. This surprised many observers: “Chanel is not that exclusive to be this desirable”. Wherever you go, from neighborhood shopping centres to Orchard Road malls, you’d see someone carrying (rather than wearing) something with the familiar double Cs, they noted.
Curious to know if the ban is extended to these parts (or SEA), we asked a member of the three-person staff manning the queue outside the newly refurbished Chanel store in Takashimaya Shopping Centre. She said she wasn’t aware and would have to ask her manager. Before she disappeared inside, we wanted to know as well if a Singaporean buying for another Singaporean residing in Russia is allowed. In less than a minute, she was back. Cheerily she said, “All are welcome.” We expressed surprise. And she repeated, “All are welcome. Everyone can buy.” Two women, who had just scanned the QR code on a tablet held by another staffer to receive a queue number, heard our query. One of them asked the other, “Got ban, meh?”