Lifestyle

Hong Kong designer Celine Kwan simply needs to make you smile


From dressing Lizzo to presenting at her very first Paris Fashion Week this previous season, Hong Kong designer Celine Kwan is having a reasonably good 12 months.

Celine Kwan all the time knew what she wished to do.

Some would possibly name it a calling; others, simply actually sturdy, unrelenting conviction. But style design didn’t come as a closed-eye, head-in-the-sand, hope-for-the-best choice when college utility deadlines got here a-knocking. (Kwan went to Central Saint Martins, by the way in which.) Rather, it was a premeditated alternative — of stars aligning, lastly.

“I was always the arty kid,” says Kwan. “I loved to draw, paint and make things with my hands. At one point in my life, I wanted to be a fine artist and, in many ways, as a fashion and textiles designer, I am one. I always knew what I wanted to do from the very beginning.”

From her Foundation Diploma that led to a Bachelor’s of Art in Fashion Print at CSM to reducing her enamel at Roksanda, then Viktor & Rolf, then Shrimps, Kwan has fairly the resume for somebody who’s solely graduated one calendar 12 months in the past — however so it goes for the style business, the place time ticks on a unique scale completely.

Fashion is a tough enterprise. It dangles on a perplexing conundrum: as each measures of utility and artwork. Of issues we, as civilised folks, have a proper to. But additionally, of issues we, as civilised folks, see as extra. There’s a fragile steadiness between imaginative and prescient and commerciality; between what you need to design and what would, ideally, promote.

To make issues much more tough, style, like all inventive avenues, asks for authenticity; for you, maker, to “be yourself”. To discover your voice, your type, what makes you you, your North Star — then, the remainder will comply with. But does it? Every 12 months, cohorts from Central Saint Martins, from Parsons, from FIT current their graduating collections and are, then, unceremoniously thrown into the enterprise of style.

Which is usually the place goals die.

Because your voice, your type, what makes you you, your North Star — sadly, sadly, more often than not — doesn’t pay the payments.

Kwan, although, beat the chances.

At one level in my life, I wished to be a advantageous artist and, in some ways, as a style and textiles designer, I’m one. I all the time knew what I wished to do from the very starting.

Celine Kwan

“I changed completely as a designer after working in the industry. At Roksanda, I learned the importance of colour, textiles and silhouettes. Shrimps showed me the ins-and-outs of running a company in a tough commercial market. V&R taught me precision; couture is a totally different ballgame because the standards are so high. On my first day, my mentor told me to re-do hours of work because it was just one millimetre off,” Kwan remembers.

Despite a raging pandemic, Celine Kwan, the model — solid within the crucible of CSM Zoom tutorials, Roksanda colors, Shrimps tenacity and one-millimetre-off errors at Viktor & Rolf — was born.

Then, got here Lizzo in customized Celine Kwan; Kwan is dying to decorate “Doja Cat, Dua Lipa and even more Lizzo” subsequent. Then, Paris Fashion Week, Kwan’s first.

“It is hard to pinpoint my favourite moments of Paris Fashion Week,” says Kwan. “One of my favourite has to be during fittings when I first saw the collection come to life. I worked with an amazing team to perfect the casting, styling, hair and makeup which was so exciting. It felt surreal to stand in the middle of the show space and seeing my show come together before my eyes.”


Graduating right into a pandemic, it seems, has loads of similarities to graduating right into a recession. With buzzy key phrases like “loungewear” and “dressing for comfort” and “above-the-board details” to contemplate, designing for a world that’s taken to being rather less trusting, just a little extra timid is simply one other Monday.

Kwan, for her graduate assortment, went about pandemic-dressing just a little otherwise.

“Throughout the pandemic, we often find ourselves stuck our living rooms and reminiscing about the small details of normal life that we used to take for granted,” says Kwan. “However, it is important that we do not forget about the everyday beauty that surrounds us. In my Autumn/Winter 2022 collection, I have created a ‘living room utopia’; a celebration of the beauty and joy that can be discovered in our immediate surroundings at home.”

Clothes don’t make a house, in any case. Furniture, although, is an efficient place to begin. Which is the place Kwan, defiantly, started analysis for her style assortment, with design giants from the ’60s and ’70s like Joe Colombo, Verner Panton and Eero Saarinen as informal name-drops amid her background analysis.

“[Designers like Colombo, Panton and Saarinen] did not sacrifice function for aesthetic value,” says Kwan. “I have carried this principle into my designs by creating garments that look beautiful while being worn and can also be admired after they are taken off. Garments that dramatically, and humorously, transform to create a sense of drama will allow me to capture the beautiful shapes of furniture that I admire so much.”

But it’s not simply masters of design and furnishings that impressed Kwan. Films, too, had a crowning function within the designer’s inventive course of.

“In my research, I have developed a strong focus on ’70s futurism and “space race” type. Films resembling Woody Allen’s Sleeper and Stanley Kubrick’s 2001: A Space Odyssey present a wealthy supply of aesthetic inspiration and depict a future the place cutting-edge supplies of the ’70s, resembling thermoplastics and PVC, are utilized in abundance.”

This made-to-be-seen-ness of Kwan’s signature aesthetic materialises into particulars usually buoyant, usually floral and, usually, seemingly, inflatable. “Colour, energy and wonder,” says the designer, when requested to summarise her type in three adjectives. All collectively: pure, unadulterated pleasure. A balm within the type of a model moulded from the brimstone and fireplace that was the previous two years. An antidote to the doom-and-gloom of a future that appeared so bleak; so tireless and never-ending. Escapism into one other world — one the place nothing hurts, the place all surfaces are vibrant and smooth — that already exists, in the event you so deign to look the place you stand.

I think it is important to know that fashion is ever changing and that we, as designers, have the ability to produce work that is relevant in the current context of the world,” says Kwan. “I hope that my colourful and energetic take on my ideal living room utopia can bring a smile to someone sitting in their own living room right now.”

Now, to carry a mirror as much as the world and, then, make one thing reasonably stunning. How’s that for being an artist?


Follow Celine Kwan right here and store her items from the D-MOP x HKFG assortment right here




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