For consumers tired of blink-and-you-’ll-miss-it trends, mass-produced garments and mindless consumerism, the slow movement in fashion is a much-welcomed respite.
If you’ve never heard of it, the expression ‘slow fashion’ was coined by design activist Kate Fletcher back in 2007, advocating for a slower pace in the fashion industry.
In essence, slow fashion is the opposite of fast fashion. The movement features a keen awareness of the processes and resources required to make clothes. It advocates for buying less, with a focus on high-quality products and ethical treatment of people, animals and the environment.
Slow fashion also spotlights local artisans and their use of sustainable production techniques – hand-dyeing being one of them.
“Hand dyeing is one of the many expressions of slow fashion – making things by hand and using plant dyes or hand-dyeing techniques to create textiles that are unique, personal, and a reflection of the process,” says hand-dye practitioner Su Pei Ho.
Fellow practitioner Felix Nai adds that hand-dyeing is deeply tied with the slow movement concept because of the time and effort required.
“Being in Singapore − a young country with scarce resources − challenges us to use what is available,” he says. “Many hand dyers are emerging with great stories, many of which encompass using locally-sourced materials.”
Ahead, we spotlight three practitioners of this craft in Singapore who are bringing their own individual twist to the hand dyeing movement.
Who: Ethan Lee, founder
What his brand is about: “I would call it an experimental space, with the use of hand-dye techniques as mediums to blur the line between beauty and what is deemed ‘ugly’ by society.”
How it began: “It started in 2019 when I wanted to start an Instagram page to document objects that I was dyeing, together with my graphic designer friend. We both came up with the name which had no meaning at all − I guess he thought the name ‘Fassbender’ was catchy? At that time I was listening to a lot of Smashing Pumpkins and we decided to come up with this ridiculously long name. I now ran the brand myself after my friend moved to Japan.”
Influences behind his work: “My work has been influenced by the people I’ve met and my past experiences. Japanese streetwear, workwear brands, the unnecessary intricacy of Art Nouveau architecture and the chaotically unexpected sounds at techno raves are some of the more specific things and experiences that influence what I do.”
His USP: “Using ice as a medium to disperse the dyes. It’s an uncontrollable, organic medium. Honestly, it’s not a method of dyeing that I invented. It’s just that I found the concept of letting the ice ‘do the work’ fascinating. To me, ice as a medium for dyeing is a parallel to the unforeseen circumstances we face in life.”
Techniques involved: “Ice, dye and time!”
The production process: “A simple tee shirt would take up to three days to dye, wash and dry. I only dye up to three items at a time due to the lack of space in my home. I often find myself working at the HDB staircase landing whenever I’ve too many pieces to work on.”
Where to buy: “Through a pre-order system on the Instagram page. I’m currently busy working on some exciting projects and wouldn’t be taking orders anytime soon. We’ll probably open up a pre-order sometime in June. Good things come to those who wait!”
Who: Su Pei Ho, founder
What her brand is about: “Su by Hand is a sustainable, slow-fashion label. Aesthetically, we are very much influenced by nature, whether it’s in the focus on asymmetric details and textures, or the materials used (mainly silk, cottons, tencel and plant-dyes).”
How it began: “It started as a passion project back when I was living on Lamma island in Hong Kong (a very inspiring place full of nature and creatives) and organically evolved into the company it is today.
The motivation behind Su by Hand is two-prong. Firstly, the desire to subvert ‘fast fashion’ with the belief that fashion can do better in terms of sustainability. This was due largely to how much waste I witnessed both in design studios and factories as a commercial designer for brands across Europe and Asia. Secondly, the desire to offer an aesthetic that is more ‘organic’, alive and design-oriented that cannot easily be duplicated by mass manufacturing techniques.”
Influences behind her work: “Yohji Yamamoto and Exception de Mixmind, the cult art-luxury Chinese brand where I first honed my career as a designer. The brand opened my eyes to another vision of fashion that was emotive, artisanal and authentic. Their designs were widely copied in China but it was difficult to duplicate them in their essence as they featured artisanal techniques like hand-embroidery, macrame and garment dyes (dyeing after completion of the garment).”
Her USP: “Our designs are all original and developed from sketch – yet they are not overly ‘arty’ as I strive for a balance of wearability in timeless styles with a touch of art. We also use premium, natural fabrics that are breathable, or select deadstock synthetics of import quality. So it is not just what you see, it’s how you feel. I strongly believe that there is no luxury if one isn’t also comfortable.”
Techniques involved: “The one-off pieces involve eco-printing or hand-dyeing shibori techniques. With eco-printing, I print with plants and minerals (florals, leaves and mordants) directly on silk. With the hand-dyed pieces, I use natural plant dyes like avocado and pomegranate. Some of our plant-dyed silks were also sourced from Living Blue Bangladesh, a social enterprise that supports local indigo farmers and artisans.”
The production process: “Anything from two hours to overnight. An eco-printed silk needs to be mordanted (the fabric prepared in order to retain as much of the natural colours as possible) before it is dyed or printed. Mordanting takes an hour from preparation to immersing the fabric. Actual eco-printing takes another hour including steaming and washing. Dyeing takes longer as one also needs to prepare the dye pot, that could be an overnight process.
For our clothing styles, some are one-offs (like Cara silk slips or the Eli marbled top that are made upon commission) and some are small-batch (five to 15 pieces per style each production round).”
Where to buy: “On the e-shop, home studio (by appointment only) and at pop-ups. The label currently has a pop-up as a featured brand at SocietyA Takashimaya, and is also on Zerrin’s platform as a curated, sustainable brand.”
Who: Felix Nai, founder
What his brand is about: “I offer natural indigo dye services for existing products or commissioned pieces, and conduct indigo dye workshops for people who want to experience it and how it can be integrated into our lives. I don’t sell my own products at the moment. The label is all about sharing creative solutions to ‘get rid’ of waste, with natural indigo as its main language, in hopes to be part of a bigger ecosystem.”
How it began: “I returned from Japan for reservist last year and decided to stay in Singapore for a little longer. I decided to make use of my time here and started a project to have fun. Unknowingly, it evolved into something serious. Back when I was living in Tokushima, the two major things I discovered were indigo dye and stories behind efforts towards sustainable living. I saw the value of using natural indigo dye as a tool to repair products that have not been used to their life expectancy, due to unforeseen circumstances like staining and yellowing.”
Influences behind his work: “Older folks’ practices on not being wasteful and the science behind it is something that has always sparked an interest in me.”
His USP: “I don’t think there is anything unique about what I am doing. Natural indigo and not being wasteful is something being practiced throughout the world and for many years. I’m just using a skill I acquired as a tool for what I believe in.”
Techniques involved: “I use a range of dyeing techniques − from wood clamping to shibori methods for resist dyeing, and dip dyeing if requested (but I refrain from using bleach). I choose a technique which I feel is best suited for the design of the product and material.”
The production process: “The time taken to make a piece depends on its size and the design. When an order is placed, I spend most of my time thinking of how to marry natural indigo with the existing beauty of the product. I explore different dyeing techniques and it takes up to a week to prepare the product before the dyeing. Dyeing usually takes a day or two to finish.”
Where to engage his services/attend his workshops: “Contact me at hello@goodriddancesg.com. For my workshops, sign up at The General Co.”