Framing The Future: Chuen Kah Jun
To paraphrase George Orwell, if there’s hope for the future, it probably lies with the next generation. Here, we’ve invited three emerging Singapore-based photographers to rethink how fashion imagery is created – by whom and for whom – and to see fashion as something open and enjoyed by a diverse group of people.
The Spring/Summer 2026 season has been endlessly ballyhooed as one of the most consequential in recent fashion memory, thanks to an unprecedented shuffle of new creative directors across various houses.
But the industry can oftentimes be too insulated and fond of drinking its own Kool-Aid, so we thought: why not have the season’s pieces interpreted through fresh eyes?
Photographer Chuen Kah Jun
Enter Chuen Kah Jun, one of three photographers we invited to do so. A recent recipient of the Kwek Leng Joo Prize of Excellence in Photography 2025, he is a photographer and visual artist whose work sits at the intersection of the surreal and the deeply personal, known for elaborately staged images that take a whimsical approach to exploring how gay men experience and relate to masculinity.
Here, he shares more about the work he created for us, as well as his journey:
What first made you pick up the camera?
“I think the mid-2010s Tumblr era really shaped how I came to see photography as an art form. Specifically, coming across Nguan’s work, there was something about its quiet sense of wonder and nostalgia that stayed with me and made me want to create images that felt the same. So, like many others at that time, I jumped on the bandwagon and picked up a disposable film camera.”
What or who do you tend to look to for inspiration?
“A lot of my inspiration comes from music; it’s where many of my ideas and concepts begin. I’m really drawn to the translation of sound into visuals and how the emotions that come along with it can shift and take on new forms as imagery. I’m also really influenced by surrealist photographers like Guy Bourdin, Juno Calypso, Man Ray, etc. Their work continues to inform my practice, especially in how they approach identity and sexuality from unexpected perspectives.”
What is most important to you when you’re shooting?
“Being part of the queer community, I want to create work that feels meaningful and resonates beyond myself. As an image-maker, having the ability to craft visuals that can influence or inspire gives me a sense of responsibility—to uncover both lived and shared experiences and to engage with important social issues in a way that feels honest and authentic. Of course, I also try to have fun in the process.”
What was your intention behind this shoot you did for us? What were you hoping to capture?
Cotton-blend top, cotton-blend shorts with embellishment, and leather slides, Louis Vuitton
“I wanted to explore queer hookup culture through the metaphor of the peach, reimagined as a forbidden fruit that embodies desire, curiosity, and the gradual erosion of innocence. This work aimed to trace the subtle progression from temptation to consumption, where intimacy is both alluring and destabilising.
Suede calfskin bustier and matching skirt, Hermes
In this series of images, the peach acts as both setting and body—something to be entered, inhabited, and ultimately embodied. I didn’t want to depict desire as simple fulfilment, but as a threshold: an experience that is both inviting and precarious, where softness can hide pain and pleasure carries traces of vulnerability.
Nappa leather jacket, viscose-blend top, cotton-blend long shirt (worn as dress under top), cotton socks and Emily Aqua flocked PVC booties, Loewe
The images sit in a dreamlike space, blurring fantasy and reality to reflect the emotional ambiguity of fleeting queer encounters.
Cotton polo shirt, silk bustier, cotton shorts, leather gloves, cotton socks and leather pumps, Prada. Briefs, model’s own
What’s the best and most difficult part of being a young photographer today in Singapore?
“I would say the best part is the opportunity to collaborate and connect with peers and like-minded creatives. Sharing ideas, exchanging perspectives, and working alongside others who are equally passionate keeps me motivated and reminds me why I want to keep making art.
The most difficult part is the practical challenges, like limited funding, studio access, and support for young photographers in Singapore, which make sustaining a creative practice harder than it might seem from the outside. There’s also the pressure to balance creating work that is meaningful and personal with what is visible, palatable, or deemed acceptable online, which can sometimes feel restrictive.”
What’s the last thing that made you look at art or photography in a new light?
“The last thing that made me see art and photography in a new light was actually preparing my first photo exhibition (the show And Still was held last November at Objectifs) after graduation. Without any external feedback or structured guidance, I had to hold myself accountable in a way I hadn’t before, which made me realise just how seriously I take art-making and prompted me to question why that is.
I also felt a responsibility to represent a minority (the queer community) and use this opportunity to bring those experiences into focus, which, combined with the pressure to constantly outdo my previous work, made creating art feel more like a challenge than something I truly enjoyed.
It made me re-evaluate my relationship with art and photography, why I continue creating them, and reminded me that I can and should approach my practice with curiosity and playfulness again. It’s okay to let myself play, to find joy in the process, and to create without the weight of purpose, expectation, or the need for perfection.”
STYLING TOK WEI LUN STYLING ASSISTANT KEVIN TEW MODEL SOPHIA BEGUM/MANNEQUIN STUDIO HAIR & MAKEUP MANISA TAN, USING REVLON PROFESSIONAL SINGAPORE & NARS
An adapted version of this article first appeared in Volume 7 of F ZINE.