So, What Designer Pieces Are Youths Dreaming Of?
The next generation of fashion enthusiasts in Singapore give us their take on fashion and luxury today, and the designer pieces they’re dying to own.
Consumer behaviour might have changed drastically in recent years, but for some, fashion will always have a place in their hearts (and wardrobes). Keng Yang Shuen delves into the shopping psyche of eight young fashion enthusiasts today and asks them the million‑dollar question: If money were no object, what from the Fall Winter 2025 season would each of them buy?
ADRIENNE CHRISDEE, 23, GRAPHIC DESIGNER & CO‑FOUNDER OF THE ARCHIVAL FASHION STORE UPSTAIRS GARMENTS
FACTORS THAT INFLUENCE HER FASHION PURCHASES MOST: “When I’m thinking about getting something, it usually means that I’m already a fan of this said item, the collection it comes from, or the designer behind it. I also look at what materials the item is made of and whether it works with the rest of my wardrobe.”
WHAT LUXURY MEANS TO HER: “Before I got into fashion, I used to think luxury was all about big brand names, flashy logos and over‑the‑top pieces … Now, having been a part of the industry and exposed to it more, my idea of luxury is a tailored experience: something custom‑made or designed specially for you, and that feels highly personal.”
WHAT SHE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “(Left to right, above) A Cecilie Bahnsen parka – I love how she blends femininity and techwear; a dress from Comme des Garcons – Rei Kawakubo will always be one of the designers I respect most because of how much she pushes the boundaries of fashion, like how she literally put a twist to corporate wear this season; the Modular Driving Boots from Kiko Kostadinov, which remind me of the Arts And Crafts boots from Undercover’s Fall Winter 2005 collection – one of my favourite shoes of all time; (left and right, below) a vest from Noir Kei Ninomiya that I find is particularly innovative and experimental this season, and that reminds me of a coral reef; and the fringed headpiece from Walter Van Beirendonck – I’ve been collecting accessories by the namesake desginer and was pretty gagged when I saw it on the runway because it’s such a statement piece.”
HER MOST EXPENSIVE FASHION PURCHASE: “A pair of Carol Christian Poell Prosthetic U‑sole Drip Sneakers! I got it at an online auction for more than S$800 … I already had some savings set aside, plus I was working a full‑time job, so I was in a position to go for it when the opportunity came up.”
WHAT SHE’D LOVE TO SEE MORE OF IN FASHION: “Bolder visions, storytelling, and colours!”
KELLY JANINE, 25, ART HISTORY AND ARCHAEOLOGY POSTGRADUATE STUDENT AT SOAS UNIVERSITY OF LONDON
FACTORS THAT INFLUENCE HER FASHION PURCHASES MOST: “There are a lot of things I consider when buying designer, but my top priorities are comfort, quality, practicality and longevity. I also think about the price in relation to what the item offers, and ask myself: Will I enjoy using this for the next five to 10 years? If I part with it, would someone else who loves the brand appreciate it? And what makes it so unique that it can’t be easily replaced?”
ON THE STATE OF THE FASHION INDUSTRY NOW: “In my opinion, there’s an imminent downfall coming, as the glossy facade holding the industry up is starting to crumble. Every so often, you’ll see headlines about declining product quality, repetitive designs, obscene price hikes, and whistle‑blowers exposing ongoing labour exploitation at certain brands … I think journalist Dana Thomas captured it best in her 2007 book Deluxe: How Luxury Lost Its Luster. While the stats she cites are a bit outdated, the culture of the 2010s and 2020s only reinforces her point: Luxury has shifted from being about craftsmanship to being about wealth signalling and ostentatious display. Just look at how logomania reared its ugly head. Now, with algorithms flattening culture and homogenising how people dress, luxury is starting to feel creatively empty and is often just merchandise.
To be fair, the luxury industry won’t disappear. Ideas of exclusivity and aspirational consumption are here to stay, but for those who truly care about fashion, the current landscape can feel pretty soul‑crushing. What makes fashion still appealing to me, though, are the independent designers who are still making great clothes outside of luxury groups. There are also still spaces for those interested in fashion history.”
WHAT SHE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “(Clockwise from top left corner, above) This green dress from Julian Klausner’s debut collection for Dries Van Noten – which didn’t disappoint – that stood out to me in particular for its soft texture and draping around the shoulder and torso; a cloche‑style hat from Miu Miu – I like how the brim nearly covers the eyes, adding privacy and a sense of mystique; the Simone Rocha Hare bag – not just a statement accessory, but also an emotional support pillow that makes for a fun conversation starter; and this dress from Ottolinger – when I’m in the mood to play with fashion and not take myself too seriously, I go for graphic prints and clashing patterns, and the anime eyes on the bust area is such a cheeky touch.”
HER MOST EXPENSIVE FASHION PURCHASE: “It’s a 2008 Balenciaga Le City bag … I’ve nicknamed it ‘Glamour Toad’ because it’s green and comes decorated with a pink floral motif. I wouldn’t trade anything for it, since the bag has become such a personal item that saw me through various phases of life. It cost me around $700 at the time (2022) on Carousell, and I had to gather all the pay I got from my past internships and part‑time jobs to afford it.”
SEAN TAY, 34, TREND ANALYST
FACTORS THAT INFLUENCE HIS FASHION PURCHASES MOST: “How often will I actually reach for it in my wardrobe and wear it? That, along with whether I can afford it, is what I consider most when deciding on a purchase.”
HIS FAVOURITE DESIGNERS: “I wouldn’t say I prioritise brands or designers when making a purchase, but I do have my go‑tos because their aesthetics align with what I find beautiful. The brand’s universe needs to make sense to me and match my personal style for me to fully buy into it. Since my university days, I’ve consistently bought Rick Owens – usually one or two pieces a season if I can afford it. In the last couple of years, I’ve also got into Thom Browne. To me, these two brands represent two sides of the same coin. I’ve always had a soft spot for Belgian designers too … I’m really hoping Marie Adam‑Leenaerdt does menswear because I’d love something from her in my size. There’s a sincerity in Belgian design that really resonates with me. You don’t see a lot of this now in the industry.”
ON THE STATE OF THE FASHION INDUSTRY NOW: “It’s currently at a watershed moment. What has changed most over the last decade is the aura of luxury. In the past, there was a veil that made the lifestyle luxury brands sold feel aspirational. Now, everything feels overexposed and with that mystique having faded, luxury feels more common than special.”
WHAT HE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “(Above, from left) A rugby shirt with ruffles from Simone Rocha, and a sport coat and a tweed skirt from Thom Browne. These items are things I’d wear on a routine basis. Some are newer versions of what I already have in my wardrobe and would reach for regularly, but with a different texture or in a different colour from what I already own.”
WHAT HE’D LOVE TO SEE MORE OF IN FASHION: “I want more diverse points of views, both in critique and in design, and we’re starting to see that more in the last few years … That said, people need to be thoroughly informed or have adequate knowledge on the topics they’re talking about. I don’t see as much deep, obsessive research into a subject or enough nerding out with that crazy gleam in the eyes – just like how I used to.”
CHERVIN LOIS, 24, STYLIST
WHAT GOT HER INTO FASHION: “It all really started with music. That was my first love and fashion naturally followed. I was drawn to the drama and expression of the New Romantics and the club kid scene – artistes like Visage and, later, designers like Charles Jeffrey really capture its spirit. From there, I got into punk – the raw energy of the Sex Pistols, and the rebellious style of Malcolm McLaren and Vivienne Westwood. My aesthetic kept evolving alongside my music tastes: Delving into post‑punk and rock led me to more minimal and moody designers like Hedi Slimane and Ann Demeulemeester.”
FACTORS THAT INFLUENCE HER FASHION PURCHASES MOST: “I’m drawn to pieces that feel timeless: what I can wear now and still love years down the line, and that fit naturally within my wardrobe. Meanwhile, statement pieces need to be truly special, whether in terms of design, craftsmanship or the story behind them. And they should be classic enough that I’d still reach for them years later. That’s what makes an investment worthwhile for me.”
WHAT SHE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “My choices (see above) are all from Ann Demeulemeester, as no other house speaks to me the way it does. For me, Ann Demeulemeester has always been more than just about clothes. It’s an attitude. Wearing its pieces is like having on me a fragment of a poem, a lyric or a work of art that speaks to me on a personal level. You can feel the influence of post‑punk, rock and other music genres woven into its designs. It’s intimate, poetic and timeless – and that’s why Ann Demeulemeester will always hold a place in my heart.”
ON THE STATE OF THE FASHION INDUSTRY NOW: “Honestly, I find the luxury scene much more exciting now compared to before. Maybe it’s the recent shift in creative directors that has brought a new energy. The one who caught my attention most was Jonathan Anderson, with his debut collection for Dior Men Spring Summer 2026 – the tie styling was brilliant!”
POH SHIMIN, 30, FASHION MARKETER & STYLIST
FACTORS THAT INFLUENCE HER FASHION PURCHASES MOST: “The top three boxes my purchases have to check are brand ethos, quality and design. When I set out to buy a designer piece, I’ve essentially wiped out all logical sense and the decision is mostly emotional … It’s more about how the piece makes me feel and why I want to be part of the world it represents.”
ON THE STATE OF THE FASHION INDUSTRY NOW: “These days, the conversation is less about a house than who’s designing for it – and rightly so, if you ask me. After all, the creative directors are the ones bringing cultural relevance to the brand. That said, I’m so tired of the constant musical chairs of creative directors in luxury … Jonathan Anderson took more than 10 years to build Loewe to where it is today; it didn’t happen overnight. We need to give creative directors more time to prove themselves.”
WHAT SHE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “I’ve always been drawn to the world of theatre and its distinctive style of dress. Another big inspiration is the Victorian and medieval eras, and all the looks I’ve selected embody all their signature qualities, but with a modern twist, in my opinion: looks and pieces from (clockwise from top left corner, above) Dior, Vaquera, Ottolinger, Chloe, (from left to right, below) Dilara Findikoglu, Ann Demeulemeester and Miu Miu. We need to discuss Dilara Findikoglu’s latest show in particular: I’m in love with the collection, especially the pieces crafted from synthetic hair – unexpected and deeply romantic – and the combination of materials such as synthetic hair with leather and shells, which adds an otherworldly touch.”
WHAT SHE’D LOVE TO SEE MORE OF IN FASHION: “We need new voices, so I’d love to see the fashion industry uplift more emerging talents. Fashion is a window into what’s on our minds, and independent labels are the ones shaking things up through experimentation and authentic storytelling. Bring back shock value not just for shock’s sake, but to challenge conventions and spark meaningful conversations. Take, for example, Madomorpho, a Berlin‑based label I’ve been keeping my eye on that’s known for its campy aesthetic.”
KARLSSON TAN, 17, STUDENT
WHAT GOT HIM INTO FASHION: “When I first got into fashion, I was really into thrifting and vintage shopping. It was only in 2024 that I started exploring brands and designer clothing. One collection that stood out to me was Helmut Lang Spring Summer 1998 – the one where he introduced his iconic Painter jeans, which I was lucky enough to find a pair of! That collection sparked my interest in archival fashion, and led me down the path of researching individual designers and brands.”
FACTORS THAT INFLUENCE HIS FASHION PURCHASES MOST: “When buying a piece for myself, it usually has to meet four criteria: craftsmanship, compatibility with my wardrobe, brand history, and design. These factors help me choose designer pieces more wisely and avoid overconsumption – a timeless wardrobe always beats a trendy one.”
WHAT HE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “(Clockwise from top left corner, above) I’d get these two looks from Kiko Kostadinov; this elaborate jacket from Undercover, and a Prada duffle bag. I’ve chosen these pieces because they connect with me, and are from brands I’ve explored, researched, and appreciated for a long time. I enjoy how each piece was styled on the runway and how it fits into their respective collection’s overarching story clearly. This really makes me love and want them even more.”
WHAT HE’D LOVE TO SEE MORE OF IN FASHION: “I’d like to see younger creatives making a bigger impact in the industry, whether through starting their own brands or taking on meaningful roles at magazines. I’m really interested in how this generation can create a new wave of ideas and how its members can influence one another in ways that push fashion forward. I also hope fashion communities become more open and supportive. With fashion being such a huge part of social media, especially for young people, there’s often unnecessary hate or judgement over how someone dresses. That feels pretty bitter to me, since fashion is meant to be a form of self‑expression.”
WONG WEI TING, 31, FREELANCE STYLIST
WHAT GOT HER INTO FASHION: “I started out reading magazines like Teen Vogue and soon found myself drawn to less mainstream titles like Vogue Girl from South Korea. My favourite models then were Freja Beha Erichsen and Daul Kim, and I fell in love with the dreamlike world of Tim Walker’s editorials, and the styling of Jane How and Camille Waddington, who both had such a distinct point of view.”
WHAT LUXURY MEANS TO HER: “Real luxury would be being able to engage in historical research, preserve craft, and develop new techniques and fabrics. Having the time to do that – and to engage meaningfully beyond just buying a product – in order to understand how and why something is made feels like the ultimate kind of relationship with luxury fashion.”
HER MOST EXPENSIVE FASHION PURCHASE: “I got a pair of knee‑high Ann Demeulemeester boots with cowboy heels for $600 from Vestiaire Collective! As a Virgo, I save $200 every month and put it in a separate bank account designated for fashion‑slash‑unnecessary things – or for special occasions. In this case, I was commemorating turning 30.”
WHAT SHE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “I’d choose mostly pieces that have a vintage feel to them: (clockwise from top left corner, above) a tracksuit from Miu Miu; this rendition of the Balenciaga Rodeo bag; this faux fur‑trimmed leather Prada coat; and a lace dress from Chloe. The Prada coat stands out in particular for how it looks like a ridiculously oversized subversion of a classic fur coat. The bow around the neckline raises the camp factor.”
ON HER FASHION WISH LIST: “Anything from Prada’s Spring Summer 2008 collection, especially the boots with the art nouveau flower heels.”
WHAT SHE’D LOVE TO SEE MORE OF IN FASHION: “I’d love to see designers getting more investment to do crazy, unprofitable things.”
MENDEL PHUA, 21, NATIONAL SERVICEMAN
WHAT GOT HIM INTO FASHION: “My mother was my gateway into fashion. Growing up, I was fascinated by her taste. Seeing how she transformed when she put on her best clothes and accessories made me realise that fashion can make one feel both vulnerable and protected. My mum hates heels, for example, so she has always worn instead these shiny, spiked Louboutin flats. My dad would match her in similar Louboutin loafers. I used to step on them barefoot, just for the fun of it.”
WHAT LUXURY MEANS TO HIM: “Luxury, to me, is dependability. When I was younger, I thought that delicate pieces were the most luxurious, but it’s exhausting to be so precious with something you paid big money for. Honestly, one of my most treasured items these days is a brown leather jacket that I thrifted for $11. It has kept me warm through many seasons and the leather develops its patina every time I wear it. I’d choose that jacket over any crazy expensive bag anytime.”
WHAT HE WOULD BUY FROM FW2025 IF MONEY WERE NO OBJECT: “I generally gravitate towards things that are well-made and reflect craftsmanship as well as a clear design intention. This season, they include (clockwise from top left corner, above) Prada’s suede duffle bag, Bally’s corset belt, a cropped blouson and an extra‑long belt from Coach, a motorcycle jacket from Burberry, (clockwise from top left corner, below) a full Sacai look, the Camero bag from Acne Studios, the cowboy boots from Prada and an Alexander McQueen military coat. I’m a big fan of Miuccia Prada and I think that Prada has really found its own rhythm, especially with her teaming up with Raf Simons. Every collection is minimalist at its core, but has something odd or unexpected about it. I also really appreciate its commitment to quality, which I feel has been slipping at some other houses.”
WHAT HE’D LOVE TO SEE MORE OF IN FASHION: “Everyone needs to calm down. There’s a new creative director leaving and entering a brand every other week. Houses are losing their identities and designers no longer have a platform to fully express their visions … I think it’s the speed at which fashion is moving that’s making it hard for new creative directions to really connect with culture. Concepts need time to be executed and processed. Also, luxury houses seriously need to step up on their quality control. It’s wild to see $4,000 bags breaking on the third use.”
ALL INTERVIEWS HAVE BEEN EDITED FOR BREVITY AND CLARITY.
This article first appeared in Volume 2 of F Zine.
TEXT & COORDINATION KENG YANG SHUEN ART DIRECTION JONATHAN CHIA