Meet Raydian Chew, a fashion design graduate from Middlesex University. Raydian’s collection is inspired by Malaysian kites called wau, which each have their own meanings and symbols and are a traditional past time of labourers in Malaysia which is dying out. “My collection revolves around the concept of wau, dissecting the ideology of the Malaysian kite, making its intricate motifs and bringing elements with emphasis in contemporary designs,” says Raydian.
“Inspirations for the beauty of Malaysian crafts are then broken down into several perspectives: from the texture of fabric manipulation; to 3D construction, incorporated into the collection. “ Read more about Raydian and his work below!
What is the most valuable thing you have learnt at university?
The freedom to be able to experiment different aspects of fashion as a creative, courage to make mistakes and to better understand myself as a designer as well as an individual.
Tell us about your current projects and work, what have you been working on?
For my final major project, I examined the traditional Malaysian arts and culture. I researched the wau, otherwise known as the Malaysian kite, which is derived from the resulting sound of the arc that attaches to the wau. As the wau is lifted into the air, the ibus leaves that are mounted on the arc produce a sound like “wau”, in rhythmic form. There are numerous versions of Malaysian kites that are associated with the various states in the country. Each kite is believed to have its own meaning, represented by different symbols. Wau have been a traditional pastime, as they were played with by labourers such as farmers and fishermen, as a way to relieve stress after a working day.
Malaysian kites then became a form of entertainment for all ages, and competitions were held. The tournament of wau was judged based on several aspects, mainly the authenticity of the creation, the pattern of creation, the shape, colour, and size. However, this tradition has faded with the disappearance of the older generation. Flight of Nostalgia is my 2020 Womenswear Capsule Collection. My collection revolves around the concept of wau, dissecting the ideology of the Malaysian kite, making its intricate motifs and bringing elements with emphasis in contemporary designs. Inspirations for the beauty of Malaysian crafts are then broken down into several perspectives: from the texture of fabric manipulation; to 3D construction, incorporated into the collection.
What form does your work take?
My final year collection consists of 6 looks of garments developed from the inspiration behind the Wau. In terms of success in flying, the framework is the most important part of making a kite (Leigh, 2000, p. 105). However, the ‘bones’ of a completed kite are no longer visible when the kite is covered with layers of decorated paper designs. The idea for my final collection was inspired by this, as well as the 3D silhouette construction that can be seen in my explorations which are based around the boning used in corsetry.
The shapes are abstract, draped within stand works that shows the emphasis in the importance of a framework while combining them with contemporary designs, reflecting the covered layers of decorative paper designs. Further adaptations in the collection include fabric construction, which was created with laser cutting and digital prints as other key features in the collection, in addition to embroidery. This constitutes the commercial part of the collection.
How have you evolved as a young creative while studying / working?
I have developed various skill-sets through my 5 years as a fashion design student, participating in numerous competitions, volunteered in fashion shows, installations and worked for designers that have given me the opportunity to assist in different departments in their companies. In my projects, I have come to experiment on different styles and taken different approaches in creating a collection from fashion illustrating, fashion design and textiles to fashion styling and photography. It has certainly been very challenging yet exciting to be able to learn many unique aspects of fashion and the more that is to come. I certainly feel I have grown to be more versatile as a creative (fashion design graduate) and that I am ready for the next chapter of my fashion journey.
What are the messages and themes behind your project that you want people to take away? Do explore any topics like diversity, sustainability or politics in your work?
The message behind my project is the process and approach of hybridity and its relationship in fashion, that could help in the revival of Malaysian traditional arts and culture. Cultural heritage has always been a proud commodity for Malaysia. This country is known for its culture and the traditions that come with the diversity and richness of race and religions. The awareness of this cultural diversity resembles that of a living embodiment by Malaysians in evolving a distinguished culture that is rare and vibrant through its resourcefulness and unconventionality. Malaysian traditions today are in some ways disappearing. It is perhaps unsurprising that these traditions and customs are neglected and forgotten, and this has been attributed to modern technology and social media.
Furthermore Malaysia, ‘as with all countries that modernise and progress technologically, local nuances, languages and art forms get swallowed up by the tide of globalisation’ (Petra, 2018). My approach towards reviving the Malaysian tradition is based on the application of the intricacies and details around craft, by making this the central story behind my collection. This inclusion of traditional Malaysian craft details become a way of sending a message to the consumer, and underlying the importance of engaging with cultural traditions. The need and importance to value one’s heritage, tradition, craft and quality should be encouraged so that we remember where we came from. Don’t let traditions be like the kite’s flight, a beautiful experience which can end ever so abruptly by just letting the string slip through our fingers.
What’s an aspect of the fashion industry that you’re passionate about fixing or having a positive impact on?
As an aspiring fashion designer, I personally have the perspective of fashion that it can inspire transformation, a way of unapologetic self expression, enkindles an emotion and convey a story. After diving into Malaysian culture as part of my themes started with a few projects ago, I find it meaningful, beneficial and inspiring that it allows me to understand more of the cultural heritage that I grew up with. I am passionate about playing a part to maintain and outspreading the Malaysian culture and traditions both locally and globally through the fashion scene.
What is your plan for the future?
I am ready to move if given the opportunity to work for a fashion label anywhere in the world. It will be a good start to a new chapter of my life to continue learning and growing as a creative and hoping that I will start my own label in the future.