You Can Now Shop Harper’s BAZAAR NewGen Award 2023 Winner Lim Su Hui’s Debut Collection

Seven months after winning the 2023 Harper’s BAZAAR NewGen Award, Lim Su Hui has launched her very own label, byū. Her debut collection, ‘Homeland’, is now retailing at Design Orchard, while her online catalogue is available for perusal on byu.sg.

As the winner of the Harper’s BAZAAR NewGen Award design competition, the LASALLE College of the Arts alumna took home a $10,000 cash prize and a sponsorship for a 15-month master degree course at the London campus of Istituto Marangoni, as well as the chance to showcase her collection in a Harper’s BAZAAR Singapore fashion spread, and to develop her collection into a full-fledged fashion brand, retailing at Design Orchard. Inspired by the architecture, shape, form, history and colours of Fort Canning Hill, Lim’s winning collection hinges on a zero-waste pattern cutting technique, with pieces retailing from $295 to $823.

We spoke to Lim about her approach to designing, the challenges and lessons she’s learnt during her design journey, and the way forward.

Related article: The New Guard: Harper’s BAZAAR NewGen Award 2023 Finalists On Their Design Journey Ahead

Tell us about your label, byū.

byū embodies the idea of blending elegance with low to zero-waste pattern-making practices for everyday wear, harmonising with the beauty of Singapore’s landscape. The label selects thoughtful materials, based on quality and biodegradability, ranging from regenerated, natural fibres to deadstock revived from luxury production. The familiar colours and motifs of Singapore are embedded into our designs with a poetic touch, making the pieces feel comforting, familiar, and timeless.

Please introduce the collection you are launching at Design Orchard.

The collection, ‘Homeland’, is a poetic nod to the nature and historical architecture of Fort Canning Hill, celebrating its resilient beauty. The ensembles paint the chalky palette of the site, gently powdered by the elements while contrasting poetically with notions of water at Forbidden Spring. The silhouettes explore draping and geometric pattern-cutting, inspired by Hindu-Buddhist architectural elements. The off-cuts often come in the form of triangles and rectangles, making them optimal for reuse in construction, as design features, or pieced-together accessories. Repetition through layering is a key feature, borrowed from nature’s inherent patterns, both in symmetrical and asymmetrical arrangements.

What are your thoughts on having your first collection sold in Design Orchard?

I feel thankful that ‘Homeland’ is beginning its journey at a location that supports local creativity, as this collection is deeply rooted in Singapore’s Fort Canning Hill. I hope for byū to resonate with like-minded individuals who value longevity and thoughtful design.

Which is your personal favourite piece in this collection, and why?

Fort dress. It was the first piece that I designed, which set the tone for the rest of the collection. I like that it combines the qualities of a top and a dress: from the front, it cascades like a waterfall dress, while the back is designed like a top. Its versatility allows for layering with skirts or pants.

‘Homeland’, which you showcased at Harper’s BAZAAR NewGen Award 2023, was crafted with zero-waste pattern cutting to minimise waste in the making. Can you tell us more about your approach to designing with environmental consciousness?

I follow specific rules in the pattern-making process, such as tessellating the lay plan until there are minimal gaps and avoiding curves except necessary, like necklines or when curved shapes can be creatively reused. I also utilise off-cuts in various ways such as a design feature, construction finishes, or foulard pieces. During the process of the showcased collection, I was constantly challenged with unused spaces in the lay plan. So, I would reconsider the approach, sometimes incorporating pleats to resolve [the issue]. Some designs were made spontaneously without a predetermined image, shaped purely by what was left. One aspect of this approach is the liberation in the design process, where modern and unexpected silhouettes can be achieved without approaching it the conventional way.

What has the journey been like, from being part of and winning BAZAAR NewGen to launching your own label?

It has been an unbelievable and eye-opening experience. Interacting with my fellow finalists from different institutions and learning about their work was exciting. I see the award as an acknowledgment that the judges accepted my vision and a green light to pursue my passion for zero-waste design. I never expected myself to be launching my label, so it’s quite a new feeling, mixed with nervousness and gratefulness. I am progressively learning new things as I go.

Related article: BAZAAR Academy: Young Talents Take Us On A Journey Through Nostalgia With CHANEL’s SS24 Accessories

Now that it’s about seven months after your win, can you share with us how being part of BAZAAR NewGen has impacted you? 

With the opportunity given by NewGen to retail ‘Homeland’, I was given the space to think deeply about my honest perspective of fashion and people’s genuine needs. It prompted me to reconsider the purpose of my work and its practical impact on daily life. Zero-waste only matters when designs are desired and necessary. Looking back on my time in school, I felt that I approached the collection from a highly conceptual standpoint that sometimes felt disconnected from modern reality–questioning whether I would personally wear what I designed. Collaborating with BAZAAR on retailing ‘Homeland’, I constantly found myself placed in a negotiation between the business, conceptual ideals, and a commitment to low-waste practices. This experience has shifted my focus towards refining practicality while balancing the label’s artistic vision.

Were there any challenges that you faced during your design journey, or in preparing for the launch?

Sourcing for the right materials is a struggle. Sourcing overseas from Singapore can be limiting, as I rely a lot on seeing and feeling things physically. Navigating the uncertainty and credibility of the suppliers without visiting the facilities makes building trust and relationships a slower process. There’s this disconnection. Paper wastage during pattern making is a significant issue, and the same goes for other materials that don’t meet the standards. These are ongoing challenges to be worked on and resolved in a way that its life can be revitalised responsibly. While working with small studios that can bring a second life to these materials is possible, it is a goal to be realised when the label is in a better position.

What lessons have you learnt throughout this journey?

Building a label takes a lot of discipline and clarity. Keeping your vision and deep beliefs in the most honest way is really important. Having to oversee most things felt like a lot to handle for one person. There’s a lot of mental struggle. Without a team, it is harder to move forward quickly. I do feel that having a collective opinion during the process makes more sense. At least when I was working with a technician on the production side, I was able to make better decisions. Despite efforts to source a certified supplier for digitally printed samples and allowing ample production time, inconsistencies can still happen when orders are mass-produced, even on a small scale. This situation becomes a reminder to constantly rethink my partnerships.

Related article: Judges Kenneth Goh, Lai Chan And Windy Aulia Look Back On A Decade Of NewGen

What are your next steps moving forward?

I would like byū to continue innovating by exploring 3D knitting technologies where garments can be produced with less or zero waste. At the same time, I would like to further refine the current pattern-making approach and hopefully expand the team when ready.

Where do you envision your brand to be in the future?

byū is approaching the future wardrobe with a sense of hope, promoting less consumption through infrequent extended phrases and more about styling pieces differently. I envision that byū will reach a point where we limit new designs and maintain a succinct collection that works beautifully and functionally. I would like to see more people appreciating pieces that already exist in their wardrobes.