Fashion Project 1 (DST64304)
Contents
Week 1
Week 2
Week 3
Week 4
Week 5
Week 6
Week 7
Week 8
Week 9
Week 10
Week 11
Week 12
Week 13
Week 14
Week 15
WEEK 1
Today was the first day of our Semester 2 and Fashion Project 1 class, and it definitely set the tone for a challenging but exciting 4 months ahead.
We were briefed on the MIB and the assignment brief. The main highlight? We will be participating in a fashion show collaboration with Oppo x Chagee and UNESCO! It's such a huge opportunity, but it also means the pressure is on because the fashion show is scheduled almost around mid to end of the semester in June, leaving us with limited time to prepare.
For our final assignment, each of us must design and produce one Malaysian Kebaya. It sounds straightforward at first, but once we dived into the research, I quickly realized how much there is to learn.
As an international student, understanding the traditional Southeast Asian garments like the kebaya has been pretty overwhelming. It was difficult to tell the differences between the kebayas of different countries – Malaysian, Indonesian, Singaporean, etc... – each version has unique cultural and historical roots, yet visually they look quite similar to a person looking through them for the fist time. I had to spend extra time just trying to wrap my head around the subtleties like fabric choices, embroidery techniques, silhouettes, and styling traditions of the different regions, and still I can't tell the difference, this is going to be a challenge for me.
Despite the struggle, we were assigned to complete 10 design sketches along with a mood board to show MR. JR by this coming Sunday. Right now, I have only completed 5 designs — halfway there, but I know I need to pick up the pace if I want to make a strong impression.
Reflection:
Starting on the assignment has been both exciting and intimidating. I feel honored to be given the chance to design a piece that reflects a beautiful and meaningful part of Malaysian culture. However, the time pressure and my lack of prior knowledge about kebayas are making it a tough challenge.
Still, I’m motivated. I see this as an opportunity to push myself creatively, to research more deeply, and to learn from my classmates and lecturers. I hope by the time I'm done with my 10 designs and mood board, I’ll have a stronger grasp on how to modernize the kebaya respectfully while honoring its traditional roots.
Week 2
Week 2 was packed with inspiration and action — things are really getting started
This week, we had the chance to meet the representatives from Oppo, who came in to brief us on their collaboration with UNESCO. They shared exciting details about the upcoming fashion show and their brand vision, which really helped us better understand the direction we could take with our designs.
It is a great privilege to be part of such a meaningful collaboration that combines technology, tradition, and culture. But it also means that we have to think beyond just aesthetics and consider storytelling, innovation, and cultural sensitivity in our designs.
I've finally finished my first 10 initial kebaya design sketches! It took a lot of research, brainstorming and refining, but when I saw all the ideas lined up together, I had a clearer idea of where I wanted to go with my final piece. There's still so much to develop, but having a starting point feels like a mini achievement.
I also went fabric hunting this week to start working on fabric manipulation samples. It's was a fun but exhausting process exploring different textures and materials in KL that could bring my kebaya concept to life. I managed to get fabric swatches of brocade for the skirt of my design — I was drawn to its rich texture and traditional elegance, which I think fit the theme perfectly. For one of the manipulation samples, I bought 1 meter of Japanese bridal satin, which has a beautiful sheen and good weight to it. I’m excited to experimenting with it over the next few days.
Reflection:
The project felt much more real this week. Finding fabrics helped me close the gap between concept and reality, and meeting the Oppo team gave me a sense of purpose. Although there is still a long way to go, I feel increasingly involved in this with each sketch and fabric swatch.
Week 03
Week 3 was a little slower, but it was still an important part of the creative journey. After presenting my 10 initial kebaya drafts last week, Mr. JR selected 4 sketches for me to work on further. So this week I focused on refining these selected designs — adjusting proportions, tweaking details and thinking harder about how to bring each one to life. It was a process of figuring out how to combine traditional kebaya elements with modern touches without compromising the brief.
At the same time, our lecturer advised me to start working on textures. Although I know how important this step is to add depth and uniqueness to the final garment, I’m stuck. I don’t know exactly what design I’m going to create yet, and this has made it difficult for me to be confident with fabric manipulation ideas. I’m hesitant to commit to techniques or materials when the foundation is still unclear.
So if I’m honest, I haven't made much progress this week. I've spent a lot of time rethinking and doubting. It's frustrating, but I know that’s a phase every creative goes through.
Reflection:
I was reminded this week that not every step of the design process proceeds quickly. Some weeks are dedicated to thinking about it, pause, and reassess Feeling uncertain and not having everything worked out just yet are acceptable. I have to remind myself that feeling stuck is a necessary part of honing the vision, not a sign of failure. I'm hoping that in the following weeks, with greater confidence and a better plan, I'll be able to continue using my manipulations and begin making more progress.
Although we didn’t have class this week due to a public holiday, the work didn’t stop. We continued with our texture manipulation sampling and final sketch development, so I used this week to focus on getting unstuck.
Since I've been struggling to decide how to merge and improve the preliminary sketches that Mr. JR chose, I returned to my research on kebaya silhouettes, styles, and details. I had to figure out a better approach to combine the concepts into a single, finished appearance. Although I'm beginning to feel more secure with the direction, it was still a bit of a challenge.
As for texture manipulation, Mr. JR kindly sent a reel over the weekend to give some inspiration. I didn’t recognize the technique used in the video, so I did a little research to find out what it was — turns out it was a method called cording. Since I wasn’t familiar with it, I decided to reach out to Ms. Melina for help, and she explained the basics of the technique. It gave me a bit more clarity, and I’ve decided I’ll give cording a try during the week and see how it fits into my garment development.
Reflection:
Even though the week started off slow with no class, I actually made small but meaningful progress. I’m learning that asking for help, researching when unsure, and being patient with the process are just as important as producing visible results. The more I understand the kebaya and the techniques I can use, the closer I feel to finding my final direction. It’s not easy — but it’s moving.
This week brought some unexpected changes and a whole lot of stress. Our lecturer informed us that Chagee is no longer part of the competition, meaning the fashion show collaboration is now solely with Oppo. As a result, we were instructed to rework our designs to reflect Oppo’s ‘Ocean’ theme only. This was a major shift, especially since I had just finalized my kebaya last week.
On a more hands-on note, I finally started working on my texture manipulation samples. We’re required to make 3 different fabric manipulation techniques, and I’ve begun assembling the materials for each.
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For the first sample, I’m doing cording using scuba fabric and cords, which I’ve started sewing
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For the second sample, I bought wavy lace trims that I plan to manipulate into a symmetrical textured overlay
Reflection:
This week tested my ability to adapt under pressure. Redoing my design direction so suddenly was not easy, but I want to have the ability to change direction and make quick decisions—a skill that is unquestionably essential. At the same time, finally getting started with the fabric manipulation work helped ground me. Despite the chaos, it feels good to be making physical progress. One step at a time — and I'm getting there.
After last week’s sudden design direction change, I’ve now completed the full colour update and finalized my subject matter inspiration. I decided to draw inspiration from underwater sand ripples — the soft, rhythmic textures created by ocean currents. I felt that this subtle but powerful natural pattern aligned beautifully with Oppo’s Ocean theme and could translate well into both design details and fabric manipulation.
I also finished drawing my technical drawings last week, which really helped me visualize the construction details clearly.
In the past week, I’ve also been working closely with Ms. Melina on drafting and draping the kebaya. This week, I managed to complete the test fit for both the kebaya top and the skirt. While the skirt was manageable, I faced quite a bit of difficulty with the kebaya top — the general fit wasn’t working well. It’s been frustrating trying to make adjustments and pinpoint exactly where it’s going wrong, but I know this is all part of the process. It's a learning curve that’s teaching me how to troubleshoot in real-time.
To wrap up the week, I began working on my mood board compilation. I want to make sure it clearly reflects the emotion, texture, and colour language of the ocean while still tying back to the elegance of the traditional kebaya.
This week has been about refining and solving problems. Although I’m happy to have finalized my theme and drawings, the issues with the kebaya fit reminded me how unpredictable construction work can be. I’m glad I’ve started early enough to troubleshoot, and working closely with Ms. Melina has been a huge help. Moving forward, I’m hoping to resolve the fitting issues quickly so I can begin the actual garment construction with confidence.
Week 7 has been hectic, filled with hands-on problem-solving and pushing forward under pressure. The deadline to complete 80% of the garment by next week for the kebaya expert viewing session is looming, so I'm in full production mode.
I managed to submit my first two manipulation samples this week. As for the third sample, we were told to submit it later once the final kebaya is completed, since it will be the chosen manipulation technique applied to the actual garment. This makes sense, as the final garment will determine how the manipulation comes to life.
Regarding construction, I had shared last week how the kebaya calico test fit had several issues, particularly with the shoulders and armhole. To fix it, I sourced some spare fabric that closely matched my final material and re-draped the kebaya from scratch. Thankfully, this time the fit came out correct, and I was able to make the necessary adjustments. However, I didn’t have time to transfer the revised drape onto mahjong paper, so I decided to use the corrected draped fabric directly to cut my actual fabric. I also re-drafted the sleeves for better balance and movement.
After consulting with my lecturer, I realized the lace trims I previously bought weren’t making enough of an impact. So, I went out and got a beaded lace fabric, which adds a more luxurious and striking element to the kebaya. Now the challenge is figuring out how to combine both the lace trim and beaded lace in a way that complements the overall design without overpowering it. I'm experimenting and will decide once I see how it looks on the fabric.
As for the skirt, I ran into a major hiccup. I originally planned to have a mermaid silhouette with a border, but while cutting the brocade, I realized the fabric wasn’t wide enough to create a full circle flare. It’s a detail I completely overlooked when purchasing the fabric, and it’s been a frustrating setback. I’m currently brainstorming alternative solutions that maintain the original vision without compromising the silhouette too much.
Reflection:
This week was all about adapting. Whether it was fixing the kebaya fit, facing fabric miscalculations, or making design adjustments on the fly, I had to stay flexible and focused. It's been overwhelming, but also a powerful reminder that fashion design isn’t just about creativity — it’s also about problem-solving. I’m proud of how far I’ve come, even if the process hasn’t been perfect. Now my focus is on getting the garment ready for the upcoming viewing session and showing the kebaya experts the effort and intention behind every detail.
Week 8 has probably been the most emotionally and physically exhausting week of the semester so far. With the garment viewing session happening this week, the pressure to finish 80% of the kebaya and skirt was intense — and the road getting there was anything but smooth.
Last week, I was racing against time to get everything ready. I spent most of my days sewing the kebaya, though I purposely left the lining loosely stitched so I could adjust the manipulation later. The real challenge was with the skirt construction. I had initially consulted Ms. Melina about adding flare using panels, but I didn’t like how that solution would cut through the brocade design, disrupting its beautiful flow. In my frustration, I reached out to my aunt, and after a long back-and-forth, she suggested a different approach:
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Cut the skirt straight
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Create pleats to introduce flare
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Add interfacing and horsehair braid to give it volume and structure
It sounded promising, so I tried to make it work over the weekend. I got hard interfacing, but when I began working with it, I struggled to apply and pleat it — it was far too stiff and time-consuming. I couldn’t stitch it in time, so in desperation, I pinned it to the skirt with safety pins and brought it to the garment viewing as it was.
As soon as I arrived, I consulted Ms. Melina again, and she asked me the one thing I had overlooked: "Did you test it first?" She advised me to remove the interfacing immediately, and thankfully it came off without damaging the brocade. That was a huge relief.
During my slot with the kebaya experts and our Head of School, I only had my kebaya top to show. I quickly pinned my cording and beaded lace manipulation in place — there wasn’t enough time to sew them on properly.
The feedback I received, especially about the beaded lace, broke me. One of the experts said the lace looked cheap. The combination of the cording and beaded lace was also seen as unpleasant and mismatched. That moment was extremely difficult. I had spent RM250 on that lace — I thought it would elevate my garment. Instead, it left me feeling disheartened and defeated. It was a low point, and I couldn’t hold back the tears after the session.
After collecting myself, I sought advice from Mr. JR, who kindly suggested I go back to using the wavy lace trims as the main manipulation. It was a tough pill to swallow, but I appreciated the clarity and direction when I needed it most.
Reflection:
This week taught me more than just design, it taught me resilience. I realized how quickly things can go wrong even when you’re trying your best. I learned that not everything expensive = impactful, and that functionality, cohesiveness, and thoughtful testing are just as important as aesthetics. While the feedback was painful, I also know it’s part of growing as a designer. I still have time to refine, adjust, and make this garment stronger, and I will. What matters is getting back up and making it better.
This week was intense — emotionally, mentally, and physically. After the difficult feedback from the garment viewing session, Mr. JR gathered us all for individual consultations. He advised each of us on how to apply the experts’ feedback, and reminded us that we had to complete our garments by the prejudging on the 19th of June. On top of that, we were instructed to update our final fashion sketches to reflect any design changes.
For me, this meant restarting my manipulation plan from scratch.
I spent time sketching out new ways to incorporate manipulation that could better reflect my subject matter inspiration — underwater sand ripples. Eventually, I came up with a new idea:
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I would use the wavy lace trims and arrange them in the same flowing pattern as the cording I had originally planned for the kebaya’s middle panel.
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For the double-layered bell sleeves, I decided to place the lace trims in a V-shape on the shoulder, around the elbow area, and then encircling the hem of the larger bell layer.
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On the skirt, I planned to attach the trims just above the flare, following the flow of the garment.
With this plan in mind, I started unpicking the sleeves and lining carefully so I could attach the manipulation layers. It wasn’t easy working on a garment that had already been handled and unpicked so many times.
I also went out and bought a lighter interfacing for the skirt, since the previous one was too stiff. After consulting with Ms. Melina, she told me it was a bit too soft but suggested doubling it for more structure. I immediately began prepping and sewing to stay on schedule.
Then, just two days before prejudging, Mr. JR noticed the back of the kebaya and pointed out that it looked bare. He encouraged me to add manipulation to the back panel, but I explained that I had already attached the lining and that the fabric had become too fragile from all the unpicking. It would be risky to do more.
But when I got home and thought more deeply, I realized I couldn’t ignore the imbalance. So I made the hard decision to go back in and add a wide V-shaped lace detail on the back, similar to the sleeves — creating a visual connection from one sleeve to the other across the back. It was risky, but thankfully, it worked.
Meanwhile, Mr. JR also reminded us to prepare our presentation decks for prejudging. Ironically, on the actual day, we didn’t need to present — the Oppo team was there with a film crew filming the TV commercial, and the session was more visual-focused.
After my slot, Ms. Maria approached us with a copyright agreement, which we were required to read through and sign. It was exciting but also reminded me that this project was much bigger than just a school assignment — it was industry-level.
After the prejudging, I started feeling that my design looked plain compared to others. I couldn’t shake the feeling that something was missing — that the idea of the ocean ripples wasn’t coming through strongly enough. That’s when a thought hit me: hotfix rhinestones. The subtle sparkle could mimic the glimmer of water and add depth to the manipulation without overpowering the garment.
I quickly consulted Mr. JR, and with his approval, I went out and bought the rhinestones.
Reflection:
Week 10
With the show just around the corner, Week 10 was all about completing the final touches. For me, that meant pasting rhinestones all over my kebaya and skirt — a delicate, time-consuming process that tested every bit of my patience.
At first, I didn’t have the proper applicator tool for the hotfix rhinestones. In desperation, I used candles to heat the glue, placing each rhinestone individually. It worked… but it was painfully slow. Eventually, I decided to look for a better solution and managed to find an online store that offered same-day delivery. It was such a relief — the applicator sped things up, and I was finally able to focus on refining the sparkle placement without losing my mind.
Aside from embellishing, I also focused on finishing functional details:
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Hand-sewed the clip buttons to secure the kebaya front panel.
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Added a trouser hook to the skirt waistband for better closure and support.
Everything felt like it was coming together, piece by piece. But little did I know, the real test was still ahead.
Week 11
The day we had all been working toward finally arrived. July 1st — Fashion Show Day at Heritage Valley. But what was supposed to be a smooth, celebratory day took a stressful turn.
The night before, I had a sudden nosebleed, which I brushed off, assuming it was just sinus-related. But the next morning, it got worse, and I nearly ruined my kebaya while packing. On top of that, I couldn't pre-book a Grab, so I had to book one on the spot — and it took an entire hour to get a ride. The one that finally accepted was 19 minutes away, and traffic was awful.
I was two hours late to the venue.
I was in full panic mode. Fitting was scheduled before the show, and any final alterations were supposed to happen on-site. I was terrified I had missed my window — but miraculously, when I arrived, fittings were still ongoing, and even better: the kebaya fit my model perfectly. No alterations needed. I could finally breathe.
We had lunch while waiting, but soon after, the sky opened up — heavy rain started pouring. Since the venue was outdoor, we were all worried the show would be canceled or delayed. But just as magically as the rain began, it stopped just in time, and the fashion show started at 6:00 PM as planned.
The show went smoothly, and the atmosphere was buzzing with energy and pride. Afterward, they announced the winners of the competition. Although I didn’t win, I was genuinely happy for my classmates who did. The rest of us were awarded participation certificates, and even that felt like a badge of honor after everything we had endured.
After the adrenaline wore off, the stress and exhaustion hit me hard. My body ached, my mind was drained, and all I wanted to do was go home. So once everything was packed up, I quietly left the venue and finally allowed myself to rest.
Reflection:
Weeks 10 and 11 reminded me that no matter how prepared you think you are, life will throw chaos your way. But even in the midst of emergencies, delays, and self-doubt, I kept going, because I believed in the garment I created.
I may not have taken home a trophy, but I walked away with something just as valuable:
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The experience of designing for a live fashion show
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The grit to finish something even when it felt impossible
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The confidence to create under pressure and adapt when needed
This was more than just a school project, it was a personal milestone. And I’m proud of every single moment of it.
Week 12
After the intensity of the fashion show in Week 11, Week 12 felt like a breath of fresh air, but also a shift in creative focus. With our garments completed and the show behind us, we turned our attention to our Fashion Illustration module, specifically, preparing for the final assignment and our final presentation scheduled for Week 14.
I also submitted the Final texture manipulation this week.
We were briefed on the final illustration task titled "Kebaya Reinvented", aligning with the theme and mood of our DST64304 Fashion Project 1 final project. The technique required for this assignment was Wash & Mixed Media, allowing us to creatively combine:
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Watercolor
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Color pencil
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Pen and pencil
All illustrations had to be rendered on A3-size watercolor paper.
We began by creating our editorial base through AI, which would allow us to overlay our kebaya garment designs onto stylized editorial models. While this seemed straightforward at first, it turned out to be more time-consuming than expected. Generating the right editorial look and composition required a lot of tweaking and visual alignment.
Alongside this, I also worked on editing and refining my final presentation slides for Fashion Project 1. Though the garment was done, I still wanted to make sure the storytelling, mood board, and developmental sketches were properly added.
Week 13
This week was dedicated to finalizing the editorial illustrations. After multiple tries, I finally managed to generate an editorial image that fit my concept. But laying my garment illustration over it wasn’t easy.
I ran into repeated issues, the face looked off, the eyes weren’t aligned, and the nose shape was hard to balance. I found myself going back and forth between adjustments, trying not to get frustrated. Editorial work requires a subtle touch, and finding the right blend between creativity and realism took time.
Despite the setbacks, I pushed through and eventually reached a layout I was happy with. It wasn’t perfect, but it felt alright.
Week 14
I was scheduled for Day 2, and while I had prepared thoroughly, I still felt nervous. I’ve always struggled a bit with presenting in front of an audience, but I reminded myself of all the work I had done and how much this project meant to me.
Initially, I had asked Anoushka to model my garment, but unfortunately, the skirt didn’t fit her properly. So I made a last-minute change and asked Jane, who kindly stepped in, and thankfully, everything fit beautifully.
The presentation went smoothly. I explained my concept, the inspirations behind the manipulation. The lecturers seemed to genuinely appreciate my design, and it felt good to finally share the full journey from sketch to runway.
Reflection:
Weeks 12 to 14 were quieter than the madness of the show, but just as meaningful. This gave me the space to reflect, refine, and finish strong.
I learned that design doesn’t end at construction — it extends into presentation, storytelling, and visual communication. From generating editorial illustrations to speaking about my creative process, I was constantly pushed outside of my comfort zone. Though I still feel nervous when presenting, I’m learning to stand by my work and trust the journey that led me there.
This module has been a rollercoaster — challenging, fulfilling, and unforgettable. I’m grateful for everything it taught me — not just about fashion design, but about the industry, and how important it is to be resilience, adaptable, and have creative growth.
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