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YEOHLEE

Independent fashion from the heart of New York City

YEOHLEE FALL 2019 REVIEW - WWD October 14, 2019

February 1, 2019

by Andrew Shang

“Yeohlee throws herself a challenge,” the designer said of her namesake fall collection during a preview at her store. Never mind the mathematical or geometric undertones of her deceptively minimalist designs. She was speaking to the season’s sustainable arc, where she dived into years worth of archival fabric and inventory to create a wholly upcycled range.

Sustainability is arguably the most widely discussed issue facing the fashion industry today, and it’s become an umbrella term for a range of good practices. For Yeohlee Teng, it means endurance, and being able to reinvent old fabrics for the modern day. There were a host of standouts, including a neon day-glo fabric from 2003 cut into an athletic-leaning jacket and joggers, plum melange silk taffeta from 2008 rendered into languid pants cut on the bias, and silk duchess satin from the Nineties reimagined into a voluminous yet lightweight baseball jacket that maintained a great ballooning shape.

Cohesion was Teng’s biggest challenge, and she managed to unify looks with a sculptural and modernist hand that held a gender-ambiguous thread. Outerwear highlighted these elements best, and included a wide-neck coat with high-low hem that was actually one width of square fabric, and a regal black-and-silver duchess satin jacket with box sleeves that would serve as a great proposition for relaxed evening attire. Other inventive evening looks included a “memory” dress that took on different imprints when touched, and a chic dress featuring a sculpted built-in wrap from a 2016 graphic printed jacquard.

YEOHLEE FALL 2019 REVIEW - Vogue October 14, 2019

February 1, 2019

by Liana Satenstein

Yeohlee Teng has a book, simply titled Yeohlee: Work, that showcases her past designs and sits at the entrance of her store. It documents her exhibitions at the Massachusetts Institute of Technology, mostly showing her application of geometry in clothing and belief in zero-waste production. The book also includes collections of the ’90s, which include cameos by Stella Tennant, Esther Cañadas, and Alek Wek.

Sustainability has long been an essential aspect of Teng’s work, but it has come full circle this season, with the designer creating pieces that incorporate fabrics from as far back as the early ’90s. A double-faced silk that was used in evening dresses and capes back in 1993 now acts as the fabric in a box-sleeve jacket, and the highlighter yellow of a maxi skirt came from a man’s sarong that Teng made for a party at the Metropolitan Museum of Art in 2003. Teng also used excess fabric to make other pieces. In December, she posted a photo to Instagram with the caption “Contemplating the scraps . . . ” They were eventually made into a nubby tank top and the stripes on tuxedo pants.

Sometimes, Teng’s conceptual approach isn’t apparent to the naked eye. One waffled wool coat looked like a normal robe on the body, but when it was placed on the ground, it was a perfect circle. Teng pointed out that the sleeves were crafted out of old, unused material. The idea of using leftovers works for Teng, and for many years it has looked quite chic. Maybe it’s a formula that larger, more commercial companies can adopt.

YEOHLEE SPRING 2019 REVIEW - WWD February 08, 2019

 

September 10, 2018

by Andrew Shang

Yeohlee’s starting reference was a far-reaching point from the impeccably constructed minimalist offering she put out for spring. She began by looking at the pigmentation behind metals and seashells, which led to the color-making process at Harvard’s Fogg art museum. That inspired her to inject cheery saffron, ginger and a multicolored checkered print into her typically stark wheelhouse.

“I think fashion is very informed by the times we live in,” she said after the show. “We’re in a very unusual moment and I thought it was a good time for us to celebrate togetherness and unity, and colors are happy. I thought a little happy moment is not a bad thing.”

She opened the show with a bright oversize pullover shirt with a thoughtful gathering of fabric in the back that allowed it to hang loose from the body; the same design detail appeared elsewhere on a great yellow dress. There was a playful color-blocked top-and-bottom set and a dress with frayed accents, and other injections of color via a jungle print cut into a dress with a gathered knot at the waist. “Being from the tropics I grew up with a profusion of color,” the Malaysia native continued. “I went into a very stark phase and I’ve freed myself!”

Upon closer examination, you notice a balance of contrasts, of rough and smooth, textured and plain, with many items straddling a gender-ambiguous thread. The same jungle print was cut into a jumpsuit worn by a male model, as was a striped jacket with loose-fitting pants — a style that was cut into multiple colors for guys and girls. A dramatically oversize hooded jacket, semi-sheer raincoat and loose flight suits were inspired by a project she’s working on for the Phoenix Art Museum. Yeohlee wouldn’t go as far to say that she’s launching men’s wear, but it would be a natural extension to her unfettered modernist approach to design.

 

YEOHLEE SPRING 2019 REVIEW - Vogue February 08, 2019

September 10, 2018

by Liana Satenstein

The color palette was a bit shocking today at Yeohlee. Unlike past seasons, the collection this time was dominated by bright hues. (There was not one piece of the usual black fabric. The only pieces remotely dark were two denim items.) The timing for designer Yeohlee Teng to take a sunnier route could not have been better: The last week has been overcast and rainy. The collection opened with a citrus-color oversize shirtdress and a pair of wide-leg gingham cotton trousers in tones of blue, moss green, and orange. Call it a ray of light. That gingham piece was later translated into a vacation-minded jumper worn under a white linen jacket with a scooped neck and a detachable hood that hung like a mantilla veil.

Welcomed bursts of color aside, the most surprising aspect of the collection was the slivers of sexiness that made peekaboo appearances. One of the best pieces was a slinky denim tank top. It came slightly cropped, with two thin straps that made an X on the back. For some of that late-’90s goodness that is all very now, it was paired with a low-slung pin-striped skirt that was pulled down to the hips to reveal the midriff. Another version of that barely-there tank came in pinstripes with a very Teng zero-waste touch, boasting an exposed selvage as the top trim.

Teng said the collection’s new mood was inspired by a number of things, from the colors of metals and shells to a fighter-pilot friend—see the dreamy tropical-print jumpsuit—but really, it all came down to this: “I wanted to know what clothes do for people and how they make people feel.” A happy little string tank top infused with her sustainable philosophy is something that will make its wearer feel and look very good.


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