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YEOHLEE FALL 2018 REVIEW - Vogue August 22, 2018

February 12, 2018

by Liana Satenstein

Yeohlee Teng has been working with zero and minimal waste since the beginning of her career. For Fall 2018, she used a total of just nine fabrics (an important point, she noted.) The straightforwardness worked well with Teng’s polished tailoring, which typically cuts a boyish figure. It was inspired by a mélange of influences, including samurais, ninjas, concubines, and amahs—women (or girls) responsible for taking care of families and their homes. On the more traditional front, a standout included a denim suit with a mandarin collar. Another mandarin collar piece was meticulously crafted, made out of a white jacquard jacket that appeared pin-poked (aptly named Starbrite dots) and styled with a pair of trousers. (Starbrite dots also appeared on a cool loose white dress with oversize pockets outlined with black piping that boasted an elevated workwear feel.)

There was a print in the mix, titled Nitesky. It was reminiscent of the eerie shadows of forests when used on a pair of kicky pants, which, when worn with a rough-edge hooded vest, looked like slick postapocalyptic-wear. While many of the pieces followed the label’s expected mannish silhouettes, the feminine looks were the most exquisite by far, such as the satin numbers. In one long and linear getup, the satin zigzag pants, a lustrous satin matching jacket, and a slinky black ribbon tank all seemed to float into one another. Minimal waste never looked so pretty.

YEOHLEE FALL 2018 REVIEW - WWD August 22, 2018

February 12, 2018

by Alessandra Turra

Four models, 13 looks, nine materials and the simple first level room of her headquarters as show venue were all Yeohlee Teng needed to clearly telegraph her message of discreet femininity and sober elegance.

Taking inspiration from the uniforms of samurais and Chinese amahs, who were women working in families as both nannies and maids, she delivered a concise collection integrating Far Eastern elements into a chic, modern wardrobe.

A simple sheath dress was worked in a sophisticated jacquard fabric with an Asian botanical pattern, which also appeared on the sleeves of a kimono-like jacket, whose front was crafted from the same fabric but used inside out. A dotted cloth got the same treatment on Teng’s take on the classic suit — an essential wrap top matched with slim pants.

NEWS FLASH! January 19, 2018

Join us for a conversation with designers Lucy Jones and Yeohlee Teng about fashion beyond “seasonality” and the ways we redefine style and selfhood through what we wear. Held in conjunction with Items: Is Fashion Modern? and the People’s Studio, the discussion will be moderated by Michelle Millar Fisher, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art. 

This program meets in the People’s Studio and is free for members and Museum admission ticket holders. No registration is required.

YEOHLEE SPRING 2018 REVIEW - Vogue September 11, 2017


Photo: Marcus Tondo / Indigital.tv

September 11, 2017

by Liana Satenstein

There’s no doubt that diversity is under attack in the United States. Yeohlee Teng—who wore a T-shirt shirt emblazoned with a raised fist to her show—made it clear that her collection would be a melting pot of cultures. The “melange” of different societies, as Teng described it, was visible in the prints and silhouettes. She combined Southeast Asia and its history with the Arab traders who entered the region over six centuries ago. Here, standouts included an X-Acto knife–cut jacquard cheongsam jacket with a pretty blue cherry blossom print. Bold prints worked well among Teng’s solid looks, too, such as a natty geometric-print jacquard vest, which broke up the combination of a white button-up, light blue trousers, and an oatmeal-hue rain jacket.

The prints were striking, but the more solid items are what structurally stood out. A pair of trousers from Look 1 ever so slightly curved outward and tapered toward the ankles to twist the lower body into an interesting silhouette. Outerwear was strong, especially a waxed linen raincoat with oversize panels that nicely buffed up the chest, giving the body a structured, boyish form.

Of course, Teng always infuses her signature zero-waste philosophy into her design. One of the pieces that included the technique was a microfiber dress that was trimmed with scraps of Aztec jacquard—the same fabric seen in Looks 11 and 8. The addition of the detail added some needed contrast to the black dress and, of course, enforced the chic possibilities of Teng’s waste-free theme.

YEOHLEE SPRING 2018 REVIEW - WWD September 11, 2017


 September 11, 2017

by Mayte Allende

Don’t be misled by the simplicity of Yeohlee Teng’s aesthetic — there is a lot more than meets the eye here. Teng is an intellectual, informed kind of fashion designer, who enjoys researching and philosophizing about her collections. For spring, Teng’s premise was “the state of this particular time. Who are we, what do we stand for, where are we going? With this kind of social climate where change is everywhere, one has to go back to the basics in terms of what you do, what you eat and what you wear,” she stated after her presentation. The spring lineup gave us some cues as to what her answers might be, at least regarding the latter question. For starters, there’s her predilection for natural fibers, which she explained she uses because comfort is key for her. It’s also a priority when it comes to cuts: Nothing is ever body conscious here, pieces are cut generously and away from the body. But fashion also has to have emotional and visual appeal, which Teng satisfied via her use of dual fabrics and patterns. For example, a cherry blossom jacquard back-to-front coat was half cream-based, half blue-based, while a great black Aztec jacquard jacket reversed to red. “Clothes need to be intelligent, they need to serve the wearer well at different levels. The bottom line is that clothing is ultimately about design in a human form and it needs to function,” she said.