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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.

YEOHLEE FALL 2017 REVIEWS - Vogue and WWD August 22, 2017


Feb. 13, 2017

by Liana Satenstein 

Yeohlee Teng has always applied math to her collections, whether using geometric shapes as prints or mapping out the set of her show. (For Spring 2016, models stood on 36-by-36-by-12 platforms.) One theme in her design style is “zero waste,” in which she uses fabrics to their maximum capacity. For example, this time, four pieces, including palazzo pants and a matching tunic, only used four meters of shibori. A vest-meets-scarf was one of the smartest additions both in appearance and clever utility: It could easily be thrown over the shoulders, had pockets, and was made out of the leftover quilted nylon from a vest in look 1. “I thought I would make something useful from the scraps,” said Teng. “It is multi-functional. It sits really well.” That same sort of functionality also came through in a poncho with a pocket and a natty blazer-style jacket with a hood.

That same sort of precisely calculated aesthetic translated into the overall sharp look of the collection, a quality that Teng is well known for. A camel hair cocoon coat jutted out so it created a structured shape, while a pair of pin-striped trousers had just the right amount of slouch. A boyish gray cotton wool and mohair plaid jacquard was a standout. Even better? That, too, was also a zero waste piece.


Feb 13, 2017

by Bobbi Queen


Yeohlee Teng’s finest hour is always during her fall collections, perhaps because her brand of creative intelligence usually comes across strongest in her coats and jackets. The venue was the apartment of art collector, Andrea Woodner, which was hung with paintings by Rodin, Seurat, Braque and Matisse.

Subtlety is what underscores each Teng exit. She returned to her fabric archives to revisit the luxurious camel hair she used years ago. This season, she cut the cloth into a cozy wrap topper with sleeves that were dramatically rendered beyond a dolman cut. A long cocoon coat had the ease of a robe, tossed over a brown, cleverly stitched nylon quilted vest, navy Gibson top and yoke pants in navy and white wool ticking.  The designer worked with sleek proportions, fabric and color mixes, layering shorter jackets over longer ones, all with a chic nonchalance. The beauty of a Yeohlee silhouette is that this ease is visible; the craftsmanship and her “no waste” approach to fabric is not. Right now, this “no waste” policy has come to mean more than just a designer’s economic use of fabric. “I see it in terms of conserving time and energy as well,” says Teng. “I’m having a very thoughtful time. Where are we going? What do we need? What clothing will empower and comfort?” Hmm. I could point to a couple of Yeohlee’s terrific looks, though I’m not sure if they hit a high empowerment bar or not: a black felted knitted wool jacket with kimono sleeves that snap at the wrists, creating a narrowly constructed shape; the wool and mohair jacket and wrap coat in a gray and black plaid jacquard melange of tweeds and twill over wool-crescent pants or jersey jogging versions. “I want these clothes to have a presence,” Teng said. That they do.