Fashion Project 1

Week 1: Introduction to Project Task

Blending Tech with Tradition: My Ocean-Inspired Kebaya for OPPO x UNESCO

As a fashion design student, I’ve come to realize that some of the most exciting projects are also the ones that leave you with more questions than answers—at least at the start. Our latest brief is one of those projects. When our lecturer announced that our next client collaboration would be with OPPO and UNESCO, the room instantly shifted. We weren’t just designing for ourselves anymore—we were designing for real-world brands with purpose and global presence.

We were introduced to the collaboration through a presentation that outlined the mission behind this project. OPPO, a brand known for sleek innovation and intuitive technology, was teaming up with UNESCO, the global organization dedicated to preserving cultural heritage. Together, they wanted to explore how technology could meet tradition—with us, fashion design students, at the heart of this reinterpretation.

The brief? To create a modern take on the kebaya, inspired by Southeast Asian heritage, that visually and conceptually aligns with OPPO’s newest Reno 13/14 series launch.

It was surreal. Knowing that we would be designing with such a meaningful fusion of culture and tech, and that our work might represent something bigger than just an assignment, made the project feel important—and a little intimidating. But mostly, it was inspiring. It felt like we had been handed an opportunity to create something that celebrates who we are, while also learning how to work with a brand vision in mind.

At this stage, I haven’t yet chosen my subject matter or started designing. I'm still in the early stages—researching, brainstorming, and reflecting. But the questions I’m asking myself have already changed.

Instead of starting with “what do I want to make?” I'm asking:

What does it mean to represent tradition in the present day?
How can fashion preserve cultural identity while still feeling innovative?
What visual and conceptual languages do OPPO and UNESCO speak—and how do I translate that into a garment?

We were encouraged to begin with mindmapping, exploring the core values of our clients and the potential directions we could go in. I’ve been gathering visual references and sketching out keywords. My board is full of themes like cultural storytelling, modern femininity, innovation, harmony, and symbolism. But I haven’t landed on a specific theme or inspiration yet—and that’s okay.

I’m excited (and slightly nervous) to discover what will spark my concept. Maybe it will come from a material, a photograph, or a conversation. I want my design to feel personal but still serve the purpose of this collaboration—to show how tradition can live on through new perspectives.

More than anything, I want this garment to feel like it belongs in both worlds: the world of heritage, and the world of what’s next.

Even without a finished sketch or concept, I’ve already learned so much from this early stage. I’m starting to see how fashion isn’t just about aesthetics—it’s about communication. It’s about working with clients, understanding values, and designing not only from what inspires you but also from what the world needs to see.

This project is the beginning of a much bigger journey—and I’m ready to dive in.

Week 2 Progress Blog: Understanding the Layers of the Kebaya – A Journey into Malay Heritage

This week’s focus in class was a deep dive into the kebaya—an iconic garment rich in history, culture, and symbolism. As someone who grew up in Indonesia, I’ve always seen kebaya as part of formal wear and ceremonies back home. But what I didn’t realize was just how diverse and regionally distinct the kebaya really is, especially when it comes to Malay kebaya styles.

Coming into this project, I sometimes struggled to clearly differentiate between Indonesian kebaya and Malay kebaya, because they often share similar silhouettes, layering, and cultural roots. But this week’s breakdown of various types of Malay kebaya helped me build a clearer understanding—not just visually, but contextually.

Exploring the Kebaya in Depth

We began the week by breaking down what a kebaya truly is:
A traditional blouse-dress combination worn by women across Malaysia, Indonesia, Brunei, and Singapore. It has evolved from court attire to everyday wear, yet still holds a strong sense of cultural dignity and feminine elegance.

In class, we examined several styles of Malay kebaya, each with their own unique origins, cuts, and purpose:

1. Baju Kebaya Riau-Pahang

A formal fusion of Johor-Riau and Pahang royalty.

Long and loose, buttoned in front with brooches (kancing)
Often worn for ceremonial and official events
Usually paired with kain or batik sarong

2. Kebarung (Kebaya + Baju Kurung)

A modern hybrid that's modest and flowy.

Longer, below-the-knee length, straight cut
Collarless or low collar
Ideal for religious and formal settings

3. Baju Belah Pendek

More casual and body-fitted.

Shorter cut, front-slit opening
Worn with sarong or songket
Used for everyday wear or semi-formal events

4. Kebaya Labuh

“Labuh” means long—and it shows in the silhouette.

Elegant and flowing
Often made from lace or sheer materials
Reserved for weddings and formal occasions

5. Kebaya Nyonya Pendek

This version comes from the Peranakan Chinese (Straits Chinese) community.

Short, fitted, and heavily embroidered (kerawang)
Paired with bright batik sarongs
Vibrant, festive, and full of personality

6. Kebaya Kota Bharu

A simpler, more traditional version from Kelantanese culture.

Looser fit with plain colors
Modest and minimal
Worn as daily attire, but can be styled up

🧵 Bringing It All Together: Comparison & Key Features

We also created a comparison chart to observe the differences in length, fit, embellishment, origin, and occasion. This made it much easier for me to distinguish between what makes each kebaya type unique.

One thing that stood out to me was that while Indonesian kebayas often focus on figure-hugging elegance and decorative lace, Malay kebayas vary more widely in structure and modesty, depending on their cultural and religious background.

What Makes a Kebaya, a Kebaya?

Despite all these variations, there are some defining elements:

Front-opening design fastened with kerongsang (brooches)
Paired with a sarong or kain
Feminine yet respectful silhouettes
Cultural storytelling through textiles, embroidery, and function

As one quote from our presentation beautifully said:

“A kebaya is more than clothing — it’s a story of tradition, grace, and cultural resilience, shaped by generations of women who wore it with pride.”

Personal Reflection

This session was eye-opening for me. It made me reflect on how interconnected, yet distinct, our cultures in Southeast Asia really are. As someone from Indonesia now studying in Malaysia, I’ve often felt unsure about how to respectfully distinguish and represent each culture—but this research gave me clarity.

Understanding these different kebaya styles also helped me realize that my design process will need to come from a place of cultural sensitivity and informed creativity. Now that I’ve become more familiar with Malay kebaya forms, I feel better equipped to start brainstorming ideas for my OPPO x UNESCO project—still with a long way to go, but one step closer.

Week 3:Sketching, Boundaries & Growth – Learning to Design Within Cultural Respect

This week, we moved into the ideation phase of our kebaya project—and for the first time, I put pen to paper and began sketching my design ideas. I ended up developing 9 design proposals in total. Each of them explored silhouettes, layering, and styling directions that I thought would modernize the kebaya in a bold and innovative way.

But after presenting my ideas in class and receiving feedback, I realized something important:
I had unintentionally pushed the designs a little too far.

Realizing My Creative Boundaries

Some of my designs were too experimental—too revealing, too unconventional, and in some cases, they drifted too far away from the fundamental essence of what makes a kebaya, a kebaya. I was breaking some unspoken and spoken rules around modesty, silhouette, and cultural respect, especially within the context of Malay tradition.

I didn’t mean to cross those lines, but looking back, I understand why it happened. As a designer, I was eager to inject creativity, movement, and modern energy into the piece. But I hadn’t fully considered the cultural weight and sacredness that the kebaya carries for many communities—especially when tied to modesty and identity.

What This Taught Me

Rather than seeing it as a setback, I now view this experience as one of my most valuable lessons so far.

I learned that modesty is not a limitation—it’s a design language of its own. It’s a visual and conceptual framework that can be worked with creatively, not against. It holds stories, values, and dignity, and it challenges me to think deeper, rather than just louder.

This week reminded me that designing for a client (in this case, OPPO x UNESCO) is not about showcasing just what I want to say—it’s also about understanding what the client values, what the audience needs, and how to create harmony between innovation and intention.

Redefining Creative Freedom

I used to think that creative freedom meant being allowed to break every rule—but now I’m starting to see it differently.
True creative freedom, especially in fashion, is about working within boundaries and still finding room for your voice. It's about creating something that is thoughtful, respectful, and still uniquely you.

Moving forward, I’ll be reworking my ideas with this deeper understanding of modesty. I still want to bring a modern edge to my kebaya design—but this time, through subtle structure, layering, and details rather than drastic cuts or silhouettes. I want to honor the culture, respect the brief, and still express my own creative perspective.

Final Thoughts

Week 3 has been a turning point for me. It reminded me that design is not just about expression—it’s also about responsibility. And I think that’s what makes this project so meaningful: it’s teaching me to design with care, and to find beauty in boundaries.

I’m excited to move into refinement and fabric research with a clearer sense of direction and purpose. Let’s see where this new perspective leads me.

Week 4: Learning to Let Go – From Overthinking to Finalizing My Design

This week, while most of my classmates were already finalizing their kebaya designs and moving forward with material planning, I was still caught in the ideation process—trying to refine and restructure everything I had previously sketched.

It wasn’t because I didn’t have ideas. In fact, I had too many. But ever since receiving feedback last week about modesty and cultural boundaries, I’ve been deeply rethinking my approach. I wanted my final design to be thoughtful, respectful, and still uniquely mine, which led me into a spiral of overthinking every detail—from the neckline, to the sleeve length, to the fabric transparency.

Stuck Between Ideas and Intention

As a designer, I’ve realized that wanting to do something meaningful can sometimes slow you down. I kept questioning:

Am I playing it too safe?
Is this modest enough?
Am I still reimagining the kebaya or just repeating what’s already been done?

These thoughts were constant. I felt behind. But instead of rushing to catch up, I gave myself time to observe and absorb—looking at how others approached balance, layering, and cultural symbolism. Still, I found it hard to trust myself again.

The Turning Point

During a one-on-one with my lecturer, I shared my doubts, my sketches, and my concerns. That’s when they said something that really helped me shift my mindset:

" harmoney is what pleases the eye"

This quote made me pause. It reminded me that as a designer, I don’t have to be interesting in every direction at once. There are multiple ways to make an idea shine—and that’s when I started to reflect on the power of choice in fashion design.

Silhouette vs. Fabric – Choosing My Focus

One key lesson I took away this week is that a design can either stand out through silhouette or through fabric—or both, but not always at the same time.

I began experimenting with ways to simplify my silhouette to be more modest, structured, and grounded in kebaya tradition, while exploring how I could push visual interest through fabric manipulation, texture, or layering. This realization gave me a sense of clarity I’d been missing for weeks.

Finalizing My Design

With that shift in mindset, I was finally able to settle on a direction that felt right. It may have taken me longer than others, but I now feel more connected to my concept. The design I’ve chosen balances cultural values, client expectations, and my creative voice—something I don’t think I would’ve achieved if I had rushed the process.

Final Thoughts

Week 4 taught me that progress doesn’t always look linear. Some of the most important breakthroughs come from slowing down, sitting with discomfort, and asking yourself the hard questions.

More than anything, I’m grateful for the space to think, the guidance I received, and the lesson that design is as much about clarity as it is about creativity.

Week 5: Finalizing Fabrics & Discovering the Power of Texture Sampling

This week was a turning point for me in terms of bringing my concept to life. After spending the previous weeks navigating ideation, overthinking, and refining, I finally walked into class with something solid: my confirmed fabric samples.

I had spent time exploring ways to harmonize my design with OPPO’s Reno 13/14 series launch, considering how the colors, finish, and overall mood of my garment could visually align with the sleek and sophisticated aesthetic of the product. This helped me approach the material selection not just from a stylistic perspective, but also from a branding lens.

The Fabrics I Chose

After experimenting with various materials, I finally decided on:

Satin as my base fabric – chosen for its smoothness and light-reflecting surface, which reminds me of water’s stillness and the polished elegance seen in OPPO's design language.
Glitter net fabric as an overlay – for that soft, shimmering effect that adds dimension and luxury, while evoking the fantasy of light glinting off ocean waves or the sparkle of coral reefs beneath the surface.

At this point, I had also confirmed my subject matter: mermaids and corals—which meant I needed to think deeply about how those elements could align with the OPPO Reno 13/14 product launch, not just in concept but in material storytelling as well.

That meant asking myself:

How can I express the fluidity and mystique of the ocean through fabric?
How can the contrast between opacity and transparency reflect both the ethereal world of mermaids and the refined design of OPPO’s sleek devices?

Choosing satin and glitter net allowed me to visually tie the fantastical elements of my subject matter (like the soft iridescence of a mermaid’s skin or the dreamy glow of coral at dusk) with the clean, modern appeal of OPPO’s product identity. It added depth and purpose to my design, beyond just aesthetics.

Coral Sampling – Organza & Organdy Experiments

To support the concept further, I began sampling coral-inspired embellishments using organza and organdy. These fabrics allowed me to play with transparency, layering, and structural manipulation—mimicking the texture and fragility of coral forms in a poetic, wearable way.

By experimenting with both form and color, I was able to test how these textures interacted with my chosen base fabrics. It helped me plan which tones to highlight and which to tone down, while making sure the overall look still felt cohesive and wearable.

The results:

Why Texture Sampling Matters

This process reminded me how essential it is to test materials physically, not just visually. Texture sampling isn’t just about swatches—it’s a crucial decision-making tool that:

Reveals how fabrics behave when layered, gathered, or lit
Prevents last-minute surprises during garment construction
Sharpens the design narrative
Builds confidence and clarity in each choice you make

Especially when working with a thematic subject like mermaids and corals, texture sampling becomes a way to tell that story tactilely, not just conceptually.

Final Thoughts

Week 5 gave me the clarity I had been searching for. With my fabric selections confirmed and my samples showing promise, I now feel more grounded and creatively confident. More importantly, I’ve learned that materials carry meaning—and choosing them with intention is one of the most powerful ways to connect design with story.

On to the next stage—where storytelling and construction start to merge.

Week 6: From Pattern to Form – Fitting, Adjustments & Reimagining the Kebaya

This week marked the transition from design to construction—where everything I had imagined finally started to take shape in real life. One of the key ideas in my kebaya design was reimagining the traditional “lida” (inner panel) by bringing it from the inside to the outside. It was my way of giving the kebaya a more structured and layered appearance, while still preserving its cultural essence.

To test how this would translate physically, I transferred all my final patterns to calico. This stage was important not just to check the fit, but also to see how the garment flowed, moved, and shaped the body in real time.

Testing My 3-Piece Design

My full look consists of three main components:

The Skirt
The Corset
The Kebaya (with the reimagined lida)

After sewing them up in calico, I was relieved to see that both the skirt and corset fit well. Their structure held up beautifully with minimal adjustments needed. The silhouette sat nicely on the body and created the contrast I wanted between a grounded base and a more delicate overlay.

But the real challenge came with the kebaya.

The Neckline Struggle: V-Neck vs. Modesty

I knew I wanted to give the kebaya a v-neck shape to modernize the front, but I underestimated how difficult that would be to balance with the idea of modesty. Every time I tried to shape the neckline, I ran into one of two problems:

The folds and darts weren’t falling cleanly, creating unwanted tension in the fabric
Or the v-shape became too deep, which compromised the modest feel—even if it was technically covered by the kebaya layer on top

It was frustrating, because it felt like such a small detail, but I knew how much that neckline would affect the entire presentation and cultural respect of the garment. I had to remind myself that fashion isn’t just about visual appeal—it’s about intention, and every curve or cut says something.

What I Learned This Week

This calico fitting process helped me analyze what adjustments were needed—not just in my pattern, but also in my mindset. It made me realize:

How small changes in pattern affect overall silhouette and message
That a garment can’t be judged just on flat patterns—it has to be worn, observed, and refined
And that balance between design and cultural context is often found in trial and error

Working with calico allowed me to experiment safely and slowly. I could see how the design performed in structure, not just on paper, and made decisions without the pressure of final fabric.

Final Thoughts

This week reminded me that technical fitting is a creative step too—one that helps translate ideas into function. While I’m still working on solving the v-neck issue on the kebaya, I feel more confident now because I understand exactly where the problem is and how it ties back to the values of modesty, structure, and reinterpretation that I’ve been exploring since the start.

I’m excited to rework the neckline, refine the lida, and move into my final fabric next. Every week is bringing my vision closer to life.

Week 7: Construction Begins – Finding Flow, Structure & Solving Real Problems

This week felt like a big shift—from planning to finally doing. After all the sketching, sampling, and fitting over the past few weeks, I finally purchased all my final fabrics and materials. With everything in hand, I could now begin bringing my design to life—starting with the skirt, then moving to the corset and kebaya.

Starting with the Skirt – Finding the Flow

I began construction with the skirt, using satin as the base and glitter net as an overlay to reflect the watery elegance of my mermaid and coral-inspired aesthetic. Initially, I attempted to use a French seam to finish the sides neatly.

But this technique quickly became difficult—especially with the glitter net. It was too delicate and slightly stiff due to the glitter, making it hard to fold cleanly without puckering. After trial and error, I decided to sew the satin and net as separate layers, allowing them to flow freely and independently rather than forcing them together.

This decision wasn’t just practical—it became symbolic. Letting the two fabrics move separately gave the skirt a fluid, ethereal quality, mirroring the natural motion of water and coral underwater. It made the design breathe instead of feeling restricted.

I also created a simple waistband to finish the top, keeping it clean and letting the fabrics remain the main visual focus.

Draping the Corset – Structure Meets Fantasy

Next, I began draping the corset on my mannequin. I had already sampled the fit in calico, but this time I wanted to give it more volume and structure at the waist to balance the flowy skirt. To help with this, I watched a couple of YouTube tutorials on how to create dramatic corseted shapes with added underlayers.

I incorporated:

Boning: Small strips of plastic sewn into the inner seams to help the corset hold its shape and contour the body.
Fun fact: Boning has been used since the 16th century to structure garments like stays and corsets, originally made from whale bones!
Interfacing: Fused to the inner side of the fabric to give it added strength, stiffness, and durability.
Did you know that interfacing can be fusible (iron-on) or sew-in, and it plays a crucial role in shaping collars, cuffs, and corset panels?
Horsehair Braid: A wide, stiff mesh tape sewn into hems to create bounce and shape. I used this at the bottom edge of the corset’s peplum extension to give it a voluminous, mermaid-fin-like movement.
Horsehair is actually made from synthetic fiber nowadays, but it gets its name from its historic use of real horsehair. It’s perfect for adding dramatic volume without adding heavy layers.

These materials helped me control the sculptural elements of the corset while still allowing it to visually harmonize with the softness of the net and satin in the skirt.

Draping the Kebaya – Softness & Precision

Finally, I started working on the kebaya, first i draped it with calico and stitched it together to see how it would the pattern piece would look like then i started to transfer that on net, which I designed to be soft, sheer, and delicate—with two layers of net forming the outer shell. Draping this part was honestly the most challenging so far.

I used a turn-over technique to cleanly finish the edges of both net layers, folding them neatly and topstitching to avoid raw edges. But stitching soft net is so difficult—the fabric moves constantly under the needle, stretches unpredictably, and shifts even if you pin it carefully.

I had to slow down my sewing pace, stabilize the net with tissue paper underneath at some points, and unpick seams multiple times just to get a clean finish.

Creating the sleeve out of this double-layered net was especially tough—it needed to be soft and floaty, but also structurally balanced. Any uneven stitch lines were instantly visible. But despite the frustration, I slowly started seeing it come together.

Final Thoughts

This week taught me that construction isn’t just a technical phase—it’s where your storytelling becomes real. From deciding to let my fabrics flow independently, to using boning and horsehair for structure, and wrestling with the softness of netting, every step pushed me to problem-solve while staying loyal to the concept I started with.

It’s challenging, but it's also one of the most rewarding parts—seeing your design evolve from flat sketches into something wearable, layered, and alive.

Next week, I’ll continue finalizing each component and start focusing on embellishment placement and finishing. One step closer!

Week 8:When It All Comes Together—And Then Shifts Again

This week marked a milestone. By now, my garment was nearly complete—80% finished, just in time for our critical progress review. It was the moment we had all been building towards: the Head of the Design School, a kebaya expert, and a third-party judge came in to give us feedback.

And as much as I had done, I was nervous. A part of me felt like my design still wasn’t complete enough. Maybe it was the weight of what this competition meant, or just that creative voice in my head that never stops questioning.

What I Had Completed

Going into the review, I had already:

Hand-stitched glitter net cut-out motifs onto the kebaya bodice, sleeves, and back, adding subtle sparkle and movement to tie into my underwater coral theme.
Added coral manipulations under the skirt extension of the corset, using organza and organdy to echo the soft, flowing life forms of the sea.
Built a visually cohesive look that carried my theme through texture, color, and form.

On paper, everything was coming together—but what I didn’t expect was how much the interpretation of the kebaya would come into question.

The Feedback – A Wake-Up Call

When the kebaya expert looked at my work, her first comment was that the kebaya element was too hidden.

It hit me hard.

Somewhere in my attempt to reimagine and modernize the kebaya, I had unintentionally lost the traditional essence that made it what it was. And that was the whole point of this competition—to celebrate heritage through innovation, not overshadow it.

The worst nightmare for any designer in a cultural project like this is hearing:

“The kebaya is missing.”

And in that moment, I realized that perhaps I had gone too far in trying to reinvent, and not far enough in respecting the roots of the garment.

The Turning Point – A Second Chance

But the feedback didn’t stop there.

The judges came back to me after a few more reviews and gave a suggestion that shifted everything:

“Remove the outer corset. The kebaya and skirt are strong. Try designing a corset to be worn inside the kebaya instead.”

Suddenly, it all made sense.

The outer corset—while beautiful—was overpowering the kebaya silhouette. By tucking it underneath, I could preserve the kebaya’s structure, let the traditional lines breathe again, and still incorporate my own voice through internal detail and contouring.

Starting Again – Research & Draping

Immediately after the review, I began looking for inspiration—modern and traditional innerwear, soft-structured corsets, foundation garments that support rather than overshadow. I returned to the mannequin and started draping again—this time from a completely different mindset.

Now, I’m designing not just to express a concept, but to honor a form, to uplift a tradition, and to find the balance between storytelling and structure.

Final Thoughts

This week reminded me that critique isn’t a setback—it’s a redirection. And in fashion design, the ability to pivot with purpose is what keeps the vision alive.

Yes, it was difficult to hear that I missed the mark. But I’m also grateful—because I was given the chance to realign, to reflect, and to rise again with something even stronger.

The kebaya deserves that much.

Precision, Pressure & Panels – The Making of My New Corset

After receiving feedback from the judges in Week 8, this week was all about rebuilding my corset from the inside out—literally. The kebaya needed space to breathe, and that meant designing a new internal corset that supported the structure, respected the tradition, and still aligned with my design vision.

Getting the Foundation Right

I started with draping the new corset pattern, and after several adjustments, Ms. Melina helped me refine the fit. She corrected the shaping and seam placements to better contour the body, and from there, I jumped into production: cutting, interfacing, and prepping all the pieces.

But this time, I wasn’t making a simple understructure.
To compensate for the visual presence I lost by hiding the corset inside, I decided to go all out with the construction:

A 13-panelled corset with peek-through cups, boning inside the lining, and shaped panels that meet to form clean, continuous seams across the body.

Needless to say, this week tested every ounce of my patience and precision.

The Reality of Corset-Making: Where Everything Must Be Exact

Here are some of the struggles I faced during the process:

1. Lining & Boning Challenges

The lining fabric I used was delicate and sensitive—so adding boning required absolute precision.

Each boning channel had to be measured and cut exactly to size, otherwise it would warp the panel or poke through.
I had to melt the ends of the plastic boning carefully to prevent sharp tips from tearing into the lining.
Boning placement needed to be thoughtful and intentional to contour the body’s curves and reinforce structure without bulk.

2. Bra Cup Construction

The bra cups were one of the most complex challenges. The curves were so deep that wrapping fabric around them with a single piece was impossible.

I had to cut the fabric into 3 bias-cut segments just to create the right contour and eliminate bunching.
Aligning and stitching those curved seams smoothly took multiple attempts, and a lot of care.

3. Back Panel Draping & Darting

The back side of the corset had to be shaped through draping and darting, tailored specifically to my mannequin. The shaping was adjusted based on how the new corset needed to hug the body underneath the kebaya without creating bulk.

4. Grainline vs. Bias – The Ironing Game

Because I used multiple panels cut on different angles—some on bias, others on grain—ironing became critical.

Each panel had to be steamed and shaped carefully to ensure they would fit together without twisting or pulling.
This stage reminded me how ironing isn’t just a finishing technique—it’s an essential part of shaping the garment correctly.

Results:

A Bold Decision – The Shoulder Drape

In the middle of all this structure and stress, I made an impulsive design decision—and it turned out to be one of the best moments of the week.

I added a graceful attachment draping from one shoulder—a soft extension of glitter net that fell fluidly down the side. It wasn’t planned, but I realized it created a powerful balance to the clean lines of the corset and kebaya. Most importantly, it gave me a space to anchor all the coral manipulations I had been preparing.

This shoulder piece instantly added a sense of regality and softness to the look, like a gentle wave or a cascading veil. It turned into a storytelling detail—almost like a symbolic coral reef resting on the shoulder, tying the entire oceanic theme together while giving my model that almost royal presence.

Sometimes, the best ideas are the ones that just flow in the moment.

Final Thoughts

This week taught me that fashion design lives in the details—and that precision and impulsivity can co-exist when you're guided by intention.

From a 13-panel corset that demanded exact engineering, to a last-minute shoulder drape that brought softness and story, I’m starting to see my final look not just as a garment, but as an experience—layered with craft, challenges, and character.

On to finishing and finessing next week. The final runway is almost here.

Week 10: Final Touches and Flow

Refining Details and Solving the Drape Challenge

Week 10 was all about the little things—the kind of details that might seem small but make a huge difference in how a garment lives and moves.

After weeks of building and refining my ocean-inspired kebaya look, this week was dedicated to embellishments, beading, and tying all the elements together. I focused heavily on the finishing details, especially on the shoulder attachment piece inspired by the graceful flow of a sari.

While I loved how the attachment flowed over the shoulder, I realized something was off—the fabric, although beautiful, extended too long and started to lose its shape when left to drape naturally. My initial idea was to let the model hold it gracefully over her elbow, allowing the corals to flow forward with her movements. But there was a catch: if she didn’t hold it in a very specific way, the drape could fall awkwardly, and the corals wouldn’t cascade the way I envisioned.

That uncertainty pushed me to problem-solve creatively. I needed something that would guide the placement of the drape while maintaining the illusion of free-flowing fabric. That’s when I came up with the idea of crafting a small S-shaped hook from bendable metal—something that could be discreetly placed to mark exactly where the model should hold the fabric over her elbow. This subtle addition ensured that the corals would fall correctly every time while preserving the natural fluidity of the net fabric.

Once that issue was resolved, I went back to the piece and focused on adding final embellishments, like pearls to the shoulder drape, reinforcing loose ends, and giving every part of the garment that final polish. It was meticulous work—but it brought everything together.

Final Thought

Looking back, I realized how far I’ve come—not just in technique, but in the way I approach design problems. Earlier in the semester, I might’ve felt frustrated when something didn’t work as planned. But now, I’ve started to embrace those moments. They’ve become part of my creative process.

Each challenge feels like a chance to think deeper, try differently, and build solutions that are both functional and poetic.

Sometimes, the smallest touches carry the biggest weight in storytelling—and this week reminded me of that in the most meaningful way.

Week 11: The Show, the Spotlight, and a Moment to Reflect

Celebrating Craft, Acknowledging Gaps, and Growing Forward

Week 11 was the long-awaited moment we’d all been working toward—the final show. There was something magical about seeing everyone’s work come to life under the lights. The garments, the models, the atmosphere—everything felt elevated, and the energy in the room was electric.

It wasn’t just a showcase; it was a celebration of weeks of effort, creativity, problem-solving, and perseverance. Each look that walked the runway told a story—stories of culture, innovation, personal growth, and emotional dedication. The OPPO x UNESCO collaboration was no longer just a project brief on paper; it had become a real, living experience.

When the winners were announced, I felt genuinely happy for them. Their work truly deserved the recognition—it was sharp, intentional, and carried a clarity in storytelling that resonated deeply. Seeing them succeed didn’t make me feel disheartened. On the contrary, it gave me a rare moment to pause and reflect on my own process and decisions throughout this journey.

In that quiet reflection, I started to think critically about where my design could have pushed further.

I realized that while I had poured a lot into the construction, silhouette, and overall concept, perhaps my color palette could have been thought out more intentionally. I now understand how a stronger and more curated color story might have added emotional weight to the garment and helped amplify the theme even further.

Additionally, I began to recognize how much more powerful it could have been if texture had played a leading role in my storytelling—rather than relying primarily on silhouette. While the structure of my design communicated the ocean and kebaya fusion clearly, a more tactile approach using texture could have invited viewers to not just see the ocean, but feel it. Whether through fabric layering, surface manipulation, or three-dimensional detailing, texture could have elevated the narrative in a more immersive, impactful way.

Final Thought

Although I didn’t walk away with an award, I walked away with something just as valuable—insight. Real growth often comes not just from winning, but from observing, absorbing, and refining your understanding of what makes a design speak.

This week reminded me that fashion is a language, and every design choice—no matter how small—contributes to the story you tell. As I move forward, I want to be more intentional about how I combine form, color, and texture to create work that doesn’t just look beautiful but communicates deeply.

The show may be over, but the learning has only just begun—and I’m more excited than ever for what comes next.