Despite its smooth, supple exterior, the Suen’s maturity has its advantages. His series are delicate and often dark and mysterious. This is due to his knack for blending Western definitions of elegance with Eastern culture and tradition, a technique that only became a mainstay of his brand after he started showing in Europe. “When I arrived in London, that was the first time I saw something different and my mind was open at that moment,” Sun said. “After moving to Paris [for the exhibition], I had a stronger desire to incorporate Chinese and Eastern cultures into my work.”
Spring , Sun used the theme of human consciousness to delve into samsara, the Sanskrit concept of reincarnation and the cycle of life. “You’re born, you live, you die, and you’re born again,” he said in a preview the day before the show. Literal applications of this concept appear in the form of embroidered text – relating to each person’s inner “good” or “bad” dwelling – and striking metallic recreations of blooming Bana flowers, which are often used to adorn graves and are believed to represent the harbinger of eventual separation. He uses the concept of duality to add visual tension and texture to the collection. Predominantly black and white, complemented by beige and gray, including luscious silks and matte knits, tailored suiting, relaxed tanks and briefs, and oversized silhouettes juxtaposed with nude silhouettes.
As menswear continues to shift from streetwear to tailoring, Suen finds herself on trend for the first time since launching her label more than a decade ago. “But it never occurred to me, I never thought I was part of this trend,” he said. “That’s what I do.”
Shorts, bells and silver bracelets.
