Most fashion entrepreneurs are driven by a lifelong passion for style and design. For Syne Studio's Eshton Chua, 31, and Suffian Samat, 32, however, their motivation stemmed from witnessing the darker side of the industry – and wanting to change it.
Having previously worked in fast fashion, the pair were confronted with the sheer volume of waste generated by the industry. “We had similar past experiences witnessing the vast amount of waste due to contractual obligations involving off-season or damaged items. It became a pain point for us, seeing how many companies were unable to donate or repurpose these pieces,” said Chua.
Rather than turning away from the problem, they decided to address it. That conviction led to the birth of Syne Studio, a label focused on restoring unwanted kimonos from Japan and giving them renewed life with a modern sensibility, in 2020.
Syne founders Suffian Samat and Eshton Chua. (Photo: Syne Studio)
“We realised that, at that point in the industry, the easiest workaround for many fashion companies was to collaborate with another brand that could give unwanted inventory a second life. That inspired us to position ourselves as a brand that works with excess stock to create new pieces from it,” Chua explained.
When deciding on a starting point, Chua and Suffian chose to focus on kimonos for reasons closely tied to their sustainability mission.
“As a new brand, we had to build a following that understood what we stood for. We discovered there was a large surplus of kimonos in Japan. At the same time, it’s one of the most efficiently made garments, with minimal waste. We also wanted to reintroduce Asian silhouettes into outerwear and layering – something that could easily fuse with current fashion trends,” Chua shared.
An upcycled obi bag. (Photo: Syne Studio)
The traditional kimono’s straight-line construction is, in itself, a model of sustainable design. “It’s made from six pieces of fabric that are identical in width, cut horizontally from a bolt of cloth. This means there are no offcuts or fabric wastage,” he explained.
This panel-based construction also makes kimonos easy to dismantle, making them ideal for repurposing – whether into restored garments or entirely new creations.
However, as contemporary fashion overtook traditional dress in Japan, the kimono’s everyday relevance declined. Its perceived impracticality for modern wear has led to large volumes being discarded.
Yet this excess has also created opportunity. Numerous brands, both in Japan and abroad, have begun upcycling vintage kimono fabric into shoes, clothing, bags and accessories that resonate with younger consumers – proving that heritage textiles can still feel relevant and desirable.
The duo was also drawn to working on kimonos out of their personal appreciation for the traditional garment. “I’d been collecting vintage kimonos for a long time. They are something I always connected with – I loved how detailed and interesting each kimono felt, and how each piece held a specific story and memory. It’s an extremely versatile garment that I love layering with, and I wanted to share that style of fashion with more people through restoring these pieces,” said Suffian.
Chua developed an interest in the culture and history behind kimonos as he started adding them to his own wardrobe. “I used to be into streetwear and always wanted to find ways to incorporate Asian styles into that genre of fashion. Kimonos were the one style of clothing that perfectly fit that box for me,” he shared.
(Photo: Syne Studio)
Syne sources secondhand kimonos from suppliers in Tokyo and Kyoto, building close relationships as they expand their network. The founders revealed that they bring in and restore from 200 to 300 pieces in a year.
“We do everything personally – from washing and treating the fabrics to sewing back loose lapels, fixing torn sleeves or restructuring different parts of a kimono to make it whole again,” said Chua. The restoration process and duration varies from garment to garment, depending on its condition.
(Photo: Syne Studio)
“It can take anywhere from an hour for easy fixes like repairing lapels, to a week-and-a-half for more complicated steps, such as reattaching an inner lining,” shared Suffian.
When selecting pieces, they follow one key rule: Only traditional, hand-sewn kimonos make the cut. They also agreed that it was important to keep to the sewing techniques that they were originally made with, during restoration.
“This meant learning hand-sewing methods that were increasingly rare, but also ensured that we would respect the craft behind each piece. Traditional kimonos are all hand-sewn, and that’s why there are no visible stitch lines on the pieces,” explained Suffian.
They also avoid altering the silhouette. As a result, Syne’s pieces retain the classic kimono shape, with variations expressed mainly through print and colour.
“All our kimonos are kept within their traditional silhouette. We only make structural changes if a client specifically requests a customised piece tailored to their needs,” Chua added.
Kimonos are also known for their intricate and elaborate detailing that carries symbolic meaning, which they set out to learn about.
“I spent a lot of time researching into the motifs and embroidery details we came across as we began restoring these pieces, learning about how certain colours were traditionally worn for specific events, to how some styles are also saved for ceremonial processions. Each kimono represented something different and told of a specific chapter in the initial owner’s lives,” he added. This gave them a deeper understanding of the kimonos they worked on, which they could then share with their customers.
In Singapore, the modern lightweight kimono has gained popularity, but many – particularly men – remain unsure how to incorporate it into their wardrobes.
Chua’s advice is simple: Think of it as outerwear.
(Photo: Syne Studio)
(Photo: Syne Studio)
“It’s the easiest way to wear a kimono. Many of us throw on a jacket for the office or a night out – a kimono functions in a very similar way. We’ve had men wear our black kimonos in place of a suit for smart-casual gatherings. Personally, I like wearing it over a white tee and jeans. It transforms a basic outfit into something with more colour and interest,” he said.
Despite its layered heritage, the kimono is surprisingly suited to Singapore’s tropical climate. “Traditional kimonos have drop sleeves with a slight gap where the sleeve meets the body. That allows for ventilation. They were originally worn with multiple layers, so the outer garment itself is quite breathable. The cut isn’t figure-hugging either, which makes it flattering across body types and easy to layer,” Chua explained.
(Photo: Syne Studio)
While kimonos remain Syne’s core focus, the founders also collaborate with other brands on sustainable projects. They work with deadstock fabrics and repurpose excess inventory into uniforms and special pieces.
“For certain projects, we use deadstock fabrics from suppliers. We’ve worked with companies to create outfits for brand ambassadors or restaurant staff where uniformity is required. At the same time, we incorporate kimono fabrics as feature details – such as pockets or sleeves – into those garments,” said Chua.
Given that every kimono is restored from a unique second-hand piece, maintaining inventory is an ongoing challenge. Syne has an e-commerce site, and retails at the Circular Fashion Hub – situated within The Fashion Pulpit at Jalan Besar. The kimonos are priced from S$180.
“We try to plan for specific releases and seasons, but everything depends on availability and the restoration process. Sometimes, we curate and collect a particular fabric technique or style so we can build a more cohesive drop,” he shared.
With each piece one of a kind, hesitation can mean missing out. If you find one you love, it may not be there tomorrow.
Placemats for Cloudstreet. (Photo: Syne Studio)
Packaging for Aesop. (Photo: Syne Studio)
Continue reading...
Having previously worked in fast fashion, the pair were confronted with the sheer volume of waste generated by the industry. “We had similar past experiences witnessing the vast amount of waste due to contractual obligations involving off-season or damaged items. It became a pain point for us, seeing how many companies were unable to donate or repurpose these pieces,” said Chua.
Rather than turning away from the problem, they decided to address it. That conviction led to the birth of Syne Studio, a label focused on restoring unwanted kimonos from Japan and giving them renewed life with a modern sensibility, in 2020.
Syne founders Suffian Samat and Eshton Chua. (Photo: Syne Studio)
“We realised that, at that point in the industry, the easiest workaround for many fashion companies was to collaborate with another brand that could give unwanted inventory a second life. That inspired us to position ourselves as a brand that works with excess stock to create new pieces from it,” Chua explained.
AN EXCESS OF UNWANTED KIMONOS
When deciding on a starting point, Chua and Suffian chose to focus on kimonos for reasons closely tied to their sustainability mission.
“As a new brand, we had to build a following that understood what we stood for. We discovered there was a large surplus of kimonos in Japan. At the same time, it’s one of the most efficiently made garments, with minimal waste. We also wanted to reintroduce Asian silhouettes into outerwear and layering – something that could easily fuse with current fashion trends,” Chua shared.
An upcycled obi bag. (Photo: Syne Studio)
The traditional kimono’s straight-line construction is, in itself, a model of sustainable design. “It’s made from six pieces of fabric that are identical in width, cut horizontally from a bolt of cloth. This means there are no offcuts or fabric wastage,” he explained.
This panel-based construction also makes kimonos easy to dismantle, making them ideal for repurposing – whether into restored garments or entirely new creations.
However, as contemporary fashion overtook traditional dress in Japan, the kimono’s everyday relevance declined. Its perceived impracticality for modern wear has led to large volumes being discarded.
Yet this excess has also created opportunity. Numerous brands, both in Japan and abroad, have begun upcycling vintage kimono fabric into shoes, clothing, bags and accessories that resonate with younger consumers – proving that heritage textiles can still feel relevant and desirable.
The duo was also drawn to working on kimonos out of their personal appreciation for the traditional garment. “I’d been collecting vintage kimonos for a long time. They are something I always connected with – I loved how detailed and interesting each kimono felt, and how each piece held a specific story and memory. It’s an extremely versatile garment that I love layering with, and I wanted to share that style of fashion with more people through restoring these pieces,” said Suffian.
Chua developed an interest in the culture and history behind kimonos as he started adding them to his own wardrobe. “I used to be into streetwear and always wanted to find ways to incorporate Asian styles into that genre of fashion. Kimonos were the one style of clothing that perfectly fit that box for me,” he shared.
STAYING TRUE TO TRADITION
(Photo: Syne Studio)
Syne sources secondhand kimonos from suppliers in Tokyo and Kyoto, building close relationships as they expand their network. The founders revealed that they bring in and restore from 200 to 300 pieces in a year.
“We do everything personally – from washing and treating the fabrics to sewing back loose lapels, fixing torn sleeves or restructuring different parts of a kimono to make it whole again,” said Chua. The restoration process and duration varies from garment to garment, depending on its condition.
(Photo: Syne Studio)
“It can take anywhere from an hour for easy fixes like repairing lapels, to a week-and-a-half for more complicated steps, such as reattaching an inner lining,” shared Suffian.
When selecting pieces, they follow one key rule: Only traditional, hand-sewn kimonos make the cut. They also agreed that it was important to keep to the sewing techniques that they were originally made with, during restoration.
“This meant learning hand-sewing methods that were increasingly rare, but also ensured that we would respect the craft behind each piece. Traditional kimonos are all hand-sewn, and that’s why there are no visible stitch lines on the pieces,” explained Suffian.
They also avoid altering the silhouette. As a result, Syne’s pieces retain the classic kimono shape, with variations expressed mainly through print and colour.
“All our kimonos are kept within their traditional silhouette. We only make structural changes if a client specifically requests a customised piece tailored to their needs,” Chua added.
Kimonos are also known for their intricate and elaborate detailing that carries symbolic meaning, which they set out to learn about.
“I spent a lot of time researching into the motifs and embroidery details we came across as we began restoring these pieces, learning about how certain colours were traditionally worn for specific events, to how some styles are also saved for ceremonial processions. Each kimono represented something different and told of a specific chapter in the initial owner’s lives,” he added. This gave them a deeper understanding of the kimonos they worked on, which they could then share with their customers.
MAKING THE KIMONO WORK TODAY
In Singapore, the modern lightweight kimono has gained popularity, but many – particularly men – remain unsure how to incorporate it into their wardrobes.
Chua’s advice is simple: Think of it as outerwear.
(Photo: Syne Studio)
(Photo: Syne Studio)
“It’s the easiest way to wear a kimono. Many of us throw on a jacket for the office or a night out – a kimono functions in a very similar way. We’ve had men wear our black kimonos in place of a suit for smart-casual gatherings. Personally, I like wearing it over a white tee and jeans. It transforms a basic outfit into something with more colour and interest,” he said.
Despite its layered heritage, the kimono is surprisingly suited to Singapore’s tropical climate. “Traditional kimonos have drop sleeves with a slight gap where the sleeve meets the body. That allows for ventilation. They were originally worn with multiple layers, so the outer garment itself is quite breathable. The cut isn’t figure-hugging either, which makes it flattering across body types and easy to layer,” Chua explained.
(Photo: Syne Studio)
While kimonos remain Syne’s core focus, the founders also collaborate with other brands on sustainable projects. They work with deadstock fabrics and repurpose excess inventory into uniforms and special pieces.
“For certain projects, we use deadstock fabrics from suppliers. We’ve worked with companies to create outfits for brand ambassadors or restaurant staff where uniformity is required. At the same time, we incorporate kimono fabrics as feature details – such as pockets or sleeves – into those garments,” said Chua.
Given that every kimono is restored from a unique second-hand piece, maintaining inventory is an ongoing challenge. Syne has an e-commerce site, and retails at the Circular Fashion Hub – situated within The Fashion Pulpit at Jalan Besar. The kimonos are priced from S$180.
“We try to plan for specific releases and seasons, but everything depends on availability and the restoration process. Sometimes, we curate and collect a particular fabric technique or style so we can build a more cohesive drop,” he shared.
With each piece one of a kind, hesitation can mean missing out. If you find one you love, it may not be there tomorrow.
Placemats for Cloudstreet. (Photo: Syne Studio)
Packaging for Aesop. (Photo: Syne Studio)
Continue reading...