29/03/2026

ON SUNDAY March 29, 2026 theSunday Special V

The brand has shown its collections at major fashion weeks across the globe. It has expanded its presence beyond Ma laysia into markets including the United States, United Kingdom, Japan and China, LQFOXGLQJ D ÀDJVKLS RQOLQH VWRUH RQ 7PDOO Motoguo’s designs have also been worn by international celebrities such as Dua Lipa, Sarah Sherman and Johnny Weir. T KHVH DFKLHYHPHQWV UHÀHFW 0RWRJXR¶V JURZLQJ LQÀXHQFH DQG LWV VXFFHVV LQ EULQJ ing Malaysian creative vision to a wider global audience. “Back when we were just starting DQG VWLOO H[SHULPHQWLQJ ZLWKRXW D ¿[HG rulebook, we drew inspiration from our personal lives and nostalgic memories, often from a cynical perspective. “It was more about building a brand and expressing a point of view. Over time, that honesty resonated with people and Motoguo slowly grew into something more structured while keeping its original spirit,” Ang said. The key turning point for Motoguo as a label was being nominated for the LVMH Prize in 2016. It gave them vis LELOLW\ EH\RQG 0DOD\VLD DQG Ḋ UPHG WKDW their perspective could be part of a global conversation. This momentum led to international stockists and runway pre sentations in Milan, Tokyo and Shanghai. Motoguo designs were also worn by international celebrities and featured on screen, including Lily Collins in Emily in Paris and Maude Apatow in Eupho ria. These moments helped introduce Motoguo to audiences who might not otherwise have discovered the label. “While we were committed to grow ing Motoguo in Malaysia, we knew that to establish ourselves truly, we had to position the brand within a global context from the very beginning. Being present overseas pushed us to think more clearly about the balance between creativity and commerciality. International markets heightened our awareness of structure, timing and consistency. “They also challenged us to articulate our identity more precisely within a highly competitive landscape. It taught us that being niche is not a limitation, as long as you are honest and intentional about the audience you are speaking to,” Ang added. Fashion in Malaysia The Malaysian identity comes through subtly rather than literally in Motoguo’s creations. It reveals itself in the details

and through a lens of nostalgia, shaped by growing up in a multicultural environ PHQW WKDW LQÀXHQFHV KRZ WKH ODEHO PL[HV references and blurs boundaries. “The Malaysian fashion scene has always been strong, but in recent years, particularly with the globalisation of social media, it has gained wider visibility and recognition. “This is especially evident among younger designers, who are less interested LQ ¿WWLQJ LQWR WUDGLWLRQDO GH¿QLWLRQV RI fashion success. While the industry’s infrastructure is still developing, there is a growing sense of community, subculture and a collective willingness to experi ment,” Ang pointed out. Motoguo still believes that access, opportunities and visibility are major challenges faced by local designers. This includes funding, production scale and sustained international exposure. There is also ongoing pressure to con form to external expectations of what Malaysian fashion is supposed to look like. Navigating these stereotypes while remaining true to an authentic identity FDQ EH GL̇ FXOW “Local audiences are becoming more open to experimental designs, but they are doing so at their own pace. Social media and global exposure have played a big role in shifting perspectives. “While commercial fashion still dominates, there’s a growing audience that appreciates independent labels, storytelling and design with depth. It’s not mainstream yet, but the curiosity is there,” Ang shared. Young Malaysian designers should focus on developing a clear point of view before chasing validation. Trends, platforms and markets will change, but a strong identity endures. Motoguo did its research, was never afraid to reach out and took advantage of business knowledge that works alongside creativity. “We’ve been on hiatus for the past two \HDUV IRFXVLQJ RQ UH¿QLQJ DQG UHVWUXFWXU ing the brand rather than expanding for the sake of it. This period has been about building stronger narratives, exploring new formats and deepening our relation ship with our audience. “Whether through our collections, collaborations or other creative projects, all we can say for now is that something huge is coming,” said Ang, clearly excited about the future.

Dressing the unapologetically strange

BY HANNEF ESQUANDER

F ASHION is no longer just about the latest trends and fads. Al though some of us might still think of it that way, especially younger generations who are still experimenting and trying to find their identity, dressing up now is all about showcasing individuality and uniqueness. Quirky might be a more polite way of describing someone’s unhinged, wacky style, but it is so much better than being boring. In a world full of repetition and safe choices, dressing differently feels honest, even if it makes people uncomfort able. Clothes that stand out often say more WKDQ FORWKHV WKDW DUH PHDQW WR ¿W LQ Local designer label Motoguo stands ¿UPO\ EHKLQG WKLV VHQWLPHQW FKDOOHQJLQJ peculiarity in the most romantic, cynical and ingenious manner with its designs.

At its core, Motoguo is about dressing emotions, sometimes sweet, sometimes awkward and even unapologetically strange. Founded in 2015 by creative directors Moto Guo and Kinder Eng, along with business partner Jay Perry Ang, Motoguo started as a menswear label but has since expanded into a genderless label. Their collections push the boundaries of gender, IDVKLRQ DQG ÀXLGLW\ ZKLOH FUHDWLQJ D VSDFH for everyone in between. Since then, Motoguo has achieved sev eral notable milestones that have helped put the brand on the global fashion map. Early in its journey, Motoguo became the ¿UVW 6RXWKHDVW $VLDQ ODEHO WR EH VKRUWOLVWHG for the prestigious LVMH Prize for Young Fashion Designers in 2016, a recognition that opened doors for international op portunities.

Several notable milestones have helped put the label on the global fashion map.