Uzair Shoid caught our attention immediately after his debut show at Kuala Lumpur Fashion Week in 2023 and the rest is history. He stood out as a designer who strived to incorporate cultural elements such as traditional fabrics, crafts and arts, giving these almost-forgotten treasures a new identity in the realm of contemporary arts.
Like its logo which resembles an iron-on school nametag that most Malaysians are familiar with, Uzair Shoid as a brand is a space of identity exploration. His recent Mekar collection, for instance, is based on “a story of growth, faith and rizq”, where he questioned, “terfikir mengapa akar masih di bumi sedangkan hati hancur dibawa angin“.
Delicate, tender yet eccentric, Uzair pens a fabled tale of girlhood doused in femininity, cultural heritage and folklore. Somehow, the quirky designs and vibrant colours of his work complemented his gentle and poetic words. On this journey that deviated from the trajectory he imagined himself in, Uzair shares that he is always a misfit, despite doing his best to fit in. “As a designer, however, being a misfit is a strength. A misfit is someone who creates with authenticity, challenges the norms and pushes boundaries, even if it means standing out like a sore thumb or being misunderstood.”
Ahead, we spoke to Uzair Shoid about fashion, identity, cultural preservation and the challenge of being a young fashion designer in Malaysia.
Has fashion always been something you envisioned yourself doing?
Before fashion, I tried to blend in with my peers. The idea of a conventional career path being the symbol of success was ingrained in me from a young age. My admiration for fashion was paired with deep insecurities—I doubted my appearance and fashion seemed like a distant dream. The growing urge to be true to my passion draws me into the realm. Looking back, I have always been a visual person. My world is made up of shapes, colours, textures, and patterns. Fashion, for me, is a way to bring all of that to life and share my perspective with the world.
There’s a strong sense of identity in your work. What does “identity” mean to you?
As a fashion designer, identity is a form of storytelling. Fashion is a powerful form of self-expression, and through it, I’m able to communicate emotions, experiences, and ideals that resonate with both myself and others.
Identity reflects my values, cultural influences, and the diverse society I live in. It is deeply tied to my personal experiences, relationships, and the way I perceive beauty. Every collection I create is an extension of this personal journey, and hopefully, the wearers find commonalities and celebrate their identities through these designs.
Identity also represents authenticity. It’s about staying true to who I am and the resistance to conform to norms that don’t align with my values. It’s not just about outward appearance; it’s about creating a bridge between the inner and outer worlds. It’s an ongoing exploration of who I am as a designer and as a person, always evolving and adapting, but staying true to what feels authentic to me.
Can you tell us about your first collection, Sayang Senandong that is based on the folklore Dayang Senandong? How did that come about?
Dayang Senandong is one of those black-and-white films that left me with countless questions. It’s a captivating blend of taboos and fantasy—elements I had never imagined exploring as a creative. The film has an open ending, and I feel a sense of responsibility to set the seal on this story. The unfinished narrative inspired this collection, which reflects the themes and emotions of the movie. Each look in the collection carries a different interpretation of the film, allowing me to explore its complex meanings through fashion. It is also why I named the collection ‘sayang’, because it’s ‘sayang’ (a pity) to leave the story hanging.
A lot of Uzair Shoid’s works are drawn to or inspired by folklore—why is that so?
I want people to know that every culture has its own version of Thumbelina and that these versions are shaped by unique beliefs and traditions. I believe that folklore holds the same theatrical power with its ability to captivate and convey compelling stories.
Malaysia, in particular, is blessed with myths and legends that are often overlooked or forgotten, especially by the newer generation. There’s a lack of awareness and I feel a need to bring them to the forefront through my designs. I want to encapsulate these tales through this form of art (fashion) and eventually, more people will learn about these stories. My goal is to not only revive interest in our folklore but also to make fashion fun again—people can engage with culture, history, and creativity in a fresh, exciting way.
Could you share the creative process of designing each collection?
I’ll start with creating a mood board that visualises the creative direction and sets the tone for the entire project. Every collection I create has a specific subject matter or theme that ties the entire design process together. Nature is my major influence so I try to weave it into the designs. For me, a collection is not just about clothes—it’s about creating a full visual experience so I usually start with accessories as they play a key role in completing a look. I then work on shoes, followed by embellishments—whether it’s embroidery, beads, or any other intricate detailing—because these elements are crucial in adding depth and texture to the designs.
The colour scheme is another essential part and it’s carefully chosen to reflect the emotion. Ultimately, every detail is meticulously considered with the goal of telling a cohesive and powerful story that resonates visually and emotionally.
On the note of colours, your work has always been very colourful, fantastical, and dreamlike. What led to those creative decisions?
I tend to create collections that are rooted in introspection, often melancholic themes. So I decided to mask these emotions with vibrant colours, as if to hide the vulnerability beneath the surface. This approach reflects the way I cope with my emotions in real life—often concealing the more difficult feelings with a façade of brightness and energy. Colours do not only serve to enhance the visual aspect but also an emotional medium that reflects the story and mood I’m exploring.
As a young designer running an up-and-coming brand, what do you think is not talked about enough?
The immense pressure and behind-the-scenes challenges that come with balancing creativity and business. When people think of fashion design, they often focus on the artistic aspects. While these are essential, the business side of running a brand is just as crucial, yet it’s not often discussed.
Financial stability is one of the biggest struggles for emerging designers. It’s not just about being able to fund a collection but managing cash flow, dealing with production costs, maintaining inventory, and navigating the complexities of retail or direct-to-consumer sales. A lot of young designers, myself included, pick up these skills along the way. The harsh reality is that without proper financial planning, even the most innovative designs can fail to reach their full potential or stay afloat in this competitive market, leading to a daunting emotional and mental toll.
There’s a lack of open conversations on the “exposure” system. Many young designers are eager to showcase their work, and while exposure can be a great opportunity, the value of it remains questionable. “Free exposure” in reality, doesn’t always lead to long-term benefits. It’s tempting to accept opportunities without compensation or clear agreements, but in the long run, this may not help sustain a brand financially. Negotiating fair deals and understanding how to create value through collaborations or media coverage is something that is glossed over.
We need more open dialogue on the realities of running a fashion brand, especially for young, emerging designers. Creativity is important, but the balance between artistic expression and business acumen is the definitive factor.
Tell us more about Ughchive, a project of yours. What leads to that initiative?
The idea behind Ughchive is to create a platform where designers can stay true to their aesthetic and craftsmanship while also putting their work—something that isn’t necessarily aligned with the fast-paced, mass-market, ready-to-wear industry—up for sale. The name “Ugh” shows my frustration with the system where designers are often forced to compromise in order to be accepted within the industry.
As a designer, I struggle with the pressure to reduce the quality of my work, simplifying or even diluting my identity just to drive sales. While this approach is understandable and not inherently wrong, I believe that the local scene is losing its uniqueness. Fashion should reflect the art and cultural heritage, I want to preserve that.
Ughchive, in essence, is intended to be a showroom and retail space where designers can express their fullest creative selves without compromising. It’s a place where quality, authenticity, and individuality are the mainsail. I chose to base Ughchive in the Zhongshan Building, which, to me, is one of the best art communities in town—an inspiring space where artists and creatives support each other. I want Ughchive to be a part of and contribute to that supportive community, offering designers an oasis.
What do you hope to bring to the table? What are your long-term goals?
As a young fashion designer, I’m responsible for bringing Malaysia’s rich heritage and craftsmanship to the global stage. My vision is for people to wear locally made products that not only reflect our heritage but also prioritise craft and quality, proving that local fashion can stand on its own feet. Our local fabrics and traditional techniques are what make our culture so unique, but unfortunately, many of these arts are petering out. I want to assist in preserving and modernising them to fit the contemporary context. By doing so, I hope to breathe new life into these traditions and ensure they continue to be appreciated by future generations.
My goal is to prove that our traditional fabrics and techniques are not just relevant today but can be elevated to the highest standards of global fashion.
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