Designer Thakoon Panichgul has many claims
to fame throughout his decade-old career helming his eponymous label Thakoon. Coming
from an editor’s background, Thakoon debuted with a thirteen-piece capsule collection
of taffeta separates and blithe dresses that kick started it all in 2004. It was
the realisation of a gap to fill in the market, a gap that he filled with pure
creativity season after season. So much that famed fashion critic Cathay Horyn
once said, “Few designers of his generation have produced more ideas.”
The abundance of fresh ideas. The
blossoming of a household name. And now, soon-to-be honourary participant of
Singapore Fashion Week. His aesthetic? Fashion-forward, timelessly feminine,
and effortlessly modern. Far from having a nonchalant nature but casual at
times, just as a Thakoon ensemble would suit a well-heeled lady, a Thakoon collection would no doubt be a fitting complementary wardrobe for the Thakoon Addition girl.
If Thakoon Addition is the casual and sportif
second line, then Thakoon, the main line, is the cosmopolitan sister – both sophisticated
in their own ways with the fashion world at their disposal. And that is where Thakoon,
a design house ablaze with ideas, excels. The Thakoon girl is an all-embracing
and well-travelled woman of the new age. The future beckons and now, she has a
line of Thakoon handbags to accompany her on her journey.
“Ten years in the making,” as quoted by
Panichgul himself, the debut Thakoon handbag collection does not disappoint.
Made from soft and supple leather, the shapes are subtly enterprising with
simple but clever hardware placements. They are quiet notes in a sea of
exploding gimmicks. To tote and to sling, they are modest bags to carry
everyday – a handy companion that is functional, practical and well-made. Deep
down, a silent scream of “look at me” resonates from within without the user
even realising it.
He certainly knows his customer and she is
one with an eclectic sense of taste who values practicality. Her signature is
For Spring 2015, she journeys to Rio de
Janeiro as she follows the footsteps of Eurydice from the 1959 film Black Orpheus.
There, she is an out-of-towner in an exotic land, almost foreign but yet
somewhat familiar, almost akin to perceiving the traditional anew. Delicate
details line her silhouette. They are dynamic, as always. No fancy prints to
detract, in its place, subtle deconstructed elements can be seen. She walks
with aplomb, unafraid of naysayers. And until she writes the next chapter, this
is where she stays.
Embrace the enigmatic Thakoon girl for
there’s no telling where she will go next.