What happens to Japan’s unwanted kimonos? Syne Studio is giving them a second life.

These Singapore designers are restoring kimonos from Japan and turning them into contemporary wear

At a time when fashion is grappling with overproduction and waste, two Singaporean designers are taking a slower, more deliberate approach—by working with garments that already exist.

Founded by Eshton Chua and Ian Sam, Syne Studio restores and upcycles vintage Japanese kimonos, transforming unused or forgotten pieces into contemporary, wearable garments. 

We spoke with Eshton to learn more about their work, restoration process, and how the duo is reimagining vintage kimonos for contemporary wear.

Their research led them to Japan

Eshton and Ian met in 2018 at a footwear design competition while studying at private fashion school TaF.tc. Two years later, while working in the footwear industry, Eshton pursued Syne Studio as a passion project with Ian, who was then a freelance fashion stylist.

In 2022, the pair left their full-time jobs to pursue the business full-time.

Both Eshton and Ian were motivated by the fashion industry’s waste problem and wanted to build a brand that would minimise its contribution to that cycle.

An estimated 100 billion garments are produced each year globally, and 92 million tonnes of them ultimately end up in landfills. That’s the equivalent of one rubbish truck full of clothing every second.

The duo’s research into textile waste led them to Japan, where a surplus of kimonos exists. As kimonos shifted from everyday wear to ceremonial use, younger generations inherited multiple pieces they rarely wore.

These garments required careful storage: rolled or folded incorrectly, they could develop weakened fibres, crease marks, or discolouration. Proper storage also demands controlling temperature, humidity, and light—practices often neglected by casual owners. Consequently, wardrobes once filled with multiple kimonos were reduced to one or two regularly worn pieces, while the rest accumulated as spares. 

At the same time, kimono makers had produced extensively during periods of high demand, leaving brand-new stock untouched for decades.

Despite this surplus, Eshton noted that kimono production is “one of the most ethical and sustainable” forms of garment-making, emphasising longevity, craftsmanship, and low-waste construction—values that closely align with Syne Studio’s approach.

Restoring kimonos, he said, ticked all the boxes they were looking for in a business.

“We wanted to start a brand that challenges the idea of what waste is, and how fashion can be created,” Eshton added.

Restoring kimonos

Bootstrapped with a lower five-figure investment, Eshton and Ian initially set up a studio at Pearl’s Hill, where they offer both ready-to-wear and custom pieces.

The duo sources vintage kimonos from Japanese suppliers, as well as from collectors for their products. Occasionally, individuals also bring in inherited kimonos for restoration or transformation into bags and other bespoke items.

Every kimono is assessed individually, with each fabric examined for salvageability. Alterations are minimal, restoring pieces to their original form unless tailoring or customisation is requested. 

“We generally try to keep pieces as true to their original form as possible, allowing the kimono to continue as it was intended,” Eshton explained. All of their work draws on the duo’s formal textile and sewing training at TaF.tc.

Restoration work varies by garment. Simple repairs—such as fixing seams or lapels, treating light stains, or using fabric from longer pieces to mend damaged sections—typically take a day per kimono. More complex projects, including intricate embroidery or major damage, take two to three days, and the duo consults their Japanese suppliers for guidance when needed.

Even unworn kimonos often require work. Some have intact tailor stitches or paper coverings over family crests—similar to uncut pocket stitches on new blazers—but long-term storage can weaken fibres, break stitches, or create structural weak points at sleeves and lapels.

Kimonos beyond repair are cut into swatches for upcycling into bags, clutches, or bespoke pieces or kept for future collaborations. As such, nothing really goes to waste at Syne Studio, Eshton emphasised.

Over the years, business grew, and the duo expanded the studio within the same vicinity. When the redevelopment of Pearl’s Hill was announced in 2025, they relocated to their current studio in Tai Seng and also currently share a retail space at Circular Fashion Hub, a multi-brand store in Jalan Besar. 

Syne Studio’s collections

Rather than naming individual pieces, Syne Studio organises kimonos into collections by fabric and technique. 

For instance, the Syne Kimonos collection features approachable, vintage-restored silk and silk-blend pieces, which form the backbone of the brand.

On the other hand, the MAE Syne collection uses luxurious textiles and techniques, from ceremonial silks to gold-thread embroidery and hand-painted motifs, with some fabrics taking a year to weave. 

Around 20% of Syne Studio’s output consists of bespoke customisations for daily wear or personal style.

Notable projects include a client’s Skydiving Kimono, which featured embroidery patches, customised zip pockets, and reinforced fastenings for safety.

The business claims to have sold “hundreds” of these customised pieces so far. Although the brand did not disclose its pricing for custom pieces, most ready-to-wear garments start at S$180 and can go up to S$350.

One ongoing challenge for the brand has been shifting customer perceptions around value—particularly the assumption that restored or upcycled garments should be inexpensive simply because they’re “old” or pre-owned. This is especially true for vintage kimonos, which can seem fragile or impractical to the uninitiated.

Syne Studio addresses this by actively educating customers on the origins, craftsmanship, and cultural context behind each kimono. Moreover, by explaining traditional weaving techniques and the labour-intensive processes involved in both making and restoring these garments, the duo helps clients see the true value of their work.

Increasing brand awareness

To increase brand awareness, Syne Studio regularly hosts pop-ups and collaborations with local slow fashion brands—like creating kimonos inspired by Singaporean jewellery label Clink Clank Clunk’s geometric motifs.

The duo also participates in runway events, including Fashion Connects: Museum Takeover (2022), Eco Fashion Weekend (2023 & 2024), and Fashion Pulpit (2024), allowing potential clients to see and experience their garments firsthand. Other than restored kimonos for contemporary wear, their work also includes fully upcycled collections from unconventional materials such as cling wrap.

Beyond local partnerships, Syne Studio has collaborated with international brands such as Aesop, Beam Suntory, and Fjällräven, producing customised pouches, uniforms, and upcycled installations that further cement its creative presence.

Their influence extends beyond fashion, too. In 2021, fine-dining restaurant Cloudstreet commissioned the duo to design a set of placemats to accompany their revamped menu—an intersection of both brands’ minimalist aesthetics.

Looking ahead

Moving forward, Syne Studio plans to relocate its studio to its retail space in Jalan Besar for a more streamlined environment where clients can access ready-to-wear pieces, attend fittings, and participate in workshops all in one place.

While open to overseas collaborations, the brand intends to remain intentionally small and artisanal, controlling output to uphold their values.

“The biggest affirmation is having Japanese individuals and brands appreciate what we do,” Eshton said. “Some even come for restoration work or collaborations, reminding us that our work holds cultural value, not just commercial appeal.”

• Find out more about Syne Studio here.
• Read other articles we’ve written on Singaporean businesses here.

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Featured Image Credit: Syne Studio