In a age of visual explosion and hyped up gimmicks, local based label sifr has taken a different approach and have decided to concentrate on making really good clothes. We sat down with Suraj Melwani, Chris John Fussner and Daryl Chan – the visionaries behind the brand (as well as gatekeepers of multi-label boutique K.I.N), and found out what sifr was really all about.

What does sifr stand for and how did the name for the brand come about?

CJ: Well I guess the name sifr was already there, Suraj had already done some pieces when the store was first opened up.

Suraj: The reason why I chose it was that it had some sort of interesting meaning behind it; we didn’t really want to use the meaning as part of the branding but it literally means empty or zero. There’s really no other explanation than the fact that it sounds interesting, and slowly we’ve found that it has helped to slowly affect the way we brand and the way we package and the way we design as well.

CJ: When we started the company, we tried to rename it but sifr was a really good name already.

Suraj: Yeah, it just worked and also what it did for the masses not only just for the product, but for the actual demographic that saw it, it was interesting for what we wanted to do; it was fitting, because since we are a semi mass-market label, we needed something interesting, like tsubi. For our semi mass market customer, who is slightly discerning, it makes them take a second look.

CJ: Also because there’s no visual imagery attached to the word ‘sifr’, so it allows us to start with a blank slate for everyone, so whenever they see sifr they’re obviously going to relate it to the essentials or whatever product we produce instead of relating it to a specific image that another word might conjure.

Suraj: I think what it does is that its sort of a foundation kind of brand, and we seem to create these different sub brands out of it – like we’ve started doing essentials, and we’re doing another basics line as well which is abit more premium and high end, so thats also going to be a different name, and at the end of the day sifr binds all these different brands together.

So do you have alot of people not knowing how to pronounce it properly coming to find out how exactly to pronounce it?

Suraj: Yeah, absolutely. We’ve had some issues with that, but I guess that’s what’s interesting – it sparks off some conversation and it sparks off some questions, rather than a generic name.

We’ve noticed that you guys are heavily focused on the materials and the comfort levels when marketing sifr, which is a very different approach from what most local labels try to do. Considering the fact that you target a more mass market audience, why the different approach, and was it ever a big risk to you guys to market sifr differently?

Suraj: I think after a period of time people started to be more discerning, I think people have started realizing that they were going to other brands and they were seeing that what the brands were really focused on was to make garments with a ton of details, but not making a good quality garment. Myself and Chris we saw what alot of other people were doing, even through the store (Know It Nothing), we realized that some of the brands we were carrying were all about doing things that had like a ton of details on it, but really, when you looked at the garments individually for what it had on it, you’d realize that there were generic buttons that you could buy from down the street, they weren’t really fitting for the actual garment. And the buttons looked so cheap that it would ruin the shirt, but you could tell that all the designer cared about doing was putting that inverted collar on that shirt.

We realized that we really didn’t want to do that. We wanted to make a shirt that had some details, but the major focus was to create a good product.

CJ: And it was also really important that when we started up, we were exposed to really good products, so we had to sit down and think about what is the fundamental basis of a good product, and we knew it was the material and the finishing that makes a good product; and it’s the little things that when you put together, its cohesive and it makes a good piece.

Suraj: That’s what we tell anyone who wants to start their own thing – try to get your basics down, do it well before you sit there and try to put so much other stuff on a shirt.

CJ: It’s so easy to get a piece of clothing and send it to whatever country and say “hey can you make a whatever size run out of this” or whatever.

Suraj: Again, all of our fits as well has really been ourselves just constructing and tweaking it and making a shit load of mistakes. Alot of mistakes, and that’s the best part about it.

CJ: Otherwise it’s going to be hard to differentiate your work and product on the market. We want to show you that its worth investing your money into buying a shirt or any piece of clothing from us.

Do you think the local market is actually mature enough to appreciate this different approach?

Suraj: I don’t think they’re ready for it per say, I personally don’t think they’re ready for it. I think there’s a small loyal bunch of people out there who are intelligent and have sort of grown up and realized that “hey you know what, if I’m going to pay money for something, I might as well pay money for something that was made with alot of care and consideration”. I feel that more people will be going into that in the future, and that alot more people will start to think about these things. At the end of the day, in alot of the independent boutiques over here, people used to come in here (Know It Nothing) and spend money and buy things that really were not of good quality but they didn’t care as long as they were buying labels. I find that alot of those people will be moving towards a different direction, and it’s nice that we’ve sort of jumped on that direction very quickly.

CJ: The consumer’s changing in Singapore – it’s not a Tokyo or a Hong Kong, but it’s changing, and I think where we come in is that we try to communicate this change through our product and our branding and our visuals. Sure we could produce our stuff and not say anything about what we made it with, but in most cases people won’t be curious about what we’re doing or what we’re using for our product, so we try to communicate what we do and try to be as open as possible about how we do things and what materials we use.

Has it been tough promoting to the local audience as a Singaporean based brand?

Suraj: No I think it’s been fine. We’ve had the store as well and we stock brands that are internationally known so that has given us credibility, but in terms of what we do and what we make, it might not appeal to certain clientele, and then there’s the clientele that won’t buy from us because they are from Singapore and would rather buy something from overseas and that’s just the way it is. It is growing slowly though.

But at the same time, it’s a matter of experience. Myself and Chris, our backgrounds have allowed us to see things overseas and it’s really not that different. There’s a certain hype about things that are produced and designed overseas, cause everybody seems to believe that because you’re from overseas, your designs are better. I’ve seen all the designs from brands that we’ve carried, and our stuff is comparable. It doesn’t mean that because you’re not local means you make a better garment.

CJ: There’s alot of resources available in and around Singapore, but I guess on some ends the culture in terms of fashion and creative design culture elsewhere, it’s alot more intense, alot more cutthroat. Suraj’s experience comes from New York

Suraj: I’ve worked with alot of these designers in New York, and when I worked with them, literally I was older than most of these guys, and I could see that they were kids and they had no idea what they were doing. They had some good designs but they had no idea what to do. I could see that they had no experience at all, but that’s how everybody starts. So because I’ve been exposed to it, I’ve seen the hype that alot of people build just because they see these brands on the runway and not all of it is true. I believe that they’re not that different. It’s just a matter of perception.

So coming from design backgrounds overseas, do you think it’s important for Singapore to push and create better platforms and opportunities for Singaporean design?

CJ: I guess on an economic level, they have to, otherwise how are you going to compete with alot of other countries. Singapore’s trying to push it now, I was just at this symposium where there’s a whole bunch of people from different universities and schools trying to answer the questions of “how can we make Singapore more creative” and “how can we have more designers in Singapore” and stuff like that, so it really is important, but it takes time, because it’s more of a cultural shift rather than something that you can just fabricate.

But there’s alot of stuff happening locally, there’s been alot of exciting projects from different principals of design. There’s been alot of different labels that have come up in the last two years… I think Singapore’s an exciting place to be right now. The right place, right time.

Where do you see sifr in 5 years time?

Suraj: I think we want to bring this reliable design to the masses, but its never going to be as generic as some other brands. I feel that it has a great place in the market and will be nicely received by the public.

CJ: I don’t want to sound cheesy, but we haven’t really set 3 or 5 year goals. We’re just going with the flow. But I think with the way things are going, we’re going to grow pretty quick.

Suraj: We were just talking about it amongst ourselves internally recently that we might want to convert this space (the upper level of K.I.N which is now K.I.N/sifr’s office space) which used to be a store, back into a store cause our product line has been growing and we can’t fit it downstairs anymore. We’re working very hard to churn out really interesting products and hopefully maybe in 5 years we’ll have stores in the malls

CJ: Yeah, a Flagship store or something in Singapore, or even maybe outside of Singapore.

Suraj: The good thing about what we’re doing is that we have sifr, and we’re putting different brands under the sifr name. So if you open a store, you can literally have a multi-label store, but everyone knows that everything originates from the same ideas. So we could eventually have our own version of – dare I say – United Arrows. That would open you up to such a massive demographic. More so than if you were just doing sifr alone.

CJ: We’ve taken those cues from the store (K.I.N), and how we have so many different aesthetics in one store, so we’re kind of doing the same thing with sifr – with different sub brands and different products and different styles.

Suraj: It’s been really interesting. We’re working on a product line right now – premium mens wear basics, but the thing is that women can also wear it, its perfect. The necklines are so low and the fits are so good that it could be worn by both genders, and there’s more of a fashion aesthetic to it. So it really opens you up to alot of different demographics.

We love sifr’s packaging and the fact that you give out little things like sifr garment bags… we hope others have been just as appreciative of these efforts!

CJ: People more or less appreciate those things. Alot of people come in to the store and show alot of love for the brand. It’s a great feeling.

Suraj: It’s a little bit more care and consideration on our parts and alot of people have responded well to it. I mean you could go to the bigger stores, and you barely ever get anything free and I don’t understand why that is. It really doesn’t cost much to give something small like a garment bag. It’s a little bit more effort, but I think it’s always worth it.

It’s the little things like that which Chris and I have decided to try and change. It’s always nice just to give people something in return for their support. In terms of appreciation, I think alot of people have looked at our packaging, that Daryl did, and it just makes the garment feel more complete and in it’s environment.

What’s the process that you guys go through to select materials for your clothing?

CJ: We try to find really interesting fabrics.

Suraj: Yeah, interesting washes and interesting finishes as well. Sometimes our garments might not be so intricate, it might be a basic garment, but what you’ll find different about it is that there are are certain details that will stand out. And the fabric is one of them. For example for our band pants, we added a certain micro sand finish to it, so that the material feels so much better than regular chinos that you find elsewhere.

CJ: I guess we try to source the best quality we can get for a good price. Cause we’ve found some sources that carry amazing shit but we can’t afford it because it would make the shirt have a crazy cost price and we can’t sell that.

Suraj: And if there are certain garments that already are intricate in design, we won’t really do  much to it or the fabric won’t be too crazy. Like we did the raglan cardigan, which is like an ode to the 70’s throwback, which we used regular fabric but we added certain details to make it a very interesting piece. You just have to be mindful of how to manage your details.

What are you major inspirations?

Suraj: I have one major inspiration – whatever everybody else does wrong. That’s the inspiration.

CJ: Also what we do wrong too.

Suraj: Yeah, what we do wrong is also quite inspirational as well. But also I think seeing necessity in everyday life, and really  trying to make it more contemporary.

CJ: I also study alot of design and the works of people that head these companies. There’s alot of things you can learn from these huge brands – like Ralph Lauren, Kenya Hara of Muji.

But I think for our brand we also place alot of emphasis on the graphic design side. Which Daryl does.

**All heads turn to Daryl who has been sitting in and listening intently but silently**

Daryl: The graphic designs really follow how we design the garments, which is mostly based on necessity and things like that. So our image is really clean. We try not to do too much in terms of graphic design, because it’s just like how we do the garments, where we are stripping things down to its basics, and its doing the basics well. So that’s the direction of the graphics. It’s very synergistic.

When the three of us got together, we realized that the way we thought about the surrounding environments and everyday life was very in tune with one another that it’s actually really easy for us to work with one another.

Suraj: Except when Chris starts bossing everyone around.

So team synergy is very important?

CJ: Yeah we try to place emphasis on team synergy

Suraj: What Chris means is that we try to go out drinking every night.

What’s the most fun part about working on sifr?

Suraj: When you get phone calls telling you that your stuff is selling well, that’s the best part.

CJ: Or when someone asks you for something specific and you have to tell them “sorry, its sold out”. I think sometimes when we’re outside and we see someone we don’t know wearing our products, it’s cool.

Daryl: For me its coming to work but you don’t feel its work at all. Sometimes we work 7 days a week here, but we really don’t mind coming in, because at the end of the day its doing something that we really love.

We’ve seen the Clear Channel ads at the bus stops! What’s the deal with the cotton bulbs?

Suraj: It happened seamlessly. With essentials we were just making t-shirts and then along the way we realized that everyone was paying attention to the cotton bulb, and it just became the signifier for essentials. It’s really interesting the way things have sort of moved along.

Daryl: I guess sometimes all the different elements are already there, and its up to us to pay attention to the details, and everything fell into place after that.

sifr is stocked at Tangs Orchard, rockstar at Cineleisure and at K.I.N