Oct 74 min read

LFWSS25 - APUJAN Invites You to Fall Through the Rabbit Hole

APUJAN, specialist in rewriting fairy tale stories on the runway, once again retold the story of a beloved book through garments at their SS25 show in London this fashion week. This time, the designer of the same name looked towards Alice in Wonderland for his inspiration for the ‘Mirror, Keys and Drink Me’ collection. The brand, which debuted in the London fashion scene in 2013, combines fantasy and reality - an intertwining of these elements now irrevocably part of its DNA.

Model wearing APUJAN design — Chris Yates @itschrisyates

Mirror, Mirror on the Wall

The London-based brand is built around the meeting of contrasting elements. Just as it fuses fiction and reality, the designer’s cultures, British and Taiwanese, are also blended. Bringing Taiwanese culture to London, Apu Jan frames books, such as How to Live Safely in a Science Fictional Universe by Charles Yu, who is of similarly mixed heritage, in prints on garments. This makes for an interesting break in the preponderance of Alice in Wonderland-inspired iconographic prints, providing visual contrast through the deviating choice of black and white (representing printed text) as opposed to the collection’s otherwise more poignant colours. Apu Jan excels at blending traditional oriental features with Western contemporary moments, showcasing the brand’s heritage and identity, merging often contrasting elements harmoniously.

Throughout the presentation, Apu Jan leads us towards an alternate universe, based in the wonderlands of books. He continually blurs the lines between these fantastical realms and reality by uniting casual and whimsical aspects of the collection. APUJAN immediately brings us into the world of Alice, with one model's face painted in checkers and another carrying a large clock. The show features strong references throughout, including elements of chess in over 30 looks, big bows and hats reminiscent of the Mad Hatter, and makeup by Yin, which evokes strong references to the Queen of Hearts.

APUJAN invites us to question our size and, more importantly, our perception of size in relation to others and the world around us. He uses the Alice in Wonderland plot as a reflection of contemporary struggles, applying Alice as a mirror for the viewers of the collection, encouraging reflection on Alice’s diffidence and, consequently, our own. He achieves this effect by maintaining a strong red thread throughout the collection, leading back to the story that inspired it all. Alice’s change in size is mirrored in the presentation’s features, with miniature versions of the outfits placed on figurines held by models, who sported the same ensembles. In contrast to these pocket-sized mannequins, there were outrageously large accessories, boasting a human-sized pen and a huge headpiece in the shape of a chess pawn, created in collaboration with a team practised in film props. The contrast between sizes showcased in the presentation helps emphasise the choice of book and the symbolic value behind the collection, alluding to the uncertainty we may feel about our own size.

A Maze of Techniques

Although this is an interesting and considered concept, the execution of the presentation feels, at times, overwhelming in relation to the garments themselves. There is a lingering sense that too much focus has been placed on the event and its symbolism, which might have been better peppered into the fine details of the garments. APUJAN presents a cut-out dress, whose concept and references to the Queen of Hearts’ card games remain intriguing; however, this allure is diminished by its finish, resulting in an impression of fragility due to material with opportunities for an enhanced structure, detracting from an otherwise promising idea.

Patterns and prints dominate this collection. Incorporating ‘Go Games’ as one such print, APUJAN creates an interesting piece that feels both bold and futuristically classic. The balance of layered sheets of fabric covered with the imitation of the game, paired with a neutral beige, results in a holistic impression that quickly makes a standout look. The emphasis on a cohesive theme is consistently presented through the garments’ prints, the majority of which feature Alice in Wonderland references - many in the geometric form of chess boards or mazes. The theme of storytelling is carried further from the prints to the forms of the garments. One dress, featuring what appears to be a folded page, but without text and instead adorned with a galaxy-like pattern on its front, is an impressive example

of inspiration being used in a way that is not overly literal, allowing the concept of the collection to shine through.

Though prints rule this collection, there are also striking moments of knitwork. Embracing the colder tendencies of London summers, Apu Jan created an asymmetrical, oversized knitted crop top presented in a striking cobalt blue, reminiscent of summer swims and skies. Pairing this knit creation with matching flowy suit trousers, adorned with a slit perfect for transitional weather, the designer uses the varying nature of Northern European summers to his advantage, once again embracing contrast and creating a look fit for the London cool-girl.

APUJAN strikes the right chord with this collection, but the overall outcome feels somewhat interchangeable. The concept is well thought out and relevant to the modern day, carrying symbolism and social commentary while mixing styles to appeal to the global contemporary customer. However, the execution falls short, with too much energy spent on the external elements and too little on the garments, which show tailoring that could benefit from refinement, seams that need further attention to detail, and cut-outs that could be more delicately executed. APUJAN has written a beautiful outline brimming with potential, but the finished chapter left me wanting more.