Slouchy hoodies, baggy sweatpants and blinged-out sneakers aren’t just for movers and the shakers overseas any longer. Streetwear is alive and booming in Singapore — and people are taking notice.
Streetwear first came into the fore globally around the early 1980s, as punk fashionistas in the US incorporated elements from various sources to create elevated looks with a mishmash of inspirations.
Mark Ong, founder and creative director of sneaker customisation house SBTG, explains that the style’s origins lay in a desire to be different. “It started as a countercultural movement, collectively created by skateboarders and hip-hop culture, by fusing styles from different genres and playing with the sizing of garments to create a look,” he tells Options, adding that streetwear is a “sign of rebellion to conformity”.
Despite these against-the-grain origins, streetwear has turned effectively mainstream since the noughties, with brands like Stüssy, Billionaire Boys Club and A Bathing Ape becoming stalwarts in the wider fashion industry.
Limited drops, coupled with high-profile collaborations — including with mass-oriented and luxury labels — and even presentations at prestigious Fashion Weeks around the world have catapulted these streetwear brands into the public eye. Some have even been brought into a more elevated market.
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Streetwear quickly proved popular — and profitable. Fashion and apparel groups quickly jumped into the scene, with acquisitions taking place all the way through to the early 2020s.
But demand is slipping. In July 2024, VF Corporation offloaded Supreme for US$1.5 billion ($2 billion), down from the US$2.1 billion it had paid for the label just four years prior; this came on the back of years of declining revenue.
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More recently, LVMH sold its 60% stake in the late Virgil Abloh’s Off-White label to the Bluestar Alliance, a group known for acquiring distressed labels.
One key factor behind the decline of global streetwear brands is an increasingly crowded market. The illusion of scarcity that came with limited drops is no longer as enticing, with new releases from brands left and right on an almost-daily basis. For the sneaker industry in particular, Ong says he observed “a huge dip in sales” in 2024 due to oversaturation.
Still positive
Despite this, local players are staying optimistic about streetwear’s prospects in Singapore. Dave Chiam, co-founder of street culture convention Culture Cartel, says the market here is “still growing” and has lots of potential. “While Singapore’s population is small, the region is interconnected and our city often serves as a hub for Southeast Asia,” he tells Options.
Culture Cartel was started in 2018 by Chiam with three friends. The event’s fifth edition, which drew over 20,000 participants over three days in January, took place at the Singapore Expo, bringing together a host of enthusiasts and companies from around the world.
Events like Culture Cartel are helping to give Singapore’s streetwear scene its moment in the sun. “We hope to give local players a platform to showcase their work alongside international brands, foster collaborations and exposure,” says Chiam.
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Among the local brands at this year’s Culture Cartel was Chota House. Designer Andrew Tay tells Options that the brand, founded in 2009, draws “heavily from Native American heritage, military aesthetics and Japanese design influences, all shaped by our deep appreciation for their cultures and histories”.
Tay notes that the rising cost of living has led to a decline in consumer spending on fashion. “Coupled with increasing rental and resource costs, these factors present significant challenges for local streetwear brands.” Chota House operates out of a store at the fourth floor of 313 @ Somerset, with products made locally.
Difficult as it may be, the brand is pushing ahead with maintaining its physical presence. “Despite these obstacles, we firmly believe in the importance of brick-and-mortar stores,” says Tay. “They offer an irreplaceable experience, allowing customers to try on clothing and connect with the garments on a tactile level, something that is hard to replicate online.”
Flight to quality
This emphasis on getting up close and personal with products comes as consumers now demand more for their buck in all purchases, including clothing. “More than ever, people are seeking high-quality, timeless pieces that transcend fleeting trends in this fast-paced, trend-driven industry,” Tay points out.
Another who has noticed this “increased appreciation for quality and craftsmanship” is Jebson Tan, creative director of The Corner Shop. Also known by its hanyu pinyin name Zha Huo Dian, the brand offers “unique pieces” from local and international labels.
Consumers are not just looking at quality in terms of material, design or construction, either. The experience of shopping for streetwear has also become a greater focus, as people seek out a lifestyle that feels authentic, different and personal.
“We see ourselves not just as retailers, but as curators who bring clothes with stories to our customers,” says Tan, who has made this personalised experience a core tenet of The Corner Shop’s model. “Our [unique selling proposition] lies in our meticulous curation process, unique clothing pieces and our ability to create a shopping experience that feels personal and inspiring for each customer.”
Chota House’s Tay concurs that streetwear extends beyond a look. “At its core, streetwear is about breaking boundaries, challenging norms, and embracing individuality, like a uniform for the unconventional, the rebellious, and those who believe that fashion is more than aesthetics — it’s a reflection of one’s identity.”
Singaporean street
Localisation fits well into this dynamic. After all, what could be more personalised than a hoodie with “Tampines” or “Tanglin” emblazoned across its front? Tay notes that several local brands have come up recently, each with its own distinctive style. “This stands in contrast to the past, where international streetwear giants largely dominated the market.”
While most agree that a distinctly Singaporean flavour of streetwear has yet to fully emerge, the beginnings of what the country’s signature look could be are starting to become clear.
“What sets Singapore’s streetwear apart is its adaptation to the city’s tropical climate,” Tay suggests. “In a place where it’s perpetually hot and humid, self-expression often comes through thoughtful choices in accessories, silhouettes and lightweight fabrications.”
Going green is also on Singaporean streetwear consumers’ minds. “In Singapore, there’s been a rise in sustainability-focused streetwear, with an emphasis on upcycling and eco-conscious designs,” says The Corner Shop’s Tan. Culture Cartel’s Chiam similarly notes brands moving towards using “eco-friendly materials and embracing ethical practices”.
As a uniquely Singaporean streetwear aesthetic continues to take shape, consumers’ interest in the local scene is growing. While some may have once turned up their noses at homegrown fashion brands, more today are keen to try something made in Singapore.
“There is still a little stigma surrounding supporting local, but I see that slowly ebbing away,” says Mandeep Chopra, another co-founder of Culture Cartel.
Though the difficulties of sustaining a business here are still difficult to ignore, Chopra is hopeful that a new crop of homegrown streetwear brands can make it work. “It is hard for startups,” he tells Options. “I guess it is a slow burn, but hard work and perseverance will pay off as long as you have the right fundamentals and talent for what you do.”
Most importantly, he says it’s important for brands to stand out from the noise. “There is room for more, as long as you can carve out a niche for yourself.”
Taste of success
Some have already made their mark on the international market. SBTG, for instance, “has been pivotal in putting Singapore streetwear on the global map”, says Chiam. “Mark Ong’s custom sneakers, creative collaborations and edgy designs and fits are globally recognised and capture the essence of Singapore’s streetwear culture: raw, innovative and on point.”
Founded in 2003, SBTG started out working on custom sneakers. The label has since expanded into apparel and leather goods. “I always remember that our brand used to be misunderstood as being American,” says Ong. “That has slowly evolved over the years, and I would think that we are now more recognised as a brand from Singapore.”
SBTG has become a major player in the streetwear scene, and has also grown to mainstream prominence. Among its collaborations are tie-ups with brands like Nike SB and even McDonald’s. At Culture Cartel this year, it launched the first international release of SBTG x Kanky x Staple, a limited-edition collaboration with Jakarta-based Kanky footwear and American designer Jeff Staple.
Still, Ong admits that the business side of things is tough. “I am an artist at my core,” he says, adding that scaling SBTG despite its popularity has never been his strong suit. Still, he is making some effort to grow. “Since last year, we have started to work with a brand rep to showcase at Paris Fashion Week, and I have plans to do more in New York and Japan this year.”
Other homegrown labels are also taking steps to grow. Jeremy Tan of Koterie Store is looking to local-level collaborations to cultivate the brand’s network and name recognition here. The brand, which specialises in genderless casual wear, also has a presence in Malaysia and Taiwan; it delivers globally via its website.
Chota House and The Corner Shop are looking to expand overseas as well.
Such buzzing activity gives Chopra hope that Singaporean streetwear is truly on the rise. “If Singapore can take a leadership role for Southeast Asia, then we have strength in numbers and we can become very powerful as a region,” he says. “That’s where I hope and see things going … I have seen too many brands come and go, so it would be great for the new generation to build some lasting impact.”
