Andrea Wong has worked as fashion stylist for 'Crazy Rich Asians', where her carefully curated looks became integral to the film’s visual storytelling. Photo: ART CHEN/The Star
The most powerful fashion images don’t start with clothes – they start with a feeling.
It’s a philosophy Andrea Wong has refined over 20 years across fashion, publishing, PR, events and e-commerce.
For the freelance creative director, stylist, writer and consultant, the core story becomes the thread that shapes every decision.
“I always try to start with the storytelling. What is the narrative? What emotions do I want to evoke?” says the seasoned fashion multi-hyphenate.
She notes that sometimes the visual story starts with a mood or a feeling, a colour palette that just clicks, or even one strong reference image that captures the attitude you’re going for.
“I did a cover shoot once where my inspiration was Wong Kar Wai’s Chungking Express. I knew I wanted the shoot to feel cinematic, with a distinctly Asian vibe, so naturally I went to Wong Kar Wai.
“We shot at an old motel in Chinatown. I curated a wardrobe that was elevated streetwear meets vintage edge, set against soft, nostalgic lighting with poses and angles that felt like stills from a movie.
Her instinct for visual narrative underpinned her work as fashion stylist for Crazy Rich Asians. Photo: ART CHEN/The Star“It’s one of the shoots I’m proudest of because every element, from the story to the styling to the shots, came together seamlessly,” says Wong, who took to our photographer’s lens in a wardrobe from Syomirizwa Gupta, Kit Woo and EL byellielim.
This instinct for visual narrative has defined Wong’s prolific career, from her early editorial years at fashion magazines to shaping imagery in e-commerce.
It also underpinned her work as fashion stylist for Crazy Rich Asians, where her carefully curated looks became integral to the film’s visual storytelling.
Today, Wong works across disciplines with the same philosophy: when story, mood and collaboration align, fashion becomes something cinematic, memorable and deeply human.
How did you first get into fashion, and what was the moment you realised this could be your career?
In many ways, fashion found me before I found it.
I didn’t study fashion, I wasn’t particularly immersed in its world, and I certainly had no clue how a fashion magazine actually worked.
After university I sent my resume everywhere, mostly for marketing and PR roles, and by pure serendipity, the then-editor of Harper’s Bazaar pulled it out of the marketing manager’s reject pile and called me in for a junior fashion role.
I definitely didn’t walk in and dazzle anyone, my inexperience was probably written all over my face. But she gave me a test assignment, and I went above and beyond in true Type A fashion. That landed me the job (one, as they say, a million girls would kill for).
Two decades later, I’m still here, still creating, still grateful. To be busy and relevant in an industry that moves at lightning speed is something I never take for granted.
The moment I realised fashion wasn’t just a job but a career came when I stepped into freelancing.
Working on my own terms gave me space to discover my voice, refine my craft, and understand the power of building myself as a brand.
With the rock-solid foundation my mentors at Bazaar gave me, I’ve been able to grow in a way that’s been steady, meaningful, and incredibly fulfilling.
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What were the biggest challenges in your early styling days?
The self-doubt, the second-guessing and the lack of confidence.
All of which, honestly, fade with time and experience if you keep showing up, putting in the work, and staying open to learning.
There came a moment where I really started to trust my own instincts.
On photoshoots, for example, I know what makes a good shot and how to get it there, from the styling to the posing, right down to the lighting and angles.
I don’t doubt myself the way I used to, not because I think I’m always right, but because I’ve learned to recognise when something feels right. That conviction is one of the most valuable tools I have today.
The biggest lesson I carry from those early years is that great work is never created alone.
After two decades in the industry, Andrea Wong has learned that the most powerful images don’t start with clothes – they start with a feeling. Photos: ART CHEN/The StarCollaboration is what elevates something good into something remarkable.
Even when I’m leading a project with a clear concept in mind, the magic always happens when everyone adds their voice.
The photographer, the hair and makeup team, the models, they all bring their own instincts and lived experiences.
And that’s what makes the final result richer and more layered than anything I could have imagined on my own.
How did each phase of your career shape your creative voice?
My early years at Harper’s Bazaar built my foundation, from fashion co-ordinator to fashion editor, teaching me discipline, craft, and the inner workings of the industry.
Freelancing after that was the first time I truly forged my own voice, learning to trust my instincts without a safety net.
Becoming editor-in-chief of Elle Malaysia stretched me the most.
Launching the magazine from the ground up was the toughest job I’ve had, but it taught me editorial creation at the highest level.
More importantly, it gave me the confidence of a leader, someone who could guide a vision and bring an entire team along with it.
The real shift, though, came when I chose to go back out on my own.
That’s when I started making intentional choices about the creative life I wanted, to work independently, choose the projects that excited me, and constantly expand my skills.
Now I’m a full-fledged fashion multi-hyphenate, moving between creative direction, fashion styling, writing, hosting styling talks, PR and events consulting and personal styling, all driven by the same belief: to empower people through what I believe is one of the most meaningful forms of self-expression.
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What are your thoughts on the local fashion industry today: its strengths, its gaps?
The local fashion industry has come a long way, and the talent here, from designers to editors to stylists, is truly impressive, they’re resourceful, innovative and bold in their creativity.
There’s also a growing awareness of storytelling and brand identity, which is helping Malaysian fashion find its own voice.
It’s heartening to see the industry nurturing the next generation of talent as well, I loved seeing such promising emerging designers on the KLFW calendar this year, and it’s great that Moda Malaysia is putting a strong focus on mentorship for aspiring designers.
Of course there are still gaps we can work on (more funding and resources, for one), but having been in this industry for 20 years, I’ve watched it grow from strength to strength.
The passion and creativity are there, and as long as we keep supporting each other to lift the industry as a whole, Malaysian fashion will continue to make its mark both at home and beyond.
What do you think is unique about the Malaysian fashion scene?
What makes the Malaysian fashion scene really special is its diversity and resourcefulness.
We pull inspiration from so many different cultures, traditions, and personal stories, which gives our fashion a richness you don’t always see elsewhere.
Designers and creatives here are used to working with limited resources, and that challenge often sparks some of the most original ideas.
What I think we don’t celebrate enough is that creativity and ingenuity.
Too often, the spotlight goes to international brands or trends, instead of highlighting the bold, original voices we already have here.
Malaysian fashion isn’t just about the clothes, it’s about culture, identity, and the way talent and resourcefulness come together to create something truly unique.
