Down to Earth: Steffi Cua

PHOTOGRAPHY Colin Dancel

ART DIRECTION Zoe Sabandal

Can ecological art be both impactful and practical? This is the burning question behind Earthbound, a recently concluded exhibit by Geraldine Javier, Marionne Contreras, and Steffi Cua. “When we connected, it was clear that we shared the same values, making the collaboration feel both natural and deeply aligned,” Cua mused of her first meeting with the two artists. “The most fascinating part was the chaotically exhilarating collision between fashion and the art world. Geraldine, Marionne, and I each come from disciplines that often operate in isolation, but this collaboration pushed us to break those boundaries.” As a trio, their works are a call for responsible cultural expression.

Together, the three women propose connecting with the earth by using natural materials and rethinking individual consumption in art and in daily life. Cua, who is also the designer behind ethical womenswear brand Idyllic Summers, advocates for slow fashion by using ecoprinted fabrics to make clothing designed with minimal waste and longevity in mind, highlighting the potential of botanical printing.

Let’s talk about your collection for the Earthbound exhibit. What were your inspirations for it?

The Earthbound collection is a deeply personal project inspired by the creative and grounded way of life of artists Geraldine Javier and Marionne Contreras, both of whom live closely with nature in the countryside.

Geraldine’s work explores the delicate relationship between humanity and nature, often integrating organic materials to highlight environmental themes. Marionne’s practice delves into memory and its vulnerabilities, drawing from textures and forms found in the natural world.

What piqued your fascination with the silhouettes, textures, and ecoprinted fabrics you’ve used in this collection? What made you decide to use them?

The silhouettes were inspired by Natura, a series by Lucio Fontana, where organic, rounded forms feel both primitive and futuristic. They resemble seeds encapsulating and framing the eco-printed textiles created by Geraldine and Marionne. The collection follows the cycle of life: beginning as a seed, germinating, blooming, wilting, and eventually renewing, mirroring the themes present in both artists’ work.

Tell us about the Earthbound exhibit. How did it come to be? 

Geraldine Javier, one of the Philippines’ most renowned contemporary artists—whose work has been shown at Miami Art Basel and international galleries—wanted to collaborate with young creatives. She invited Marionne Contreras to co-develop eco-printed textiles and sought a fashion designer to bring them to life, which is how my name came up through an art collector.

What was the most fascinating part of this collection’s creation process? Any interesting stories to share about it?

Bringing the two spheres, art and fashion, into direct conversation— where ideas, materials, and techniques intertwined—made for an intense yet deeply rewarding creative process.

Collaborating more closely with our seamstresses—many of whom also work on Idyllic Summers—pushed our pattern cutting and garment finishing in new directions. We even went full couture on the necklines and hems using bias binding and blind hemstitching, something I’d usually have to resist for cost reasons, but for this collection, we just went for it.

Could you tell us more about your brand and how it’s evolved through the years? What are your dreams for it?

Idyllic Summers began as a study of Filipino craft through a contemporary lens, and that remains at its core. Over time, it has become more experimental, integrating unconventional pattern cutting whilst still prioritising the integrity of handcrafted textiles. My dream is for it to exist in a space where intellect, expertise, and artistry come first.

Could you tell us a little bit about your career background?

I studied Buying and Merchandising at UAL’s London College of Fashion, Fashion Design at LaSalle College International, and took further short courses in Draping, Creative Pattern Cutting, and Womenswear Made-to-Measure at Central Saint Martins. I also trained in embroidery at Hand & Lock and the London Embroidery School. My experience spans buying, wholesale, and design, having worked as a Senior Assistant Buyer at Harrods, Wholesale Account Manager at RainbowWave, Design Assistant to London-based designer Petra Metzger, and Senior Fashion Designer at Golden ABC before founding Idyllic Summers.

How has your design perspective shifted or remained since your last release?

My perspective remains rooted in craftsmanship and technique, but I’m more committed than ever to minimising unnecessary interventions, allowing textiles to retain their inherent beauty without excessive cutting, seaming, or embellishment.

What are your long-term influences? What are the things that have inspired you for years?

I don’t have a single long-term influence. My experience in fashion has been self-directed and diverse, constantly shifting with what I learn. If anything, my love for craft and the people behind it has been my most consistent influence, shaping how I approach design. Fashion, for me, has always been about the intersection of skill, intellect, materiality, and the human hands that bring ideas to life.

What are your current influences? What’s inspiring you right now?

Right now, I’m drawn to the intersection of fashion and sociology: how clothing functions as a form of signalling, power, and identity beyond just aesthetics. I’m revisiting ideas from Pierre Bourdieu and Thorstein Veblen whilst exploring creative pattern cutting, such as zero-waste design, Shingo Sato’s TR Cutting methods and Max Tilke’s research on folk costumes. My focus remains on thoughtful construction, where materiality, utility, and concept come together with intention.

Your design philosophy in one sentence?

Clothing is a vessel for intellect, craft, and materiality—where technique, concept, and the human hand converge to create something both intentional and quietly profound.