Post-Grad Portraits: Steffi Cua (International Women's Day Special)

Could you tell us about your current work?

I’m very excited about our textile work with an Aklanon weaving centre specialising in an endemic pineapple fabric called “Piña”. Our newest designs take on some of the visual identities of Idyllic Summers, which are in the form of clouds and flowers. These are handmade in a native weaving method called “suksok” where they meticulously insert different coloured threads into the weft to create the patterns.

Another inspiring project we have is with the T’Boli Tribe on embroidery design. They’re an indigenous community from the southernmost part of the Philippines. We are focused on developing their traditional embellishments, which resemble modern-day sequins, but are specially crafted from precious mother-of-pearl. Their island has had more Islamic influences compared to the rest of the Philippines, so many of their designs follow the sacred art of geometry and are more ornate.

It is a very exciting time and I am looking forward to the future of Idyllic Summers. There is an increasing interest in artisanal crafts and Philippine-made products both in the local and international space, so I’m happy we can be a part of it.

How does it feel to be returning home and combining your heritage with everything you’ve learned from your professional experiences?

It’s great! Coming back to the Philippines, I was adamant about building something more conscientious and attuned to our humanity, so it made sense to go back to our people, our history and the humility of traditional crafts.

Working with many inspirational people and brands throughout the course of my career has given me an extensive arsenal of experiences and network to reference on and pull from. Our business model was influenced by more established brands that I was exposed to in my time at buying (i.e. Alaïa’s carryover model), but it also takes from the smaller emerging brands I managed in wholesale, which are more intimate and focused on craft (i.e. Koché on working with French artisans from Chanel’s Métiers d’Art and Thierry Colson on working with artisans from India).

How important is it to you to be showcasing the skills of indigenous peoples in your work?

The Philippines has gone through 333 years of Spanish rule, 48 years of American rule, and 3 years of Japanese occupation, so direct links to our native past are few and far in between.

Traditional methods of craft and artisanal skills are one of the few things that have remained, especially evident amongst our indigenous population who have encountered less external influences. It is our intent to keep as much of this connection to our past and pre-colonial identity intact, for many more generations to see, experience and build on.

How did your course and time at UAL shape your relationship to your practice and design now?

My time at UAL was pivotal in gaining a foothold in the industry. It has given me the knowledge, credentials, network and confidence to pursue my vision and personal goals.

Specifically, the course has been very helpful in landing my dream role in London, which was a job in the buying departments of the world’s leading luxury retailers. In my current practice, I’m applying the lessons I learned to build balanced ranges that are commercial yet design-led.

What has been your most challenging hurdle you've faced as an entrepreneur? And what advice do you have to current students at UAL when it comes to embarking on their career?

As a start-up and small business owner, there is a need to take on majority of the roles - everything from design, merchandising, sales, accounting, and so many more invisible administrative tasks. The risk then is becoming distracted, losing sight of the bigger picture, and most importantly, completely disconnecting with what brought them there in the first place. For me, my raison d’être was about design, connecting with people and focusing on craft.

My advice for current students and recent graduates is that they should determine what gives them energy very early on, and find ways to work with partners who can take on the tasks that deplete their energy.

Finally, we’d love to hear about any memories you have about your time at

I am a fashion nerd, so being a part of UAL’s academic and creative network felt a bit like coming home and finding my community. UAL houses a beautiful and diverse mix of like-minded people, thus becoming a petri dish for ideas and innovation. On a personal note, I’ve stayed in touch with a few people from my cohort, who have remained great friends and creative sounding boards over the years.

Also, the libraries at UAL are a gold mine! I do an annual pilgrimage, since we have access as alumni. Honestly, I’d move in if I could!

Related Links

• Follow Steffi on Instagram
• Follow Idyllic Summers on Instagram
• Discover more work on the Idyllic Summers website
• Find out more about Post-Grad Community's 10 Year Anniversary
• Have you heard about our Family Heirloom project?

Post-Grad Portraits

Are you a UAL Postgraduate Alumni? We're looking to feature postgraduates from the last decade in our Post-Grad Portraits Series. Find out how you can get involved.

UAL Post-Grad Community

Established in 2013, Post-Grad Community is an inclusive platform for all UAL postgraduate students to share work, find opportunities and connect with other creatives within the UAL and beyond. Find out more.