ILLIT navigates the ups and downs of a blossoming relationship in new EP, ‘Bomb'
Debuting in early 2024, ILLIT, the quintet from South Korea, rose to immediate success with their debut single 'Magnetic.' Sporting a catchy tune and bubbly vocals, the track became an instant viral hit, showcasing the group's unique sound and solidifying their position in a highly competitive industry. 'Our music continues to convey our spirited feelings in a playful but sincere way,' says main vocalist Minju, as she reflects on how far the group has come.
A little over a year since their debut, the girl group has just released their third mini album, Bomb, continuing to build upon a narrative of self-discovery. Venturing into the realm of a blossoming relationship, they tap into new feelings and experiences, all while staying true to their core selves. With playful lyrics, snappy melodies and ILLIT's signature youthful energy, the diverse tracks of their new EP explore the ups and downs of young love.
Here, the five members—Yunah, Minju, Moka, Wonhee, and Iroha—share with Vogue Singapore the concept and inspiration behind new mini album Bomb, their love for performing live and how they have grown over the past year since their debut. Courtesy of Belift Lab
Tell us about what inspired your new EP Bomb. What is the concept behind this project?
Yunah: Our third mini album draws inspiration from the idea of 'magical girls.' It tells the story of girls stepping out into the world and navigating newfound relationships while holding on to their inner magic, always believing in their own possibilities.
Wonhee: This album shows us facing our feelings head-on. We also tap into new emotions such as the anxiety and uncertainty surrounding a blossoming relationship.
Tell us a bit more about your lead single 'Billyeoon Goyangi (Do the Dance)'. What inspired this track?
Yunah: The title comes from a proverb depicting the feeling of being lost or out of place—like a borrowed cat who doesn't quite belong. It perfectly captures the dazed, awkward state after making a mistake in front of someone you like. Personally, my favourite parts are the intro and the interlude, with a grand, parade-like vibe reminiscent of an amusement park.
Moka: The performance of the track has a really sweet vibe. Notably, it features a set of intricate hand movements—dubbed the 'cat's stretch dance' and 'meow dance'—that have sort of become our signature moves.
Could you share some interesting behind-the-scenes moments of recording this project?
Wonhee: I have a verse that includes some French lyrics, which I took the time to learn while recording. They were a bit tricky to pronounce at first, but I managed to pull them off after some practice and I think it adds a special surprise to the song.
Minju: Although it's not my part, I really loved the playful lyrics like 'wiggle meow, dance dance meow.' Those lines add a cute, lighthearted energy to the song. They have been stuck in my head ever since the recording, making the track super addictive. I think it will have a similar effect on those who listen to it.
Which song(s) are you most excited for fans to hear and why?
Iroha: I'm most excited for fans to listen to 'little monster.' I hope they watch the music video alongside the track and pay close attention to the lyrics.
Moka: The lyrics of 'little monster' are super unique, and the song itself is very chic. It talks about facing and overcoming inner monsters—symbolising stressors like anxiety, depression, and sadness—and I believe many listeners will be able to relate to it.
As you are set to release your third EP, how have you evolved—as a group and as individuals—compared to when you first debuted?
Yunah: I believe our improvisations and performances on stage have become much more natural and confident compared to when we first debuted. In the beginning, we were more focused on getting everything exactly right, but now we've grown more comfortable in expressing ourselves and better connecting with the audience.
Iroha: As a group, our synergy has improved and our teamwork has gotten stronger. We also have more conversations now on how to translate this synergy into our music and performances. Personally, I think I've gotten better at delivering emotions through my vocals and movements compared to when we first debuted. Courtesy of Belift Lab
What does performing in front of your fans mean to you? Do you have plans to travel overseas to perform—where would that be?
Wonhee: We recently held our first fan concert in Seoul, and it was one of the most surreal moments since our debut—hearing the crowd sing along to our songs brought us so much joy. I hope to meet GLLITs in many more cities and countries around the world.
Minju: We feel very proud and happy to be able to bring joy to our fans. We have another concert planned in Japan later this year, and I'm thrilled to meet our fans in person and bring our performances to them up close.
What other sounds or concepts are you looking to explore in the future?
Moka: I'd love to explore the genre of hip-hop in the future. I believe experimenting with various genres helps broaden our musical range and skills, and it would be exciting to show a different, bolder side of us.
Yunah: I want to challenge myself with band-style songs and concepts. I love the raw, energetic sound that instrumentation brings to band music. I think exploring in that direction would bring a fresh and dynamic vibe to our music.
Listen to Bomb here .
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Straits Times
2 days ago
- Straits Times
Singapore's Odette is No. 25 on World's 50 Best Restaurants list
Odette's team with its French chef Julien Royer (centre). The French fine-dining restaurant has been ranked No. 25 on The World's 50 Best Restaurants 2025 list. PHOTO: THE WORLD'S 50 BEST RESTAURANTS Singapore's Odette is No. 25 on World's 50 Best Restaurants list SINGAPORE – French fine-dining restaurant Odette at the National Gallery Singapore has slipped a notch to No. 25 on The World's 50 Best Restaurants 2025 list. It remains Singapore's only restaurant on the prestigious list of gastronomic talent, announced at a ceremony in Piedmont's Turin city in northern Italy on June 19. The three-Michelin-starred establishment, ranked No. 24 in 2024, has been on the top 50 list since 2018. Odette's chef Julien Royer, 42, who attended the ceremony, said in a statement: 'This year marks 10 years of Odette, and it is an honour to once again be recognised among some of the finest restaurants around the world. 'I'm incredibly proud of my team – many of whom have been on this journey with us since the very beginning. Their dedication and consistency have been key in shaping Odette into what it is today.' The statement added that, regardless of the placing, Odette's entire team is immensely proud of what it has accomplished over the years to represent Singapore on the world culinary stage. Two other Singapore establishments made it to the list of top 100 restaurants, which was announced on June 5. Chef Dave Pynt of Burnt Ends, ranked No. 93 in 2025. PHOTO: ST FILE Modern barbecue restaurant Burnt Ends in Dempsey dropped to No. 93 (from No. 68 in 2024), while modern Singaporean Restaurant Labyrinth at Esplanade Mall slid to No. 97 (from No. 92 in 2024). Chef Han Liguang helms Restaurant Labyrinth, ranked No. 97 in 2025. PHOTO: ST FILE Contemporary Korean restaurant Meta in Mohamed Sultan Road, ranked No. 95 in 2024, did not make the cut. Topping the list was Lima's Maido restaurant (from No. 5 in 2024), which also held on to its Best Restaurant in South America title that was awarded in 2024. Lima's Maido restaurant takes top spot, helmed by Peruvian chef-owner Mitsuharu 'Micha' Tsumura (centre). PHOTO: THE WORLD'S 50 BEST RESTAURANTS Run by Peruvian chef-owner Mitsuharu 'Micha' Tsumura, the restaurant is named after the Japanese greeting 'Maido' that is used to welcome diners. Maido, which was established in 2009, specialises in Nikkei cuisine – blending meticulous Japanese techniques with vibrant Peruvian ingredients for an innovative dining experience. Spain's Asador Etxebarri and Diverxo – at No. 2 and No. 4 respectively – maintained their rankings from 2024. Inching their way into the top five are Mexico City's Quintonil at No. 3 (from No. 7 in 2024) and Copenhagen's Alchemist at No. 5 (from No. 8 in 2024). Barcelona's Disfrutar, which was the top restaurant in 2024, joins the Best of the Best hall of fame of establishments that attained No. 1 in previous years. These include Lima's Central, New York's Eleven Madison Park and Copenhagen's Geranium and Noma. Bangkok's restaurants had a strong showing, with two new entries cracking into the top 50. Nusara came in at No. 35 (from No. 74 in 2024) and Potong, at No. 13 (from No. 57 in 2024), also received the Highest New Entry and The World's Best Female Chef accolades for its chef Pichaya 'Pam' Soontornyanakij. The Thai capital's other restaurants all climbed the ranks, with Gaggan at No. 6 (from No. 9 in 2024) retaining its Best Restaurant in Asia title. Sorn placed at No. 17 (from No. 38 in 2024), Suhring at No. 22 (from No. 23 in 2024) and Le Du at No. 30 (from No. 40 in 2024). In Japan, the rankings for its restaurants fluctuated. Tokyo's Sezanne climbed to No. 7 (from No. 15 in 2024), while Florilege slid to No. 36 (from No. 21 in 2024). Den is now part of the 51-to-100 restaurants list at No. 53 (from No. 32 in 2024). Re-entries into the World's 50 Best list include Tokyo's Narisawa at No. 21 (from No. 56 in 2024) and Osaka's La Cime at No. 44 (from No. 66 in 2024). The award recipients at The World's 50 Best Restaurants ceremony in Turin. PHOTO: THE WORLD'S 50 BEST RESTAURANTS Several Asian restaurants also fared well, including Hong Kong's Wing at No. 11 (from No. 20 in 2024) and The Chairman at No. 19 (from No. 26 in 2024); and Seoul's Mingles at No. 29 (from No. 44 in 2024). Other chef awards went to Maxime Frederic from Plenitude at the Cheval Blanc Paris Hotel in Paris (No. 14), who was named The World's Best Pastry Chef; and chef-owner Albert Adria of Barcelona's Enigma (No. 34), who won the peer-voted Chefs' Choice Award. The annual list is produced by British media company William Reed. It is based on voting by a panel of 1,120 international restaurant industry experts from 28 regions around the world. Eunice Quek is STFood online editor at The Straits Times. She covers all things trending in the food and beverage scene. Check out ST's Food Guide for the latest foodie recommendations in Singapore.
AsiaOne
2 days ago
- AsiaOne
Asian Art Association Singapore denies misuse of artist profiles, says Botanic Gardens event is legit, Singapore News
The Asian Art Association Singapore (AAA) has shut down claims that it misused artist profiles and falsely associated its events with the Singapore Botanic Gardens. In a statement posted to Facebook on Wednesday (June 18), the association said it was recently made aware of remarks circulating on social media which it described as "false and misleading". One of these remarks was about the artist profile of a Japanese illustrator who had been formally invited to join the association in 2022. A screenshot of the profile, which was shared with AsiaOne, showed the illustrator's name, place of origin, works and awards. It also had a short description of how aspects of his life influenced his art style. The person who made the accusatory post has since deleted it. Responding to AsiaOne's enquiries, AAA chairman Jay Chau said the illustrator had voluntarily submitted his materials for publication and was sent a draft webpage of his artist profile on Aug 23, 2022. The profile was only published after receiving the illustrator's written confirmation, according to the chairman. "Earlier this month, the artist contacted us to request the removal of his profile but did not provide a reason at the time. We respected the request and promptly took the page down," Chau said. Artist profiles published only with their consent: Chau He also explained that the association either invites artists to join it or accepts applications from individuals who demonstrate excellence or strong potential. Artist profiles are only published on AAA's website or social media after receiving explicit consent from them, Chau added. AAA also clarified in its statement that its Wild City exhibition, which was held at the Singapore Botanic Gardens from December 2024 to April this year, is an officially listed event on the National Parks Board (NParks) website and Botanic Gardens event calendar. This was in response to accusations that the association falsely associated its events with the Singapore Botanic Gardens. Highlighting that the event was endorsed by the French Embassy in Singapore as a form of "cross-cultural artistic exchange" and covered by international media, Chau reiterated that it was legitimate. He also said that the association has maintained clear and positive communication with NParks with no concerns or disputes raised regarding the event. AsiaOne has contacted NParks for more information. 'Surprised and disappointed' The person who made the accusatory post which prompted the association's statement has since apologised, Chau told AsiaOne. In a comment below AAA's post, the person wrote: "I acknowledge that I should have verified my findings more thoroughly before making my post...I sincerely regret any confusion this may have caused." Chau said that the association was "surprised and disappointed" by the tone and content of the post, particularly because "no effort was made to verify the facts with us before such serious accusations were made". "It is regrettable that such unfounded claims—whether stemming from misunderstanding or other intentions—could damage trust within Singapore 's arts ecosystem." "AAA operates on the principles of transparency, professionalism, and inclusiveness. We welcome constructive dialogue, feedback, and collaboration across the creative community, and remain open to any opportunity for mutual growth." [[nid:716331]]
Vogue Singapore
2 days ago
- Vogue Singapore
Meet Bhavya Ramesh—the designer making Indian jewellery cool again
Jewellery is undeniably a vital part of Indian identity, culture, and heritage. Gold and silver heirloom pieces, like bangles and necklaces, have been passed down in families for decades. The practice of wearing ornaments for important festivals and ceremonies, that element of 'something old,' has always been a part of Indian history. But the Indian youth of today are seeking ways to stay connected to their cultural roots in ways that feel true to who they are now; for many, jewellery becomes that outlet where they can wear their heritage with pride—the perfect medium for self-expression. Yet the problem remains: traditional Indian jewellery while rich in legacy, often feels too ceremonial for everyday wear, whereas contemporary pieces, though easy to style, lack that Indian touch they so ardently seek. So when Bhavya Ramesh, founder, and creative director of her eponymous label, first began her foray into the world of jewellery production, this was the exact gap she decided to fill in. 'Jewellery in India is often bound by tradition. I wanted to break that, to make pieces that feel Indian in soul, but not in form,' she says—and this sentiment lies at the heart of her label. Courtesy of Bhavya Ramesh Known for her bold and avant-garde aesthetic, Ramesh's eccentric designs are downright audacious in form. From silver nail rings that twist into fierce armours, gilded sunglasses that depict peacocks, hair clips shaped like slithering snakes and necklaces that resemble dancing apsaras, most of her collections draw from mythology, science fiction, and fantasy. Though her designs are modern in form, but they still feel unmistakably Indian in soul. By producing in-house, championing ethical practices, and fostering close relationships with artisans in Jaipur, Ramesh ensures that innovation never comes at the cost of integrity. With a background in engineering, the designer has always gravitated towards creative territory. Today, with her brand headquartered in Mumbai and a growing list of high-profile clients—Ramesh is making traditional silver jewellery cool for a generation that wants to honour its roots without being weighed down by them. In an interview with Vogue Singapore, the Indian designer opens up about her creative process, design ethos and the story behind her eponymous label. Courtesy of Bhavya Ramesh What inspired you to start your own jewellery brand, and how did Bhavya Ramesh the label come to life? I come from an engineering background, not a design one, but I've always believed my pieces are well-engineered. The technical knowledge I carry has deeply shaped how I think about structure, form, and function—which has become the unique signature of the brand. At a crucial point in my life, I knew I wasn't built to work for someone else. There was a strong voice within me pushing me to create something of my own. When I began exploring jewellery, I was captivated by the richness of Indian craftsmanship and the traditional art forms we've inherited. I felt they deserved a fresh voice—one that could be understood and appreciated globally. Choosing silver as my medium was both a creative and strategic decision. It's timeless, valuable, and at the time, felt like a smart investment—even if the design journey didn't take off, I knew the metal itself would hold value. That blend of business instinct, creative expression, and technical grounding is what shaped Bhavya Ramesh into what it is today. You've spoken about sustainability and working with artisans in Jaipur. How do you ensure that your production stays ethical and true to your values as you expand your business? This was one of my biggest concerns from the very beginning—how to grow without compromising on ethics or integrity. One of the reasons I've been able to stay grounded in my values is because all our production is in-house. Nothing is outsourced. That gives us complete control over how things are made, how silver is treated, and how artisans are involved throughout the process. Since we work with metals, there's a beautiful circularity built into the system—everything can be melted, reworked, and reused. That naturally creates a more efficient and sustainable business model. But beyond that, what really holds it all together is the relationship with our karigars (artisans). They don't just execute my vision, they are a part of it. There's a shared purpose, and that emotional investment is what makes each piece not just ethical, but meaningful. Courtesy of Bhavya Ramesh Your designs are often described as bold and unconventional. What influences your aesthetic? The aesthetic of the brand wasn't something carefully planned or constructed, it evolved organically. It's deeply rooted in my personal journey, in a series of life experiences and emotions I felt compelled to express. Over time, that expression shaped a language of its own. From the very beginning, I've been driven by the desire to create something that hasn't been seen before in the jewellery space—especially in a country like India, where jewellery has existed for centuries but is often seen through a traditional or commercial lens. I wanted to break that pattern and bring in a fresh perspective—one that's raw, emotive, and unafraid to challenge convention. Can you walk us through your creative process—from ideation to the final product? My creative process isn't linear or fixed—it evolves constantly. Ideas often strike unexpectedly: from a passing conversation, a joke, a strong emotion, or just a random observation. That initial spark is where it begins. But once the idea is planted, I begin building a world around it. A big part of my process is the human body itself. The anatomy becomes a framework—the Nail Crown collection, for example, revolved entirely around nails; GlarerKillers explored the eyes; and Poison centred on the movement of fingers. Working hands-on with artisans is where the real magic happens. No matter how imaginative the concept is, its transformation into a tangible piece depends on how well it can be executed. That phase of experimentation—when two minds are in sync trying to bring a wild idea to life—is often where the most iconic pieces are born. Courtesy of Bhavya Ramesh From Ancient Aliens to GilGa, and now Naraka, your collections often feel mythical and cinematic. What's your process when translating storytelling into your designs? The story always comes first. I'm constantly drawn to worlds that are a little surreal, a little beyond reality—whether it's mythology, cosmic fantasy, or reimagined history. I think of these stories almost like scenes from a film: what would these characters look like? What would they wear? Ancient Aliens, for example, started with the thought: what if the gods we see in mythology were actually otherworldly beings? That led me to create pieces like headgears—bold, other-dimensional designs that aren't worn in everyday life but feel absolutely right in a mythical context. Jewellery in India is often bound by tradition. I wanted to break that, to make pieces that feel Indian in soul, but not in form. When someone wears one of these pieces, I want them to feel like they're stepping into a different version of themselves. That ability to liberate and transform through design is what I constantly chase. Courtesy of Bhavya Ramesh Tell us about a memorable celebrity encounter. One of the very first moments that truly stayed with me was when Aarti, the lead vocalist of Hiatus Kaiyote, messaged us. She was nominated for the Grammys and wanted to wear our nail blades. I remember being stunned, this incredibly powerful and genre-defying artist discovering our work and choosing to wear it for such a monumental occasion. That was my first brush with realising that something I created could travel so far, both literally and emotionally. Then there was Wisdom Kaye-W-I-S-D-M Kaye, who personally messaged us to say he loved the brand. He's known for his razor-sharp fashion sense and wears some of the most iconic designers worldwide. For him to not only see my work but want to buy it was surreal. I had to read the message twice. That kind of validation when someone you admire connects with your imagination is deeply empowering. You come from a non-fashion background and are self-taught. In your experience, is it necessary to formally study fashion or design in order to succeed in the industry today? It's a debatable question, honestly. I have a lot of respect for formal education, and I know it brings a strong foundation. But I also come from an engineering background, and that has given me analytical tools, technical understanding, and even the ability to build my own website and structure my business. That said, I don't believe a formal degree is the only way to succeed. Passion, vision, and a unique voice can take you just as far. I've seen many creatives thrive in spaces they were never formally trained in, simply because it was a calling. One advantage of being self-taught is that your creative process isn't shaped by any rigid structure, you build it from scratch, which makes it more personal. But yes, the journey also comes with mistakes and learnings that maybe a formal education could have streamlined. In the end, it's the drive that matters most—not the diploma. Courtesy of Bhavya Ramesh Most of Bhavya Ramesh items are sterling silver. How can we avoid our pieces from tarnishing, especially in more harsh, humid climates like Singapore? All my jewellery is made from solid sterling silver and that's a very intentional choice. Silver is a precious metal, an investment, and something I've committed to staying true to despite the challenges it brings, especially while scaling a business. Silver naturally tarnishes over time, particularly in humid climates like Singapore. But for me, that aging process is part of its charm; much like leather, it gains character. That said, for those who prefer a polished look, we include a silver cleaning cloth with every piece. A gentle wipe brings the shine right back. For care, I recommend storing the pieces in airtight pouches, keeping them away from moisture, and using anti-tarnish strips if needed. What's next for Bhavya Ramesh? Is there a new direction you're excited to explore? Opening our first retail store was a defining moment for me. It marked the transition from being an online-only brand to creating a physical experience. This year, we're planning to open at least three new stores, and each one will be entirely different. Every location will tell a different story, drawing from regional craftsmanship, cultural narratives, and unique interior techniques. We're committed to keeping the ethos of the brand intact-rooted, expressive, and experimental. I'm especially excited about the idea of bringing Bhavya Ramesh to Singapore someday. We have a beautiful clientele there, and I'd love to create a space that feels like an extension of the brand's world. This year is all about storytelling through space, silver, and soul. Shop Bhavya Ramesh here.
