Through the Lens: Weeyang

Exploring the unconventional through magazine editorials

‘Through the Lens’ is a series that explores in detail the images of fashion image-makers in Southeast Asia, shedding light on their creative and technical processes.

For Lim Wee Yang, better known as Weeyang, what started out as a hobby became his calling. The Kuala Lumpur-based photographer is best known for his eccentric style and experimental spirit, which draws him to play with the unconventional. The rising star has shot covers for renowned titles like Malaysian singer Yuna for Vogue Singapore, fashion influencer and beauty entrepreneur Ameera Khan for ELLE Malaysia, and Thai actress Supatsara Thanachat for Grazia Singapore. Aside from his portfolio for magazine editorials, he has also shot the campaigns of Malaysian designers Wei Hao Yong and Dikson Mah. 

Through his lens, he breathes a dynamic and bold spirit into his work. In this conversation with the image maker, we get a glimpse of his perspective as a creative, and dissect the process and mentality behind his work.

Editorial campaign for L’Officiel Malaysia December 2023/January 2024 Issue, 2023. Image courtesy of Weeyang.

Hi, Weeyang! It is a pleasure to be acquainted with you. First things first: could you tell us how you started being a photographer? What sparked your interest in photography?

Hi! I got into photography quite suddenly, without any training. While I was studying Fashion Design and Pattern Making at ESMOD Kuala Lumpur, we had to do photo shoots for our final-year collections. Working with photographers during that time inspired me. I was amazed by how they work and plan shoots, and it made me want to try photography as a hobby.

Could you talk about your life before becoming a photographer? How did that influence you as an image-maker?

I had just graduated with a Diploma in Fashion Design & Pattern Making, and was interning at a fashion brand in Malaysia when I started exploring photography as a hobby. I love both film and fashion, and fashion photography sits perfectly in between.

Yuna for Vogue Singapore’s April 2025 Digital Cover, 2025. Image courtesy of Weeyang.

Earlier this year, you shot the digital cover of Vogue Singapore’s April 2025 issue with Yuna. What was the most memorable part of working on this cover?

It was a great experience. We were shooting under the crazy Malaysian heat, and it was almost impossible to stand still without a few fans going. Despite the conditions, everyone on set was calm and collaborative.

Ameera Khan for Elle Malaysia’s January 2025 Cover, 2025. Image courtesy of Weeyang.

Supatsara for GRAZIA Singapore's December 2024 / January 2025 Cover, 2024. Image courtesy of Weeyang.

You also shot Ameera Khan for the cover of ELLE Malaysia’s January 2025 issue and Supatsara for the cover of Grazia Singapore’s 2024 Holiday Issue. In your opinion, what is the key to making a cover engaging?

Honestly, I am still figuring it out, and every shoot feels like a learning experience. But I am most drawn to images that feel authentic, real, and candid.

Wei Hao Yong’s “RIVULET” Campaign, 2024. Image courtesy of Weeyang.

Besides magazine editorials, you also shot otherworldly campaign images for renowned Malaysian designer Wei Hao Yong. Could you share with us what the process was behind this campaign? 

Planning is fun when the designs are already great. For me, styling plays the biggest role in most of the photoshoots. It is what ties everything together. Once the styling and idea are good, the rest usually comes together naturally.

Dikson Mah’s SS25 Campaign, 2025. Image courtesy of Weeyang.

You also shot the Spring/Summer 2025 campaign for young Malaysian designer Dikson Mah, where you successfully accentuated his intricate and detailed pieces. Do you have any advice for photographers on how they can enhance a designer’s pieces through their photoshoots?

I do not think I am in a place to give advice yet. I am quite new to the industry, and I am still figuring out who I am, both as a photographer and as a person. Every shoot teaches me something new, and I am working on staying open and curious.

How would you say working on magazine editorials is different from working on a designer’s campaign? Is there a difference in your approach and mindset?

They are rather different. With magazine shoots, things are usually planned out, and I kind of know the vibe before going in. But with designer campaigns, it feels more free. Sometimes it is almost like experimenting on set and seeing what works in the moment. But both have their fun parts in different ways.

“What a wonderful fucking world”, 2023. Image courtesy of Weeyang.

When it comes to your personal work, you play with bolder colors, a touch of whimsy, and influences of surrealist visuals. How would you describe your personal style?

I do not quite know how to describe my style yet. Right now, I go with what I like and what feels right. Hopefully, one day, I can define it more clearly. But for now, I am exploring.

What influences you the most? This could be themes, figures, concepts, or media, etc. And why are they intriguing to you?

Watching films is definitely at the top of my list. I watch all kinds of movies, and I can spend an entire day watching them. I love the feeling of going into someone else’s world. It is almost like escaping my own life for a little while. It might not always directly shape my work, but it definitely inspires me and keeps me motivated to keep creating.

Backstage of Robert Wun’s FW2025 Couture Show, 2025. Image courtesy of Weeyang.

What milestones do you envision for yourself moving forward?

At the moment, I am focused on learning and growing myself and my work. I believe that my work can only grow if I aim to do so as a person first,  so I am taking my time with that.

See more of Weeyang’s work on Instagram at @weeyanggg.