Let’s begin with your inspiration. Looking at your portfolio, it’s clear that you’re drawn to exploring otherworldly dimensions, particularly themes like alien life and the cycle of creation and destruction. Can you share with us your primary source of inspiration and how these explorations shape the vision behind your collections?
Most of the fashion collections I have shared on social media are inspired by concepts such as the multi-dimensional forms of the universe, time and space, the origins of humanity, and the essence of human existence. These themes are explored systematically, transitioning from macro to micro perspectives. From 2021 to 2024, I primarily designed and produced four projects:
– “Insignificance of Humans: Multidimensional Forms of the Universe” (2021)
– “Where Did Humans Come From? Higher Dimensional Organisms Create Humans” (2022)
– “Evidence of Human Existence: 3-Dimensional Space-Time” (2022)
– “Origin” (2023-2024)
The 2021 project, “Insignificance of Humans: Multidimensional Forms of the Universe,” serves as the foundation for all subsequent works. It employs the Superstring Theory to investigate the potential forms of the universe, spanning from low-dimensional to high-dimensional spaces. In these high-dimensional realms, concepts like parallel universe-splitting and wormhole distortion emerge. When a person or object traverses a wormhole into high-dimensional space, its form becomes uncontrollable, leading to irregular patterns. Nevertheless, we remain fundamentally ourselves, albeit with some degree of transformation.
In the initial project, my goal was to gather insights into the morphology of humans as they enter parallel universes or wormholes, imagining their potential existence in spaces beyond three dimensions. This exploration inspired a series of designs depicting individuals being distorted or deformed in high-dimensional space or splitting when encountering multiple timelines, while also examining how their clothing might evolve. These speculative morphological ideas are then represented in three-dimensional form, allowing me to explore the relationship between humanity and clothing, highlighting our insignificance in contrast to the majesty and mystery of the universe.
In my new project “Origin”, created from 2023 to 2024, I draw deep inspiration from the film “Annihilation.” The film intertwines themes of destruction and rebirth while exploring the captivating notion of extraterrestrial advanced life. It posits that destruction breeds creation, prompting contemplation of the origins of all things and the intricate cycle of death and rebirth. To me, annihilation transcends mere silence and nothingness; it embodies glorious rebirth, the immortality of matter, and the eternal cycle of life. This belief infuses my work with vivid fantasy and rich colour.
Furthermore, this project incorporates the wisdom of the ancient Chinese Yangshao Banpo culture, which thrived around 6,000 years ago. Both this culture and “Annihilation” delve into the origins of existence and the concept of extraterrestrial civilizations. The numerous totems depicting human and fish hybrids in the Yangshao Banpo culture eloquently express a deep-seated desire for the infinite cycle and rebirth of life, thereby exploring themes of origin and continuity.
In my research, I also uncovered intriguing similarities between terrestrial and marine organisms, prompting me to investigate the common origins and genetic links among all living beings. This exploration evokes reflections on the refractive and simulated potential of DNA, resonating with the concepts presented in the movie “Annihilation.”
“Origin and Awe: The Connection Between Man and Fish” is more than just an art project; it is an interdisciplinary exploration. Through my clothing and textile designs, I aim to immerse my viewers—both the audience and the models—in an experience that mimics the characteristics of fish, encouraging them to contemplate the mysterious connection between humans and marine life. The project aspires to deepen our understanding of existence, the circularity of life, and our rich cultural heritage, while celebrating humanity’s shared fascination with the mysteries of life itself.
Does the colour blue hold a special significance for you? It seems to play a prominent role in your work.
If I hadn’t been asked about the significance of colour in my designs, I might never have realised just how essential blue is to my overall style. Its presence isn’t something I plan intentionally; it weaves its way into my work almost instinctively. Blue, with its soothing qualities, symbolises tranquillity, depth, mystery, and wisdom. It evokes the vastness of the sky and the depths of the sea, grounding me in the beauty of nature.
My passion for science fiction fuels my curiosity about life’s deeper meanings. I often find myself pondering the big questions—perhaps subconsciously, I use blue to express my respect for the origin of life as an insignificant human and my profound awe for the universe’s grandeur. It’s a colour that resonates with my journey, inviting reflection on our shared existence and the infinite possibilities that lie ahead. Through my designs, I hope to evoke a sense of wonder, encouraging others to explore their own connections to life and the cosmos.
In your collections, you also strongly emphasise knitting, a technique that embodies a unique rhythm and flow in its creation. How did this process’s repetitive and meditative nature influence any specific aspects of your designs?
I began learning knitting techniques with domestic machines in April 2023, after years of knitting by hand. Even now, knitting feels like a relatively new adventure for me, and I’m excited to continue exploring this craft in the future.
During my journey, I met Xiao Zhang, a PhD student studying architectural design at Tsinghua University. Our discussions opened my eyes to the idea that knitting machines operate much like precision computers. They can simulate the effects of 3D printing, allowing for the creation of not just flat patterns but also intricate three-dimensional fabric structures. In my new project “Origin,” I designed and crafted all the fabrics myself using these knitting technologies, a process that took nearly half a year. This involved working with single-bed domestic knitting machines, double-bed domestic machines, industrial machines, and, of course, hand knitting.
Knitting has become more than just a technical skill for me; it has turned into a healing and enjoyable practice. It feels like a form of meditation, helping me find inner peace amid the chaos of life.
I aspire to use traditional knitting techniques to simulate the principles of 3D printing in my designs. When audiences first see my work, they may not immediately recognise that these pieces are crafted using knitting techniques. My goal is for these works to embody the concepts of genetic refraction and simulation, resonating with the themes explored in “Annihilation”.
For all the accessories in “Origin”, I replaced traditional zippers with Chinese knotted buttons made from knitted webbing, reducing material variety and embracing sustainability. This design choice not only pays homage to traditional knitting techniques but also aligns with my commitment to sustainable fashion, fulfilling my vision of creating meaningful and responsible art.
How have your studies in different environments—first at Pratt Institute and now at the Royal College of Art—shaped your designs?
The four projects I completed truly defined my journey through both undergraduate and postgraduate studies. I’ve always aimed to maintain a consistent design style, and I love incorporating vibrant colours, dimensional garment structures, creative prints, and delicate accessories to bring my themes to life.
During my time at Pratt Institute, I was struck by how the education system in the United States values multidisciplinary training. In my undergraduate years, I not only delved into core courses like fashion design, tailoring, and pattern making, but I also explored subjects such as psychology, social science, political science, and physics. This blend of disciplines has added incredible depth to my design work.
In postgraduate school at the Royal College of Art, the focus shifted toward sharpening my design logic and honing my production process skills. This experience has instilled a sense of rigour in my design thinking, giving me clear direction and a deeper understanding of the creative process. In contrast, the education system in the United Kingdom is more inclusive and artistic, while the education system in the United States places greater emphasis on the business aspects of fashion design.
Together, these two experiences have significantly enriched my design practice, allowing me to create with both creativity and purpose.
What are your plans for the future? What direction will your work take shortly?
In the future, I will continue to be an independent artist and fashion designer, collaborating with stylists from around the world. My works will remain unique because they take a considerable amount of time to create, and the production process is complex, making mass production and sales challenging. Therefore, I will focus on a limited number of custom pieces, producing works tailored to customer requirements while maintaining the essence of my creations.
I also engage in interdisciplinary collaborations, such as working with installation artists to make traditional knitted products “move,” resulting in unique garment structures. Additionally, I hope to study psychology in the future so that I can combine art therapy with fashion design.
Life is long, and dreams are worth pursuing for a lifetime. Fashion design has become an essential part of my life, and every stage of my creative journey is incredibly precious and irreproducible. I will continue to hold onto my original intention and passion for the art of fashion.