You've been designing since 2009—what was your goal when you first started and how has your definition of “making it” in the industry changed since then?
So in the beginning, I had no idea [laughs]. You know, even I didn't know I could be a fashion designer in the future. The people and teachers I met at university [Central Saint Martins in London] inspired me, as did the Japanese designers based in Europe [Yohji Yamamoto, Issey Miyake and Rei Kawakubo].

Throughout the process of building this brand, we’ve been really lucky to meet the best people at the most important time. I think people have trusted me and seen my potential earlier than myself—when they told me I could do a show at Milan Fashion Week, I was surprised. Then after, we did Paris Fashion Week. Every time, it’s been others helping me make decisions.

I’ve always believed the doors are easy to open because it’s about recognising the right people at the right time. It comes down to my personality: if someone really trusts me, I want to try my best because I don't want to disappoint them.

You were the first Chinese designer to present at Milan Fashion Week—what did it feel like then, and how does it feel seeing more Chinese designers succeed globally?
At the time, I had no idea, but looking back, I’m so proud of myself. Being the first was so meaningful. We didn’t have [major] Chinese designers then, but since then, China’s economy and presence in the world have gotten stronger, and people are interested in knowing more about our fashion [and culture]. It’s also been about changing China’s reputation in the fashion industry—[the assumption] is that we produce copycat clothing, there’s no creativity, but the younger generation is really changing this kind of thinking.

Are there any young or emerging Chinese designers that are on your radar?
Oh yes. For example, Shushu Tong. They seem really young, but their production is very organised and the quality of their pieces is very detailed. They really know how to not only design a garment but also create the identity of the brand through their messaging, image and even the shop.

Could you share your thoughts on the future of retail, considering the fluctuating interests in both online shopping and physical shopping experiences?
I've always been against selling online, because the fabric and materials we use should be felt, touched and experienced by our customers. This is very important to me. I know online shopping is the future, but we’re old school.

You have remained relatively lowkey online compared to brands that use social media to drive viral moments with celebrities and microtrends. Why is that and what are the strategies that shape your marketing approach?
I’m not saying it’s a bad idea to use social media and celebrities for brands—I think it can be relative to the message or the collection. Personally, I like it when my customers say they discovered my brand through friends and word of mouth. You can’t capture our history through one moment—it’s built up over time.

Have any recent trends caught your interest at all?
I don’t look at trends because I want to focus on myself and what I see. Our garments are designed to be worn over many years, to experience life in them—they’re not something you throw away after one year. I want to create something timeless, something that my customers could give to their daughters.

I’ve seen my garments in vintage markets in Paris and Italy and I’m so happy to see them alongside major labels with big designers who have already passed away—Chanel and Issey Miyake. If you don’t like the piece one day, I hope that it goes to a secondhand market where someone else can discover it, and the life of the garment can keep going—that’s why we put emphasis on creating fantastic textiles, because that lasts longer than the style.

What's the biggest challenge that you've overcome, and what's been your biggest success?
Our biggest problem was when China closed because of Covid, but we developed a really strong customer base then. When we couldn’t do production in China anymore, we partnered with an Italian company to do it over there. Big problems can turn into another opportunity, and every day when I wake up in the morning, I always thank God, because I’ve received more than enough [luck].

We had an issue with counterfeit copies of our pieces—but there are two sides to it. It used to drive me crazy, but it meant that I was successful. Now I’m quite balanced about it. My friends used to send me pictures of fakes that they found, and now I just say, “Okay, thank you, now please stop”, I don’t want to lose my hair from the stress [laughs].

What’s next for you and the brand?
We don’t really have a “five-year plan” mentality—we always follow our feelings. The most exciting thing going on right now is our flagship store in Shanghai. We have a whole heritage building, which is a big project, and then of course, the Paris show in October!

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