Robert Wun has three words to describe his ethereal designs: “Escapism, futurism and feminism.” Born and raised in Hong Kong, the designer studied womenswear at the prestigious London College of Fashion before launching his eponymous label in 2014. The 29-year-old has since established an otherworldly aesthetic that’s caught the attention of Solange, Lady Gaga, Cardi B and Céline Dion, to name but a few.
With female empowerment at the core of his ethos, Wun is renowned for inventive, cutting-edge designs that celebrate the female form. For AW21, he unveiled an ode to the most important women in his life and, as always, everything is precision-cut genius. “The collection is called Armour and it’s a tribute to my grandmother, who passed away last year. I wanted to create an army to go to heaven with her,” he says. “Every look is named after a woman in my life who’s inspired me, from my sister and my mum to all of my good friends.”
Ahead of the collection launch via his website, Vogue caught up with the designer over Zoom from his east London studio to discuss how the industry has so much further to go when it comes to genuine inclusivity, who he’s loved seeing wear his clothes and how his latest collection is his most heart-wrenchingly personal one yet.
Where does your interest in fashion come from?
“When I was 11, I met a cool girl a few years older than me at my family’s church who started a course in fashion design and she changed my perception of everything. Then I started getting into thrift shopping and customising my own clothes.”
How did being born and raised in Hong Kong influence you?
“I always felt that I needed to get out of there to finally be my true self. Now, I see that my culture gave me a strong work ethic, which is definitely something I carry with me to this day.”
Fast forward to living in London and studying at London College of Fashion. How did this experience shape you as a designer?
“I remember my first lesson, I was told to my face that my portfolio was very childish, which knocked me down. But I started looking around and understanding what it meant to be good, and I just picked it all up myself. I wouldn’t be who I am right now or still living here if I didn’t love this city. Even though London is multicultural, as a foreigner, if you want to be on top of the game, you always have to work harder.”
When and how did you launch your brand?
“After I graduated in 2012, I started doing freelance jobs, but I was already making my first collection in my bedroom. Through a photographer friend I met an investor who believed in the vision and gave me the money to start my business. But a couple of years later, my sister saved enough to buy them out, so now the company is owned by me and her.”
How would you define the Robert Wun aesthetic and how has the ‘woman’ changed from when you started?
“It’s a celebration of feminism and femininity, which doesn’t mean it’s only for women, either. Interestingly, [the woman] hasn’t changed that much — it’s still that crazy bitch living in another dimension who’s powerful, controversial and owns every room.”
Let’s talk about AW21. What were the inspirations and references?
“I lost my grandmother in October last year and it changed my life. I slept in the same room as her from the moment I was born until I left Hong Kong — that is how close we were. Everything I love about women and feminism is because of her. I photographed it all because I wanted to close the chapter beautifully on my own.”
Can you talk us through the key fabrication, cut and silhouette?
“It was about playing with material that looked like metal to create the illusion of wearing armour, but it’s actually made out of fabric. The swallow bird detail is because it’s my grandmother’s favourite bird from Hainan Island, China, where she’s from. Through the armour, there’s a softness of a pleat that cuts into a swallowtail shape, so there’s always that mixture between strength and something as delicate and light as a bird’s tail.”
What music inspired the collection?
“When Celeste’s song, Little Runaway, came out last year, it was around the time I lost my grandmother, so that was what I played most during that period. It encouraged me to do something about the grief and make this collection happen.”
You’ve dressed some amazing people — who have you loved seeing wearing your creations?
“I loved seeing Awkwafina and Solange in my work. The Céline Dion moment was also something special, my mum and dad were so excited about it. I would love to dress Yseult — I love everything she stands for.”
What do you hope for the future of fashion?
“The biggest shake-up the industry needs is to be held accountable for using diversity and inclusivity as a token. Why not put diverse people in key positions and give them real power? That way, you can truly celebrate them and not just tick a box.”
What advice would you give to your younger self starting out in this industry?
“You’ve got to work really hard and learn the business side of things as soon as possible — it’s stressful, but once you find the balance it helps you design better. Call your family, always. Please don’t ignore their calls. And most importantly, remember that you don’t need anyone to validate you and what you do.”
Editor
Alex Kessler
