What is your connection with Hong Kong?
I was born and raised in Hong Kong and moved to London when I was 16.
What do you adore most about Hong Kong?
Hong Kong has such a diverse variety of stuff from different parts of the world. I like collecting silly, fun toys and cute items to amuse myself whenever I am in town!
Your favourite food in Hong Kong?
Curry fish balls.
How does the energy of Hong Kong invigorate your style?
Hong Kong is an international cultural melting pot, especially the late 90s/early 2000s style really influenced my teenage formative years. Just the idea of Japanese Lolita fashion at that time, the Blythe dolls, films like《嫁個有錢人》 (Marry a Rich Man …), dare I say even some of TVB’s television.
Hence, my style is always sweet, girly and quite 「港女」 (Hong Kong Girl). I own that word with no shame! When you think about my past collaborators – Sanrio Hello Kitty or Sketch London’s powder-pink cafe – this cannot be any more 「港女」(Hong Kong Girl)!
You have Hong Kong roots, how do you express them around the world?
Being the first Chinese designer to go through the traditional London based designer pathways like Fashion East and BFC’s NEWGEN, I’ve felt like it is my duty to open my show (and sometime close it) with an Asian model.
I am also lucky enough to work with the likes of milliner Stephen Jones and hairstylist Sam McKnight and, when I collaborate with them, I show them my childhood reference, from Hello Kitty and Sailor Moon to Galaxy Express 999 and Lady Oscar. Sometimes they will get it and sometimes they don’t, but I let them interpret their vision and elevate it into something else. After all, Hong Kong’s own identity is about fusion and collaborating, mixing ideas.
What colours remind you of Hong Kong?
Neon lights.
Who is your Asian style icon?
Kiko Mizuhara is one of my long-term clients. She just really loves fashion and likes to collect special items from me: the Stephen Jones Pirate Hat; the Kusama Pumpkin Beret; and some of the more intricate, delicate crochet pieces. She wears my jumpers with everyday pieces and goes shopping or has tea in them.
I am yet to dress Rinko Kikuchi, but she follows me on Instagram, so hopefully soon! She is on my bucket list.
In Hong Kong, no one is more iconic than Chan Hoi-wan. I love how she wears her expensive designer bags with Pingu on it. So cute!
What is your go to karaoke song?
問誰領風騷 (Man seui ling fung sou) from 羅文 (Roman Tam) and 甄妮 (Jenny Tseng).
Could you tell us about your Autumn/Winter 2019 collection? Your inspiration behind it?
We’re approaching the end of an era and the world we once knew is changing. There is an uncertainty in the air; I want my collection this season to be comforting, peaceful and quiet. I reference classic pieces in a colour palette of black, white and, my favourite, pink, with few touches of Alice blue and lilac. There are also references to Swan Lake, the early innocence of Lady Oscar from Rose of Versailles and Anna Karenina, with a collection of straightforwardly pretty dresses, cute knits and fancy coats.
The baby prams are made in collaboration with Silver Cross, a British Royal family’s favourite – the second chapter from last season’s White Knight and Princess Bride’s storyline. Hopefully, in dark times, there is optimism with the symbol of hope and birth!
What do you think of Hong Kong’s current fashion scene and where it’s heading next?
I think it is a good sign that Hong Kong is trying to find its own pathway as a fashion city. There are new names coming up and different schemes going on. Rome wasn’t built in a day, so it is naive and unfair comparing Hong Kong to Copenhagen or Shanghai, let alone the big four cities. People in the industry need encouragement, a well oiled supportive system, as well as a strong financial backbone from both private sectors and the government. What we are looking at is a much bigger picture that cannot be achieved by just the fashion industry alone!
Editor
Declan Chan
