Test shots of her toiles show strong fishbone structures, enveloping the body of the wearer in a cocoon, with stylised references to personal religious beliefs. The collection is heavily influenced by Wanbing’s struggle with depression, moving performance art and poems in her diaries. It’s hard to miss multiple layers of heavily fringed net, stitched on to a base fabric, emoting movement with hundreds of floating filaments. “My garments always look futuristic. But I like researching 60s textile techniques and combining them together. I always want to see how to make fabrics more special,” says Wanbing.
Her interest in creating innovative textiles isn’t new. Formerly a student of BUNKA, the acclaimed Japanese design school, Wanbing holds a BA in Fashion Creation Techniques. After an internship with Issey Miyake where she was “cutting patterns and calculating pleats,” Wanbing decided to move to London. “What I learnt from my Asian teachers was all very technical and I hardly knew anything about design,” confesses Wanbing. “When I graduated I didn’t know who Alexander Mcqueen was! That’s why I came to London and CSM felt like the perfect place to explore new ideas.”