Keren Xu: a man laced up in corsetry

Referencing artworks, literature and observations of real life, the designer has embedded the intimate, restrict and subtle collection in an imaginary scenario – “a man got laced up in corsetry, lying down upon a couch in his boudoir, reading A Room of One’s Own drowsily.” This way, the collection aims to push men to admit and feel the oppression and bondage that women have historically experienced, in an attempt to praise the power of femininity. Xu also challenges the concepts of breeching and boudoir by forcing the man to experience and confront his feminine side and explore his identity. In a colour palette of scarlet red, lavender and daffodil yellow, the draped corsetry creates an organic silhouette that imitates women’s soft and ‘sagged’ body characteristics.

“I’m not trying to speak out against any discrimination or prejudice. That’s not what I’m talking about in my work, although I have my own feelings about it.”

The whole concept behind the collection contributes to Keren’s motto as a designer. Inspired by film director Ogigami Naoko, he aims to appreciate people of all kinds as well as their individual peculiarities. “I’m not trying to speak out against any discrimination or prejudice. That’s not what I’m talking about in my work, although I have my own feelings about it. I want to encourage people and myself to understand that all the individuals in the world can be diverse and different, and have their own unique significance to exist,” he says, quoting Naoko.

Studying fashion was an extremely bold move for someone who was raised in a small city in China, Keren says. As a child, he spent most of his spare time watching Japanese anime, especially mahou shoujo – girls who, using their magic wands, can instantly change their appearance from a normal student to a mahou shoujo, wearing a fancy dress. These magical transformations sparked Xu’s interest in fashion design. “Watching those girls turn into powerful and beautiful women was a magical moment,” he says. “I was struck by the beauty of femininity.” What also caught the designer’s attention was the human body, which he believes is what fashion is all about.

The global COVID-19 pandemic has changed the way the Chinese designer works. “I was isolated from the outside world, including exhibitions and even nature, which made me pay more attention to myself,” says the designer, who has now adapted his creative process and given it an introspective perspective. Moreover, due to the health crisis, he struggled to find fabrics and materials and wasn’t able to rely on machinists, suppliers and other resources.

But Xu feels very fortunate. In February, right before the pandemic started spreading, he had the chance to present his work in a runway show, unlike most fashion students who graduated this year. “I might be old-fashioned but I believe a runway show can and will always be a great way to bring a sense of excitement and freshness to the world,” he says. “The existence of runway shows is emphasising the inextricable relationship between fashion and the human body, which other formats tend to neglect.” But, although he’s sorry for those who haven’t had the same opportunity, Keren thinks it could also be a great excuse to play and explore with other possible ways to interact with fashion.

“I feel like students have the best and most efficient time and opportunity to dig deeply into things without losing themselves in a fast-moving system”

As a student at London College of Fashion, he was always allowed to develop and explore his interests freely, something he considers very valuable. “I feel like students have the best and most efficient time and opportunity to dig deeply into things without losing themselves in a fast-moving system,” he says. He also sees fashion as a creative, inspirational and diverse industry, but this ‘nonstop machine on permanent full speed’ can be very scary for him sometimes. “Each season is so fast that the ideas have to keep coming out and it’s a shame to see a lot of good things drown in this way-too-fast pace”, he says.

“Designing for a commercial brand is quite different from what I did in school,” he says. “It requires me to think and act fast instead of focusing on my own research.”

Now that he’s working full-time as a designer for Chinese brand Zuczug, Xu is acquiring more professional skills thanks to the proximity with the industry. “Designing for a commercial brand is quite different from what I did in school,” he says. “It requires me to think and act fast instead of focusing on my own research.” However, in the future, he would love to have his own studio. It is a project that might take time but, with Keren Xu’s designs, it is already on the right track.