Xinyao Liang on subverting patriarchal norms

After internships at Ying Shen’s label, Underage, as well as Ottolinger in Berlin, assisting Christa Bösch and Cosima Gadient and a slew of awards including the BFC scholarship and the LVMH Grand Prix, she focused her collection between two points – reusing waste materials and subverting expectations of female dress. “I visited a recycling and sorting department in central China, and I took fabric waste from designer studios. Later on, I tried to drape with all of the collected materials while also inventing new textile techniques and seeing how I could use this waste and basically try to extend their life cycle.”

“I used the stretchy power mesh fabric to imitate the stretched stomach of the sea birds. The more stuff you put in inside the bag, the more weighed down and expanded the stomach got. It was very emotional.”

Talking about her process, she says “I don’t intend to look for something. It’s all derived from my thoughts, my attitude to words and issues at that moment. I saw a photograph taken by Chris Jordan, who’s had lots of work featuring albatrosses – the seabirds – dying from the ocean plastics and plastic waste because they can’t digest the plastic debris. For the accessories project, I made a bag with this ‘heart-breaking feeling’ based on these photographs. I used the stretchy power mesh fabric to imitate the stretched stomach of the sea birds. The more stuff you put in inside the bag, the more weighed down and expanded the stomach got. It was very emotional.”

COVID-19 has had an impact on her collection – she was hoping to use the heat press machine to do some fabric printing but didn’t get a chance before the studios shut over Easter. “We had to figure out another way to do it, but this is a creative field – there’s always another way around! I turned to pattern cutting, because I wanted to highlight the illusionary slim figure of the female body with two different colour blocks. I actually see [the lockdown] as a good thing. I’ve been hoping since last year that the show would be cancelled, as it’s so wasteful. The industry should have been thinking about an alternative format as a showcase a long time ago.”

“I was dressed in this bra, walking on the street in the summer in Shanghai and lots of people were staring at me – not only men, but also women.”

Her pieces crafted from camel and black strips of fabric are tailored into alternately form-fitting and over-sized garments. “It all started from when I was in a Granny’s bra that I took from the recycling point.” She says. “I was dressed in this bra, walking on the street in the summer in Shanghai and lots of people were staring at me – not only men, but also women. I just couldn’t understand why we are still stuck in a time where clothes are so illicit? I still think that people are trying to please others through their clothing and especially women who want to please men.” The collection also stems from her mother, who made a point about her wearing loose clothing rather than something that suited “a nice body that you should show to everyone.”

The focus on appearance has also moved her away from seeing the appeal of flashy brands that define the current trend of logomania. “It creates an unconducive environment, especially for design studios who try to do well and be considerate towards the industry and the environment without paying much attention to labels. Without the brand name, consumers don’t see the value anymore.” It has also turned her away from social media and the ‘constant feed’. “My tutor is not very pleased I don’t use it because it’s such a useful platform. Honestly though, I don’t need all the information. I would rather choose to learn something that aligns with my own interests. It does make everything easier on the other hand – if I want to do some research, I can do it no matter where I am.”

“I cried a lot when I was at CSM. It was most of the time really, especially in my first year. That’s also why I’m still not sure if I really want to get into fashion.”

Going against the grain has not been easy, even in fashion school during such a tumultuous year. “I cried a lot when I was at CSM. It was most of the time really, especially in my first year. That’s also why I’m still not sure if I really want to get into fashion. I can imagine myself studying public policy which facilitates lifestyle and consumer lifestyle changes. Fashion can sometimes be an unforgiving industry, especially in terms of the people and the environment. However, I know that everything takes time – you might find the journey is tough and there might be moments that you want to give up, but hang on and you will find something that’s meaningful to you.”