Shanghai-based designer Zheng Lu believes the future is mechanical

The Shanghai-based designer draws inspiration from everyday activities, absorbing his surroundings and looking towards his own life. He feels his studies granted him the exposure to get under the surface of fashion. “My MA was about my experience in the actual fashion industry, observing the behaviour of people, and how I respond to the reality of what the fashion world is,” he says. The reality Zheng talks about is the extreme working practices in factories in China, which is what inspired his MA collection ‘Uselesswear’. “I think there are a lot of people that are overworked, especially in my country. So, I wanted to create my collection based on human labour, machinery and behaviour.”

The designer merges mechanical elements with clothing to demonstrate an anti-utilitarian approach, which opposes the fundamental principles of using said elements. But that was intentional. He feels strongly about human labour in factories and the repetitive work routines. “We use the machines and at the same time the machines use us,” he says. Although the advancement of technology reduced the physical effort of labour, it has not affected the working hours.

Zheng’s collection takes the form of activism in fashion. The hardware in the garments removes all functionality from the outfits. The sleeves of jackets are nailed into the armhole with a metal frame, and spiked gears and wheels are attached at the back of the shoulders. He rebels against the idea of efficiency, so what may be perceived as workwear, does not serve the purpose. Pastel tones of powder blue, pink, and green are used on outerwear pieces. A lime green sleeveless trench coat has a belt with fastenings that have jagged teeth. A pink silk shirt and pant duo is layered with a belted utility-apron-style skirt. “Silk is a relatively fragile and expensive fabric which is not often used in workwear. It shows that even if we are equipped well, it is useless,” Zheng explains. The assembly of the clothing is displayed in the form of an instruction manual, drawing a parallel to machinery.

“As part of my project, I also created a schedule where I work eight hours a day twice a week to demonstrate that we should not be exploited”

The designer also created accessories carved out of plywood to accompany the clothes. A briefcase he calls the one-coin bag and a tote with a USB port that has handles with metal spikes gave the finishing touches. Although Zheng uses his collection to send across his message, he also focuses on the practical aspect of producing clothes. “As part of my project, I also created a schedule where I work eight hours a day twice a week to demonstrate that we should not be exploited,” he says. “The industry needs a healthy work system,” adds Zheng.

While the designer’s collection is closely linked to creating fashion for a mechanised, technology-savvy future, the lockdown created a few hurdles for him. He wanted to show the synchronisation of humans and machines with the bags and chairs he created, which became difficult without any physical participation. “I need people to feel how the machines control us. With everything being digital, I can’t express the philosophy behind my aesthetics.”

With his MA in hand, Zheng landed back in Shanghai in good time, China was in the second phase of lockdown and he was relieved to finally be home. The designer was eager to take his vision forward and started working on building his own brand. “I was happy to start my own thing. As designers, working in a factory in China means working from nine to nine. It’s like becoming a machine.” It’s clear he would rather not live paycheque to paycheque, and instead finds it easier to navigate through the industry on his own. “The pay is not fair in the Chinese fashion industry,” says Zheng, putting it bluntly.

“We need to rethink how we as designers and creative people treat our workers. It is important to find a balance between creativity and productivity.”

His time at RCA shaped the strong opinion he has of the industry today. “My college always encouraged us to find our identity and think about what fashion should be in the future,” he says. Behind the excitement of living in London, he sees the struggles and the work that is put in to produce the fantasy we love to witness. Even as a fresh graduate, he has a pragmatic lookout on fashion. When asked what learnings he would pass on to incoming students, he says, “Focus on what is important in your career, be yourself and be critical.” As he moves forward into the next phase of his life, the purpose behind his collection is a continuing battle he plans to work on. “We need to rethink how we as designers and creative people treat our workers. It is important to find a balance between creativity and productivity,” says Zheng.

The designer now has a studio and a team to help him execute his vision. By starting his own label with a different working pattern, he wants to set an example for people in the industry. “We need to have a voice in society, and I want to let people know we can do better. They need to know that this is available and accessible,” he explains. Although he is motivated to realise his ambitions, Zheng is aware of the obstacles. “It’s not easy to penetrate the Chinese market because it is a competitive space with successful people, so to reach there we need to focus and work hard.”

“We are on our way to a post-work society and we have time to create our own values and priorities in life.”

Currently, his focus is on the craftsmanship of his unique hardware which plays a big part in Zheng’s commitment to protest against the system’s abuse of power in the workrooms. “Being in fashion should not mean that you’re constantly working hard, we are not bound to serve our superiors,” he continues, “we are on our way to a post-work society and we have time to create our own values and priorities in life.” In the present scenario, it is imperative for designers to also give precedence to mental and physical stability apart from financial, which is part and parcel of creating a sustainable work environment in fashion.