Reflecting on that sense of never completing something, never being fully happy with it; of always starting, never stopping, and never finishing. But instead of resisting this feeling, Feng decided to embrace it.
AUTUMN WINTER 22
Feng looked first and foremost to bodiless laquerware, a craft that is native to her hometown of Fuzhou, in Fujian province. Having been practiced for over 700 years, the technique is widely considered one of the country’s most important forms of folk art, and is immediately recognisable for its unique appearance.
This effect is emulated in knitwear which combines two different weaving techniques, and denim which brings together two different fabrics, as well as in other garments which combine different kinds of nylon. Tailoring is similarly deconstructed, featuring sections cut from different materials: from wool – plain and pinstriped – to nylon, in what is a futuristic clash of colour and texture. Elsewhere, Wang looks to emerald-green laquerware, transposing that galaxy-like pattern onto jackets, shirts and shorts – to a slightly psychedelic effect.
Another homage to craft can be found in the hand-dyed pieces, crafted from black and yellow ochre tie-dye fabric, which carries a distinctly autumnal, but again, slightly trippy feel. Plant dyes are used throughout the collection and, in a further bid to encourage people to think more sustainably, Feng has designed several garments that can be worn in multiple ways.
After a tumultuous couple of years, for Feng, this collection is a testament to the idea that sometimes the imperfect is, well, perfect.