IN CONVERSATION WITH: FENG CHEN WANG SS26

PARIS MENS FASHION WEEK

Backstage at Feng Chen Wang’s SS26 show, it’s less chaos, more quiet choreography - steam rising off pressed cotton, botanical prints breathing on hangers, Russell Westbrook laughing softly in the corner. There’s a stillness in the beauty here. GAFFER slipped behind the scenes to capture the moments before the runway, where every thread held meaning and every detail told a story. We spoke with Feng about process, purpose, and the emotional architecture of her latest collection, asking her about innovation, identity, and the quiet power of nature.

There’s a deep sense of craftsmanship in your use of botanical dyeing – it feels almost ritualistic. What draws you to these kinds of time-intensive, tactile techniques, and how do they sit within the rhythm of a modern, often fast-moving fashion calendar?

Botanical dyeing is both a creative and spiritual practice for me. It’s a way to slow down and reconnect with process, nature, and memory. In an industry often driven by speed, these techniques act as a form of resistance—honouring craftsmanship, uniqueness, and the hands behind each piece. Every imprint of a leaf is a one-of-one. This time-intensive process may not align with typical calendars, but it anchors us in intentionality and meaning.

Nature has always been central to your work – not just aesthetically, but philosophically. What is it about the natural world that continues to act as your most enduring collaborator?

Nature teaches us patience, imperfection, and constant transformation. It’s not just a reference point, it’s a collaborator. From materials to methods to metaphors—like hydrangeas symbolising growth and emotion—nature is integral to how we tell stories, how we design, and how we connect.

From gender-fluid tailoring to emotionally charged storytelling, your collections always seem to reveal something new. Was there a personal truth or memory that you were trying to work through with this SS26 collection?

This collection, A Future in Bloom, is about beginnings more than endings. It marks ten years of the brand but leans into what comes next—emotionally, spiritually, and creatively. It’s about embracing ambiguity, softness, and vulnerability. There’s a truth in that: that growth is not always loud, sometimes it’s quiet and tender.

What were some unexpected challenges that arose during the making of this collection – maybe creatively, maybe logistically – and how did they push your practice forward?

Working with live botanical elements always introduces unpredictability—no two leaves imprint the same way, and that’s the beauty and the challenge. Scaling that technique while preserving its intimacy pushed the team to rethink production and collaboration with artisans. We also experimented with new textiles like plaid and lace, which required a different language of design.

Russell Westbrook not only walked but closed your show – a moment that felt both intimate and powerful. What’s the story behind your relationship, and why did you feel it was important for him to embody the final look of SS26?

Russell has been a longtime supporter and friend of the brand. He represents individuality, intensity, and fearlessness—all qualities at the core of this collection. Closing the show with him wasn’t just a visual statement—it was a celebration of connection and mutual respect, and a symbolic nod to the future of what community-led fashion can look like.

Your Chinese heritage has often been woven quietly, respectfully through your collections – through symbolism, process, materiality. How has your relationship with heritage evolved as you’ve grown as a designer working on a global stage?

Heritage isn’t static...it’s something I grow with, rediscover, and reinterpret. I’ve always approached it with subtlety because I believe in letting the materials and techniques speak. As the brand has grown globally, it’s become even more important to preserve and share traditional practices—like botanical dyeing or references to Lanyinhuabu—not just visually, but spiritually.

"HERITAGE ISN'T STATIC...IT'S SOMETHING I GROW WITH, REDISCOVER AND REINTERPRET"

Many designers are chasing newness for newness’ sake. You seem more interested in emotional innovation – in how clothes feel, rather than just how they look. How do you define innovation for yourself in 2025?

Innovation, for me, is about creating resonance—not novelty. It’s how a garment holds memory, emotion, and presence. Whether it’s a hand-pressed imprint or a tailored jacket with unexpected softness, innovation lies in the emotional architecture of the garment, not just its technical construction.

The show felt incredibly intentional – from casting to soundtrack to spatial design. Beyond the clothes, what story were you trying to tell in how the show was experienced?

We wanted the entire show to feel like a ceremony of transition—an emotional threshold between past and future. The casting was purposefully diverse and inclusive, reflecting our community. The soundtrack and spatial design echoed the collection’s themes of duality and growth. It wasn’t just a show—it was a shared emotional space.

For young designers hoping to one day show in Paris, what’s the one piece of advice you’d give that you wish someone had given you when you first started out?

Protect your vision, but remain open. The industry can be loud—focus on building your voice through experience, not noise. Also: build a community around your work. 

The fashion world can often feel like a loop of seasons and cycles. What keeps you grounded in your ‘why’ – and what does the future look like for Feng Chen Wang beyond the runway? Is there a medium or lane you’re curious to step into next?

Staying connected to emotion and purpose keeps me grounded. Beyond the runway, I’m interested in spatial and experiential design—how we can tell stories beyond garments. Whether it’s furniture, installations, or even scent, I see Feng Chen Wang expanding into holistic worlds.

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