Exploring the ornate, the hyperfeminine, and motifs or vibrant patterns that are considered to be “oriental,” and owning them in her own personal way, Shui presents a jewel-toned color-explosion of a collection, wrapped up in taffeta, silk ribbons, and lace. The collection, which features a range of sultry corset and bloomer sets, elegant slips, and seductive sequined minis, also includes the use of a heritage textile called Mud Silk, a 100% biodegradable textile with a 2,500-year tradition in Southeast China derived from the Ming dynasty. The resource is dyed using natural dye from the anti-microbial Chinese Yam, bringing the collection full circle and honoring the upbringing that has shaped Shui into the powerful woman and artist she is today.
office spoke to Shui post-show to discuss this newfound power she has settled into, the Roman mythology and heritage cultural traditions that inspired key elements, and her affinity for never taking the runway too seriously.
What is the inspiration behind this collection?
I was inspired by two artists I really love — Hannah Lim and Faye Wei Wei. Hannah explores a lot of the same themes I do — taking elements like chinoiserie and turning the viewpoint on them, flipping the idea that the ornamental (which is associated with femininity and the oriental) and thought of as negative instead into sources of joy. Also if you look at the fabrics — they’re Chinese embroidered silks, there’s also a heritage fabric called Mud Silk in the collection, and it’s mixed with figure hugging silhouettes and shaped waist power suits. Lace, sequins, tulle, explosive colors — I wanted to highlight these for the collection.
Which look was your favorite to work on?
Look 1 was crazy to work on because when I had originally draped it the shape it was perfect and organic and felt just right — I hadn’t fully finished it yet though so there were just pins and we tried the unfinished version on the models to fit but then the drape moved and I couldn’t get the same shape again. So I spent another good 5 hours the night before the show getting the original look back and making sure it was properly finished. I refused to stop working on it until I got it right.
How have you learned to weaponize the idea of “otherness” through your craft?
I think it’s to emphasize those themes even more in my collections and turn them into items of celebration.