Laurence Xu (许建树), born in 1974, graduated from the Central Academy of Fine Arts Department, Tsinghua University. After continuing studying fashion in Paris, Laurence became a well-known clothing designer. He was inspired by the profound traditional Chinese culture and infused royal elements into his haute couture designs.
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The eye-catching yellow dragon robe that he designed for Fan Bingbing's appearance at the Cannes Film Festival in 2010 is now in London's Victoria & Albert Museum.
Laurence combined opulent, vividly colored dresses in western silhouettes with Chinese symbolism and craftsmanship seamlessly. |
Chinese actress Fan Bingbing's premiere show stopper designed by Laurence Xu.
(Photo: Jean-Paul Pelissier / Reuters) |
Here is Gemma wrote in her book that she interviewed with Laurence Xu.
What are your thoughts on the fashion industry in China?
Compared to other countries, the development of China's modern fashion design started relatively late, Chinese designers have the challenge of finding the design that truly up belongs to China in the fashion world. What drew you to fashion design? First of all, I love fashion design. Unlike other art forms, from the very beginning of the burst of inspiration to the final adjustments on the client, it gives me a sense of accomplishment. Without any exaggeration, I was born to be a fashion designer, I also carry a strong sense of purpose to promote the combination of Chinese and western elements on the international stage. What do you think are the most important attributes for a designer? It is difficult to learn design through textbooks without having your own experience. However, as a professional designer, one also needs a foundation in painting, along with historical and cultural knowledge and an appreciation of beauty. When did you move to Europe and how did it affect your approach to design? In the late 1990s I began to tour and study in Europe. The experience gave me a more profound understanding of the differences between Eastern and western esthetics, but also the common ground they share. The differences result from their distinctive cultural spirits, and the commonality exists because of the same pursuit of beauty. I started thinking about how to combine the two in my design to show the world a brand-new, perspective. Chinese heritages heavily referenced in your design. Could you talk about why you choose to revive these traditional aspects of Chinese design and how you are up dating these for a new generation? Traditional Chinese handicrafts are undoubtedly artistic treasures, and in my design I combine them with modern aesthetics. For example, in traditional Chinese clothing the colours red and green are often placed together; however, in modern aesthetics , the combination of two strongly contrasting colours cannot be as widely used. Therefore, I apply these colours sparingly, using Western draping methods, to create a result that is both acceptable to modern aesthetics and reflects the unique culture passed down to us from ancient times. |
Could you talk about your design team and how it works? There are around forty people in my team, divided into different groups such as design, pattern making , decoration, pattern and production. How much work goes intothe preparation ofyour catwalk shows? For a big show every small detail and seemingly insignificant choice entails great effort and requires significant commitment. The process of constantly being outside my comfort zone is the most challenging part of fashion shows for me. I feel pressure both from the world and myself. How important are the models and styling for each I show? The models not only need to interpret the beauty of clothing , but also need to evoke empathy and resonance with the garment to reinforce that beauty.The styling needs to ensure the completeness of the look, and both the hairstyle and the accessories determine the character of the dress and the overall first impression. Could you outline the process involved in creating a garment for a client? The process starts with communication. I gradually understand my client 's character and intention are through this process. For high end couture, it is vital to know our clients ' characters and hobbies , not just the measurements to of their bodies. Only then can I begin my creative process. When the hand sketch is ready, my design team and I will introduce the concept of design, fabrics and craftsmanship to the client. Listening to the client 's ideas helps to perfect the design sketches. After collecting the basic data of the client 's body, we proceed to pattern making and create a prototype dress made with grey cloth, we will invite the client to try the prototype dress and make the size more accurate. Then we will further introduce the craftsmanship involved in dressmaking , such as embroidery. Finally , the client will try on the finished dress , and the stunning effect will be rendered. Museums are now starting to acquire your garments. How do you feel about this practice? When my works are collected by influential museums I feel a sense of recognition and excitement. This allows more people to get the chance to appreciate the precious dresses with their Chinese characteristics. However, I don't set out for honours such as this , my work is for the ultimate pursuit of beauty. |