UMA WANG

Interview by Filep Motwary

One of the most recognisable names in contemporary Chinese fashion, Uma Wang stands apart for her refined, deeply technical approach to the human body and her rare ability to weave cultural heritage into a modern Western sensibility. Her elegant collections reveal a designer who not only loves fabrics but truly understands them. Textiles sit at the very heart of her work—draped, manipulated and treated with intricate care to reveal the inherent beauty of each material. Her hands play intuitively with wool, cashmere and silk, producing quietly imaginative results. Through techniques such as hand weaving, pleating and knitting, she creates pieces that oscillate between sculptural rigidity and fluid movement.

While her collections often read as minimalist at first glance, beneath the surface lies complex, considered thought. Subtle references to Chinese culture—motifs, silhouettes, proportions—are always present, but reinterpreted through a contemporary lens, a defining element of her philosophy. Unlike designers who chase fashion’s grand spectacle, Wang strikes a careful balance between art and practicality, frequently prioritising comfort and wearability, making her work resonate with a wider audience. That said, her notion of practicality has little to do with the post-pandemic obsession with “comfort.”

I first encountered Wang and her work on the day of her Paris show last March, during Fashion Week. I was immediately struck by her humble yet magnetic presence—something distinctly calming, almost meditative, in stark contrast to the industry’s usual clamor. Watching her backstage, her energy felt soft yet authoritative. The very first look to appear on the runway set the tone for everything that followed: femininity as a force of nature—deliberate, grounded, commanding.

This season’s inspiration drew from Madonna del Parto, the Renaissance fresco by Italian painter and mathematician Piero della Francesca, depicting a pregnant Virgin Mary radiating strength and serenity beneath a tent, her glowing belly revealed as two angels pull back the curtains. The symbolism was unmistakable and echoed throughout the collection. Wang’s extensive research into Renaissance dress, combined with contemporary dyeing and textile-processing techniques, created an unexpected yet harmonious tension between weight and lightness.

Rather than calling for louder or bolder statements, the show felt like an invitation—to occupy space with grace and self-assurance. Her garments resemble armor that never restricts the body; instead, the way they envelop and follow form reflects Wang’s view of the female presence. The femininity she champions is not fragile—it is confident. Watching the looks unfold, I realised I was witnessing a rare designer who has shaped modern luxury entirely on her own terms. The collection became a visual dialogue between fluidity and structure: voluminous coats ballooned gently around the body, fabrics evoked historical dress yet moved with a contemporary, almost ethereal lightness.

Layering played a central role, reinforcing the sculptural nature of the pieces. Asymmetrical hems and dramatic shoulders suggested motion within stillness, as though each garment were a study in how a woman can disrupt the space she inhabits—quietly, powerfully, on her own terms. With this season’s collection, Wang offered a more distilled interpretation of her core philosophy, which might be summed up as “imperfect perfection.” Raw edges, soft pleats, sculptural collars and corded ties hinted at her deep connection to craft—a clear nod to her origins in textile design—masterfully balancing function and art while lending the collection a poetic abstraction.

Several months later, speaking with her for this interview, it became clear that she remains largely untouched by the pressures that come with entering an industry as vast and competitive as fashion. When we discuss her roots, it is evident that China will always be the foundation of her creative identity. For Wang, Chinese culture is more than an aesthetic—it is a philosophy.

“My Chinese roots are the foundation of everything I do,” she says softly. “They filter into my work unconsciously, shaping my aesthetic, revealing my respect for texture and for the transformative power of time on old fabrics.”

Her years studying textile design in Shanghai and later fashion at Central Saint Martins in London proved formative. Immersed in the groundbreaking work of Comme des Garçons, Yohji Yamamoto and the Antwerp Six—whose creations dominated the pages of fashion magazines at the time—she developed her understanding of the discipline she would ultimately pursue. “When I first saw their work, it was a revelation,” she recalls. “The way they broke the rules showed me that fashion could be art. That’s when I knew what I wanted to chase.”

What sets Wang apart is her ability to balance elegance with imperfection. While many designers strive for flawlessness, she finds beauty in what remains unresolved. When I ask her about this, she replies: “I always follow my emotions when creating a collection. I like it when something is hidden. A full moon is so boring. For me, beauty lives in the unfinished, the undefined.”

I wonder who she envisions wearing her clothes.
“I don’t consider my brand luxurious in an everyday sense,” she says. “Luxury, for me, is about longevity and emotional connection.”

For Wang, clothing is far more than a functional object—it is an emotional experience, an extension of the wearer’s identity. “My clients don’t buy clothes to fill their wardrobes. They look for pieces that resonate emotionally. Clothes should carry memories.” Her heroine is a woman who believes in herself and dresses to elevate her spirit, not to blend into the crowd. “She has a strong personality, she’s not concerned with trends, she reflects on what clothing means,” Wang explains. I would add that these are women who don’t need fashion to speak for them; instead, they choose garments for their authenticity and their ability to reveal inner strength.

Our conversation turns to her favourite fabrics, and she confides that the heart of her creative process lies in deeply understanding them.
“Materials come first,” she says with a smile. “I don’t follow rules when choosing them—it’s instinct.”

This intuitive approach has led her to create some of the most memorable textiles in contemporary fashion. Whether it’s the rich density of wool, the fluidity of silk, or the layered hues achieved through modern dyeing techniques, her materials are chosen to reflect the emotional core of each collection. Wearability matters deeply to her as well.
“A garment should be as comfortable as it looks,” she notes.

We talk about the power of clothes to shape not only how we appear, but how we feel. For Wang, clothing is both armor and poetry—a force that moulds identity itself. “What you wear changes how you move and how you feel. Clothing is poetry made from fabric.”

Naturally, this leads to the question of how she views fashion today. “I think it has lost its allure because of overproduction and uniformity,” she says candidly. “There’s too much noise. I just want to make clothes that mean something.”

That conviction defines the space she has carved out—one centred on meaningful creation rather than competition. This ethos extends both within and beyond her studio, evident in her sincere praise for her team, particularly her textile designer, who helps translate her vision into reality. Everyone works toward the same goal: to awaken emotion through creation.

The recent opening of her boutique in Shanghai—a significant milestone in her career—has further supported this vision. For Wang, the space represents far more than a retail destination; it is a physical expression of her design philosophy and a commitment to authenticity. “Our goal is to offer a complete brand experience,” she says.

As for the future, Wang remains devoted to what she calls her “slow revolution”—staying true to her craft and her belief in what fashion truly means: emotional connection, not the endless pursuit of the next trend.
“I will continue to create,” she tells me firmly, as we part ways.