A rabbit design was sunk seamlessly in leather intarsia on a vest and shirt to reflect the upcoming Chinese new year and Li’s own birth sign. Bonded jersey and leather were crafted into spare, modern shapes, many inspired by traditional workwear. There were dresses tufted with recycled raffia and a closing dress hand-crafted in bamboo. Li adapted colorways from dynastic watercolor tradition-which also happened to be zingily fresh-and applied floral brooches (sometimes with accompanied “cute” pandas) after the style of what he said was a technique named róng huà. Li said: “There are so many people like me in my generation. Li’s own inherent Goth tendencies also hovered in the background. This encapsulation of youthful nonconformism, a generational impulse in China as described by Li, is what he began in earnest to express today in tandem with references to Chinese crafts. When he was pitching for this gig, the very first image Li showed John Elkann, the CEO of Exor Group that in 2020 invested around €80 million to become the majority shareholder in the label-along with Hermès-was of Leah Dou in a pink wig. The point of it is to bring Chinese codes and heritage into the global conversation, and to present a beauty that is new.” As he observed: “The mission is to create an international Chinese luxury fashion brand. Along with the platform winkle pickers, however, this was the loudest expression of Li’s personal identity as he bent his back to shaping something more broadly identifiable. As a little remembrance of a brand he said is currently “having a nap,” music-obsessive Li played the very same track by Michael Gira’s The Angels of Light, Two Women, that soundtracked that long-lost show. Nine years ago Yang Li, 34, held his first eponymous show at the very same venue he returned to today in his second season as the creative director of Shang Xia.
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