London is a city where, to quote Jean Paul Gaultier; “the cult of difference” is actively fostered and encouraged. In fashion terms, this ensures that London and its training grounds, stay ever at the forefront of fashion design, consistently churning out some of the industry’s brightest stars. London College of Fashion is one of the world’s premier fashion education institutions, and at their 2014 Graduate Fashion Show, Xunfeng Shan stood out in particular. Menswear designers, particularly those of Asian descent such as Shan, are reshaping the industry, picking up the torch that Mr. Gaultier lit himself so many years ago; they are challenging the conformity of men’s fashion through progressive design, and London is naturally the choice du jour for education. The fashion pack, the media and the celebrity world have already embraced the ‘New Look’ in menswear. Ascendancy in popular culture is sure to follow.
Describe your experience as an undergraduate at LCF and how it has influenced you as a designer?
I’ve really enjoyed my time at LCF and it has made me the designer I am today. I loved working alongside my peers in the studios – everyone works so closely that a person’s mood is infectious – if I was having a bad day then this could all be changed by someone I was working near. There was also a lot of healthy competition which made me step up and try that little bit harder, this really prepared me for the industry as it’s tough out there!
Tell us in your own words about your graduate collection.
In this collection I have two main themes that are intertwined – ‘horsemanship’ and ‘dark romance’. A lot of the structures and shapes that I have used are moulded on riding apparel – this is a very masculine form and I have juxtaposed it against a very feminine ideal which can be seen in my choice of colours and fabrics.
How has the city of London shaped your aesthetic and philosophy as a designer?
I’m from China and London’s culture is completely different compared to where I grew up. I love London for the freedom it allows me as a designer – I can be exactly who I want to be without being judged or having to hold back. I also love the dichotomy between east and west, this contrast between the more formal (bespoke tailoring which is indicative of the west) against the more radical east which champions subcultures. I find this very beautiful and it’s a motif that can be seen running throughout my designs.
What drew you to the field of menswear?
I have always held a strong interest in menswear, it comes naturally to me – as a man I am constantly thinking about what I want from clothes and what choices I make and why. I love the traditional structure that is associated with menswear – I generally use it as a base for my designs and then deconstruct it, adding details. A theme that is prevalent in most of my designs is the exploration of hidden details – I love garments that look like a traditional silhouette on the outside but that when you look closer there are lots of little details which show a strong design signature.
The menswear industry is arguably the most exciting aspect of the fashion industry right now in terms of growth and forward momentum. What do you hope to bring to this ever growing market?
I think it’s difficult to give the industry something that’s new per se but what I can give them is something that is completely my style and my signature. My designs introduce interesting contrasts that really tell a story and display the design processes from the very beginning to end. My collections are the purest form of my signature style.
The traditional norms of menswear have all but been destroyed, what is your personal vision of the modern male dresser?
I don’t think they have been destroyed but more that they have been re-interpreted. My designs explore traditional menswear shapes and silhouettes – deconstructing them and piecing them back together. I think that all designs should be practical and you should be able to wear something for all occasions. I also think that it’s important that they display a customer’s personality. I like the idea of a suit looking like a traditional suit on first appearance but then on closer inspection there are subtle details that make it unique.
What do you hope and see for your future as a fashion designer?
I know how difficult it is to set up a label but this is still my aim – I hope to launch next year. I want to research my customer – making sure that my designs cater to them. I would love to do an MA in the not too distant future to help support my label and grow as a designer. I would also love to create a platform for new designers – I want to set up a showroom based in London and then possibly touring worldwide to give new labels a chance globally. Support for new designers is important to me as it’s something that I am currently experiencing and I know how hard it is.
Which designers do you admire most and have been most influential on you as a student?
Aitor Throup is massively influential to me – I interned with him for 6 months whilst studying at LCF and I’m continually impressed with the way he runs his label. My time with him demonstrated how a small business can be successful – I think the idea of doing collaborations with other brands is very smart as it gives your brand a new audience that might not have noticed your designs before. Aitor’s designs are highly unique which means the customer base is very niche – I’ve seen how important it is to understand your customer. I also love Thom Browne’s designs – he often originates with the traditional suit and takes it into a completely new dimension by adding subtle changes. He’s also a great ambassador for his brand.