Nostalgie, traditie en een spel met archetypen

Over the past two weeks, there has been a sense of nostalgia about the fashion shows in Shanghai. Designers found inspiration in the past, from the glamorous 1920s to deep-rooted Chinese aesthetics. Ornaments were not avoided, with an exploration of archetypes and connections to ballet and running.

Nostalgia in muted colors

Floral motifs and muted tones formed a common thread throughout the collections. Many designs made liberal use of velvet, silk and lace. An elegant lace dress by Jacques Wei, a designer known for his elegant creations, was interwoven with silver thread. Sequins and feather boas gave his sophisticated evening ensembles a decadent look, reminiscent of the glamorous Shanghai of the 1920s.

Ankle-length, flowing skirts and dresses were a staple on most catwalks. The label Rureminds combined a skirt with a high slit with a mesh top with oversized jewelry details. Pearl necklaces and elbow-length gloves completed the nod to the Flapper Girls of the 1920s. The designs of the Lacerta brand and designer Xuzhi were given a nostalgic, romantic touch through references to Art Nouveau and boho-chic. The Lacerta brand drew inspiration from the Catalan lifestyle of Barcelona, ​​while Xuzhi was inspired by French poet Arthur Rimbaud and the Latin Quarter in Paris.

Paris was also the starting point for the spring/summer 2026 collection of the label Shushu/Tong. In 1962, director Agnès Varda made the 90-minute film Cleo from 5 to 7. In it, the heroine Cleo, who receives a serious medical diagnosis, remarks: “As long as I am beautiful, I live.”

The label’s designs, which have become known outside China for their Lolita look, were based on this statement. Now the elements of the feminine-subversive looks have become cruder. A mottled tweed ensemble is almost brutally split in the middle and frayed at the edges; a pink jumpsuit with a floral print is form-fitting and leaves the legs bare. The images and substances associated with beauty therefore seem vulnerable and fragile, but that is precisely what makes them alive.

New Chinese Aesthetics

A return to China’s cultural heritage is one of the biggest trends in people’s clothing style right now. This was also reflected in many looks during Shanghai Fashion Week. This season, labels increasingly managed to incorporate traditional elements without it becoming too flashy or obvious.

Designers have increasingly succeeded in subtly translating Chinese aesthetics into contemporary looks, sometimes merging influences into something new. The label Pantterfly combined a turquoise-blue blazer with fringes with a transparent, flowing skirt. A cool white top, trimmed with bolder fringe, contrasted with the flowing rhythm of the look. It seemed to evoke a mythical water deity from the digital world.

At the label Evvly, elements of traditional costumes, such as red fabric bundles, mandarin collars and toggle closures, were mixed with digitally inspired exaggeration, screen-saturated colors and cosplay aesthetics. With the We Prive brand, beauty ideals emerged more subtly. This was visible in the loose draping of a scarf with flower garland or the way the flowing line of a sheer top with sequins and lace blended into the draping of the skirt.

The label Yayi created designs with silk, dyed with khaki and gambier using a traditional mud dyeing technique. The sleeves of a black blazer were extended with fringes, reminiscent of the long sleeves of Chinese Song Dynasty robes. Just like designer Yayi Chen Zhou’s life path, her fashion also moves between China and Spain. The transitions between cultures are fluid, making the designs appear timeless.

Like no other, the Ao Yes label played expertly with references from Chinese culture and translated them into relevant designs for today. Butterflies were explored as a cultural symbol throughout the collection.

Like origami on a white blouse, combined with the floral print of a shiny skirt, they evoked traditional butterfly-flower motifs. An origami butterfly also adorned a headscarf, reminiscent of both Y2K styling and a traditional type of head covering. A yellow silk suit with slippers combined the historic imperial color with the casual street style of market women.

On the trail of female archetypes

In addition to the play on cultural references, other collections were dedicated to exploring female archetypes. The label Fordare presented a sweet image of pale pink, lace and floral motifs, which was given a subversive edge by bold cutouts and visible suspender belts.

The models on designer Mark Gong’s sandy catwalk became outlaw refugees. They wore a lot of leather, such as multiple black leather belts with silver buckles at a time, and oversized cowboy boots. In his typically ironic way, the fashion designer broke through the rough western nostalgia with elements such as a vertical police light as a bustier.

Designer Zita Tan explored the image of femininity with her archaic, maritime aesthetic. Futuristic cutouts combined to form dresses reminiscent of armor. Could this be the appearance of women from future tribes? Her colleague Camey Liu also delved into a futuristic, mythical world with her haute couture creations. Models appeared wrapped in layers of tulle and lace as fairytale fairies, or with delicate 3D horns as a reincarnation of the demon Lilith.

Fashion ballet

Sports and dance gave a remarkable boost to the SS26 collections. The label AS Dalio incorporated elements of ballet clothing into its designs. Boleros were paired with tight-fitting tops and short shorts; leotards were worn with a distinctive harness under a jacket.

Running inspired the designs of the label 8ON8. The collection was set in an urban environment and also included outdoor elements for an urban middle class looking for experiences in nature. Slightly oversized skirts and tracksuits made of functional fabrics were combined with hand-woven leather shoes, creating a combination of nonchalance and dynamism.