‘Neo-Chinese fashion is just the beginning,’ Edmond Luu on Pièces Uniques

Edmond Luu spent seven years as an art director at Parfums Christian Dior, crafting campaigns for J’adore and Sauvage, while simultaneously building a menswear label from his bedroom, rooted in anime, cinema, and his Chinese heritage. That tension between the contrasting worlds of anime and luxury is what birthed his menswear brand Pièces Uniques. From cinematic lookbooks to neo-Chinese pieces like pankou-buttoned denim jackets, each collection is a unique representation of East and West creativity. Born to ethnically Chinese parents — one from Saigon, one from Phnom Penh — Luu grew up on the outskirts of Paris navigating multiple cultural worlds. That background informs an aesthetic rooted in film and photography, producing menswear that reinterprets East Asian influences with a contemporary edge. The commercial ambition is real: earlier this year, Pièces Uniques released a capsule collection with Paris Saint-Germain to mark Chinese New Year, and promotional events are planned soon for Tokyo and Shanghai. Luu founded Pièces Uniques in 2016, but wider recognition came in 2024 when he was awarded the Pierre Bergé Prize at the ANDAM Fashion Awards — an accolade that has previously gone to Egonlab and, in an earlier iteration, Coperni. Here, he discusses neo-Chinese style, what it takes to build an independent label, and why Paris’ Chinese diaspora deserves more space. Jing Daily: Tell us about your journey into fashion and how your background has shaped your work? Edmond Luu: I didn’t come into fashion in a traditional way. I grew up in a small suburb outside Paris, surrounded by people from the diaspora. We weren’t really told that big things were possible, but I always believed it. When I was younger, I wanted to become a mangaka (Japanese comic artist). Then I spent 11 years in music school thinking I would be a musician. After that I went into advertising school and ended up working for seven years at Dior as an art director, creating campaigns for fragrances like J’adore and Sauvage. You probably saw some ads on billboards made by me. Growing up between Chinese heritage and a French environment defines everything I do. My work sits in that tension between structure and emotion, Western tailoring and Eastern sensitivity. I see each collection like a chapter of a bigger story, almost like an odyssey. JD: Were your parents into fashion? EL: Not at all. My parents came to France very young, around 15 to 20. Their goal was survival, not creativity. But they showed me that nothing is impossible just through their life. JD: How would you describe Pièces Uniques to someone who doesn't know the brand? EL: Pièces Uniques is a designer brand rooted in storytelling. We create structured, minimal silhouettes with a strong attention to detail, often inspired by Asian culture and personal experiences. Our audience is quite diverse. It’s mostly people who are sensitive to image, culture, and identity. Creatives of course, but also people who just want something precise and meaningful, not just following trends. JD: How has growing up as part of the Asian diaspora in Paris shaped your work as a designer? EL: It took me time to really understand it, but now I see it’s at the center of everything I do. Growing up, the goal was to integrate, not stand out. So I learned to observe, to adapt, to understand codes that weren’t mine at first. Now I see that as a strength. Pièces Uniques lives exactly in that space. Learning from one culture, reconnecting with another, and creating something in between. JD: Do you plan to expand in China? EL: Yes, but very carefully. China is not just a market for me — it’s part of who I am. So if we go there, it has to make sense. Right people, right story, real connection. And honestly, I’m always curious to meet creatives there. If you have a strong vision, come talk to me. JD: Tell us about the PSG collaboration — how did it come about, and are you a soccer fan? EL: It happened around Chinese New Year. For me it was important to bring my culture into Paris in a visible way. There’s a big Chinese and Asian community here, especially in the 13th arrondissement, but we don’t always take space or express it enough. I just wanted to say we’re here. I kind of became a bridge between PSG and Chinese culture, and I’m proud of that. I’m not a hardcore football fan, but I’m really interested in what football represents. Identity, community, energy. JD: Japanese actor Shun Sugata appears in your Fall 2025 campaign — how did that come about? EL: Honestly, I just sent him a DM. I had no one for the casting, I was a bit lost, and it was two days before the shoot. He replied and told me he would come, driving himself with his little car, crazy guy haha. I love that man. He has a beautiful aura, very calm but very powerful. I’d love to have that kind of energy when I get older. And it’s still crazy to me … I directed someone who was directed by Quentin Tarantino haha. JD: Everyone’s talking about neo-Chinese style like the Pankou button — why do you think this has become more prominent in fashion in 2026? EL: I’m really proud to see China becoming more present culturally. When I was younger, it wasn’t cool to be Asian in France. Today, I feel proud of it. I went back to China recently and saw creatives who are deeply connected to their roots, a whole culture that’s confident in itself. For me, neo-Chinese is just a modern way of looking at something that already existed. It’s not new. I think it’s just the beginning of something bigger. It might start with small details like the Pankou, but once people understand more, China will be seen in a deeper and more authentic way. JD: Your work spans fashion film, campaigns, and collaborations — who would be your dream creative partner? EL: I would have loved to work with Ryuichi Sakamoto. His music was so minimal but so emotional. I’d also love to work with Joe Hisaishi. And in cinema, people like Wong Kar-wai or Takeshi Kitano. It sounds obvious but they’re legends for a reason. Their visual language is really strong. JD: What are your plans for the rest of 2026, and are there more collaborations in the works? EL: After winning the ANDAM, it’s really about going deeper. Refining the product, pushing the storytelling, building something long-term. 2026 is about strengthening the identity of Pièces Uniques and pushing the Chinese side of the brand further. I really want to be that bridge between China and the West. There are some collaborations coming, but honestly the priority is to stay aligned and only do things that really make sense.

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‘Neo-Chinese fashion is just the beginning,’ Edmond Luu on Pièces Uniques