Sci-fi couture, viral clowns: Inside Xander Zhou’s world

Xander Zhou’s designs make real life look like AI. From trench coats sprouting extra arms to knit vests that blur into triple vision, the Jilin-born, Beijing-based designer has long prioritized concept over trend-driven design, treating fashion as speculative art. In January 2017, Zhou became the first Chinese designer to present a show at London Fashion Week Men’s, rapidly cementing a reputation for sci-fi-inflected provocation — most memorably sending pregnant male models down the runway for Spring 2019. By Spring 2024, he had returned home to Shanghai Fashion Week, where he is now a consistent highlight and one of the most recognisable names on the schedule. That momentum carried through 2025, a year that underscored his growing international reach. Former menswear fashion director of T Magazine China, Zhou dressed rapper Tommy Cash in his viral clown look at Paris Fashion Week, Swedish actor Edvin Ryding for the Oscars, and Chinese singer Leah Dou for her tour opening. His designs also appeared on Chinese actor Jian Qiming (蒋奇明) and singer Benzo at the Harper’s Bazaar Gala. Beyond the runway, Zhou partnered with Bose in March, designing earphones that, in the brand’s words, “bridge the worlds of science fiction and reality.” Since launching his eponymous label in 2007, Zhou has helped bring Chinese fashion design to the global stage, here we discuss the path of that trajectory. Jing Daily: How did being part of London Fashion Week help shape your career? Would you return? Xander Zhou: London Fashion Week was more like a training ground for me. My first real encounter with the international fashion system happened through my first show in London, and from that moment on, every year there became a process of learning and growth. It helped me understand how the industry actually operates, and I met many collaborators along the way who shaped my thinking. More importantly, it allowed me to open myself up to different systems, perspectives, and possibilities. London taught me very early on that creation does not necessarily equal being understood. In fact, being misunderstood is often part of the process. That environment forced me to be very clear about what I was doing, rather than trying to fit into any existing aesthetic framework. Each show was also a lesson in accepting imperfection. Every small regret from one season became a correction for the next. As for returning to London in the future, I honestly don’t know. I don’t see cities as goals in themselves. For me, what matters more is whether the context is right, not the geography. JD: What are your biggest markets? XZ: At the moment, China and Japan are my main markets. But I don’t really see them as single, unified markets. They are complex ecosystems made up of different aesthetic levels, cultural backgrounds, and lifestyles. What interests me most are not regions, but people who are willing to engage with design language itself — those who are curious enough to look beyond surface trends. JD: How does your media background influence how you run your fashion business? XZ: My media background has made me very cautious about “narrative.” I realized early on that images, language, and labels strongly influence how a brand is perceived, but they are not the design itself. So when running the brand, I consciously separate these elements: clothing is clothing, imagery is imagery, and discourse is discourse. They can resonate with each other, but they shouldn’t trap or replace one another. At the same time, this background allows me to approach each collection more systematically. When I design a collection, I’m also thinking in three dimensions: styling, makeup, casting, set design. These are not secondary elements, but integral parts of the whole. Working with media and editorial projects has also trained my own styling ability, which gives me more independence. Finding the right stylist is often a matter of chance; being able to style my own work reduces a lot of pressure. When the right collaborator appears, it becomes a bonus, not a necessity. This way of working gives me a clearer “creative director” perspective. When I discuss ideas with different professionals, we don’t stop at concepts — we go into how those ideas can actually be executed. JD: What are the differences between your fans in Japan, South Korea, and China? XZ: The internet has largely dissolved aesthetic boundaries between countries. Today’s younger generation doesn’t really live within clear national or cultural divisions — they exist within layered, complex online ecosystems. Everyone is constantly filtering information and selecting what resonates with their own identity. This is also how I communicate with my audience: through online platforms, rather than relying on regional distinctions. In terms of best-sellers (in China), they generally fall into two categories. The first category includes what might appear to be “basics,” but with a lot of design thinking embedded in the cut, silhouette, and materials. These pieces feel understated at first glance, yet distinct when worn — they are both “basic” and “special” at the same time. The second category consists of more statement-driven pieces. For example, our multi-layered, all-in-one designs often come with a fixed styling logic. They’re heavier, more structured garments that can be worn simply with a T-shirt, allowing the look to be complete and ready to go without additional styling. JD: How does Beijing influence your work? XZ: Beijing gives me a strong sense of reality. It makes me think more about systems, structures, and the position of individuals within them. I enjoy the freedom Beijing offers for me personally. It allows me to step away from unnecessary social consumption. The city is so large that you don’t constantly run into familiar faces, which makes everyday life feel lighter and more autonomous. It also gives me space to move away from fashion at times and return to real life. Most of my close friends live in Shanghai, so I visit from time to time, stay for a while, and then return to Beijing. That balance works well for me. JD: What would be your dream collaboration? XZ: What matters most to me is whether a collaboration is built on genuine understanding. This applies to both creative and commercial projects. Some brands align naturally with us in terms of temperament and concept — those collaborations happen very organically. Others may seem unrelated at first, but we look closely to see whether unexpected connections or transformations are possible. If we can’t find those points of resonance, we usually decline. An ideal collaboration requires trust, but also a willingness from both sides to step outside our comfort zones. Partners need to understand that we are not reckless creators — we are an experienced design team who know our boundaries. What we need is space, trust, and clarity about each other’s needs. We receive many collaboration requests, and we’ve chosen to work with partners that feel genuinely aligned with our brand. Looking ahead, I’m particularly interested in collaborating more with technology-driven brands — especially in the electronics or robotics space. There’s a strong conceptual overlap between those fields and our work, and the potential feels very natural to me. JD: Tommy Cash wore your designs at Paris Fashion Week. How did that come about? XZ: That collaboration didn’t follow a traditional brand logic. It was based more on a shared understanding of image and bodily expression. It happened very naturally. I first received a DM from Tommy Cash on Instagram in October 2024 — that was essentially when we “met.” Shortly after, his stylist, whom I’ve known for a long time, contacted us about Paris Fashion Week. When I found out he would appear together with Joost Klein, the idea of the twin clown looks came together very organically. After it was released, a close friend in the Netherlands messaged me, saying he had just started working on Joost’s performances and management — completely by coincidence. Moments like this remind me that many things connect in unexpected ways. I like to think of it as a kind of gravitational network: things align when they’re ready. JD: How would you describe “Made in China” in 2025? XZ: I think “Made in China” is shifting from execution to system-building. It’s no longer just about making things well, but about understanding why things are made a certain way, and how to establish one’s own criteria and judgment. JD: What is your favorite celebrity dressing moment of your career? XZ: It’s difficult to choose a single moment. Often, the most memorable ones happen unexpectedly — when I see an artist I admire wearing our work online without prior notice. I really enjoy that kind of surprise. Quite recently, a custom piece we created for Zhang Linghe at a New Year’s Eve event left a strong impression on me. It was a floor-length black velvet coat with a red lining, worn on a long illuminated runway. He’s over 190cm tall, and the presence was incredibly strong. The look went viral, with some clips receiving over five million likes on Douyin. That level of alignment is always exciting. JD: Are we seeing more gender fluidity in Chinese fashion? Do you feel like a pioneer in that space? XZ: I don’t consciously emphasize gender in my collections. In fact, my work isn’t limited to humans alone. The worlds I create are made up of many kinds of characters, unconstrained by gender, species, race, or culture. I don’t see the need to overstate these categories or calculate their proportions within a collection. JD: How would you describe Xander Zhou consumers in three words? Curious, open-minded, and confident. JD: People have likened your designs to AI. Does that inspire your work, and how do you use it creatively? XZ: Yes, especially in my recent collections. I see AI as an assistant — useful for research and learning new information. For me, AI is more of a structural metaphor. It reminds me that human judgment, bias, and emotion are still irreplaceable. I neither exaggerate AI’s power nor fear it. Human-AI coexistence is inevitable, so the key is learning how to engage with it. Fear usually comes from unfamiliarity. Once you understand the system and grow alongside it, many problems resolve themselves over time. JD: What’s next for Xander Zhou in 2026? XZ: I want to see more of the world and experience different ways of living. As for the next direction of Xander Zhou, I’m still thinking.

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Sci-fi couture, viral clowns: Inside Xander Zhou’s world