Xinyi Chen - അഭിമുഖങ്ങൾ

I transitioned into fashion design after earning my MBA and working in business in 2021. I later pursued formal design education at FIDM in Los Angeles, where I honed my technical and creative skills.

Since childhood, I have loved drawing and expressing my emotions through images. Art has always been my way of understanding the world. However, I was initially trained in business, and later earned my MBA. Despite this path, I found myself increasingly drawn to form, materials, and silhouette. Eventually, I decided to pursue formal design education at FIDM in Los Angeles. That was a turning point—it gave me the technical foundation and conceptual freedom to create. It wasn’t a single person who pushed me into design, but rather a long-standing inner desire to tell meaningful stories through garments and to explore identity, structure, and power from a visual perspective.

My design process is built around three core elements: structure, aesthetics, and meaning. I often begin with a conceptual narrative—something rooted in identity, tension, or transformation—then explore how to translate that into silhouette and materials. Structure gives form to the idea; aesthetics ensure emotional resonance; and meaning ties everything together. I like to juxtapose sharp tailoring with delicate materials, using contrast as a way to express inner strength and complexity. I work with both hand sketching and digital tools, and I create mockups to refine proportion and movement. Ultimately, I strive to create designs that are both visually compelling and conceptually layered.

Designing evokes a sense of focused intensity and personal empowerment. There’s a unique thrill when an abstract idea begins to take shape through fabric and form. I particularly enjoy the prototyping phase—seeing a sketch come to life in three dimensions is deeply fulfilling. There’s also a quiet satisfaction in refining details that will likely go unnoticed to most, but which contribute to the piece’s overall integrity and feeling. Design, for me, is not just about creation, but about reclaiming agency and reimagining identity.

My background is a combination of business training and artistic development. I studied business in university and later earned an MBA, which gave me strategic thinking and a strong sense of how to position design within a larger market and social context. At the same time, I’ve been drawing and studying art since I was a child. This long-standing artistic practice has shaped the way I perceive form, balance, and emotional storytelling. The contrast between analytical structure and creative expression now defines my approach to design. I see clothing not only as a product but also as a medium to convey emotion, identity, and meaning.

My current focus is on refining my personal design language and preparing for my first solo collection and exhibition. I aim to create a brand that combines conceptual depth with wearable expression—balancing structure, femininity, and meaning. In the long term, I hope to build a label that not only reflects my values but also encourages dialogue about identity, power, and social change through fashion. My dream design project would be an immersive exhibition that merges fashion, installation, and storytelling—a space where garments are not just worn, but experienced as emotional and spatial narratives.

Don’t be afraid to take an unusual path. I transitioned into fashion after studying business, and I’ve learned that every prior experience can add value to your design voice. For new designers, I suggest focusing on building your own point of view rather than chasing trends. Learn from observation. Keep creating, even if you don’t feel ready. It’s better to make and revise than to wait for perfection. And find your rhythm.

Stay curious and question everything—even your own process. Success doesn’t mean stopping evolution. I believe good designers keep evolving by re-examining what they know. Also, don’t underestimate the power of storytelling. Whether it’s through garments, objects or spaces, clarity in narrative elevates the work. Lastly, make time for silence and observation. Sometimes, doing nothing is part of the design.

I work a full-time job during the day and dedicate my evenings to independent design. Most of my creative thinking happens at night when it’s quiet and I can focus. I sketch ideas, test materials, or reflect on concepts. I also spend time reading design books, researching textures and silhouettes, and exploring unconventional inspiration—music, arts, and nature. It’s a rhythm of duality: discipline by day, intuition by night.

I stay aware of trends but never follow them blindly. Trends can reflect cultural shifts and offer useful context, but I prefer to build from within—drawing from personal observation and long-term ideas. If a trend resonates with my concept, I might reference it subtly, but I never build a collection around trendiness. Instead, I focus on timeless elements: structure, contrast, narrative tension.

A good design communicates clearly, even without explanation. It feels intentional—every curve, cut, or texture has a purpose. To me, a well-designed piece also carries tension: between structure and fluidity, complexity and restraint. It should evoke emotion, even if subtle. If a design still feels compelling after time has passed—when the excitement fades but the essence remains—then it’s truly good.

I never feel a design is 100% “ready,” but I do recognize when it reaches a state of inner coherence—when all elements begin to speak the same language. I trust my instinct more than perfection. If the concept is clear, the execution is honest, and the piece feels emotionally aligned, then I let it go. I don’t aim for flawlessness—I aim for authenticity.

My most significant work so far is The Form of Power—a collection that explores the emotional and structural tension within female identity. It was born from my desire to speak about strength not through volume, but through construction, texture, and silhouette. The design process took months of experimentation with contrasting materials like leather, velvet, and mesh, and I focused heavily on how tension could be embedded into the garment structure itself. It challenged me both technically and emotionally. The series won international design award and marked the moment I fully found my creative voice.

I admire designers who integrate structure and narrative—like Alexander McQueen, whose work often balances darkness with delicacy.

I live a dual life—rational by day, creative by night. My cultural background blends Eastern sensibility with Western education, which gives me a unique perspective in observing structure, form, and emotion. I enjoy quiet. Design has changed how I interact with the world—it made me slower, more observant, more reflective.

I believe in thoughtful, independent creation balanced with meaningful collaboration. I often start projects alone to fully develop the vision, and then bring in partners who align with the concept if has chance. I value clarity, emotional intelligence, and respect in any work relationship. As a designer, my core responsibility is to ensure that every piece is rooted in both intention and authenticity. I don’t rush results—I care more about creating honest work that lasts.

I haven’t yet had the opportunity to participate in philanthropic or pro bono projects in a formal way. However, I do believe that design carries social responsibility. As someone who transitioned into design from a non-traditional background, I’m especially aware of the importance of creating space for different voices in the creative field. While I’m still building my career, I hope that in the future I can share my experiences with others who may feel uncertain or out of place—whether through mentoring, open dialogue, or collaboration. I see design as a tool not only for aesthetics, but also for connection, empowerment, and change.

The A’ Design Award was a great affirmation of my path as a designer. It gave me visibility, connected me with a global community, and pushed me to refine how I communicate my work. One of the most valuable outcomes was the motivation to keep building my design language with more depth and clarity.

I originally graduated with an MBA in 2021, but my true passion has always been in fashion. After completing my business degree, I pivoted to study fashion design at FIDM in Los Angeles. This career shift was driven by a deep desire to combine logic and creativity—to use structured thinking to interpret romantic aesthetics. I’ve always been fascinated by how clothing can express identity, so becoming a designer was an inevitable calling.

I’m currently developing a concept-driven fashion studio that focuses on women’s identity, emotional structure, and visual tension. We design garments that are both wearable and reflective—pieces that let women shift between roles with intention and power.

Design is the art of clarity. It’s about revealing intent through form—solving problems, conveying values, and creating beauty with purpose. It’s where structure meets soul.

I’m most drawn to designs that explore contrasts—soft and hard, light and weight, structure and movement. I enjoy creating pieces that challenge expectations through materials and form, while still remaining wearable and emotionally resonant.

My favorite work is The Form of Power. It combines leather, suiting wool, velvet, and mesh to represent the complexity of modern femininity. It reflects my core belief that elegance must be backed by function, and sensuality can coexist with agency.

It was a tailored wrap dress that balanced formality with asymmetry. The piece helped redefine femininity for a boutique label that wanted to modernize its image.

I love working with suiting fabrics.

I feel most creative when I’m fully present—whether that’s in a quiet moment with a fabric swatch in hand, or during a sudden emotional shift that sparks a visual response. Creativity often comes when I stop trying too hard and start noticing the subtle things—textures, rhythms, even silence.

I focus on structure, proportion, and emotional resonance. A garment must shape the body—but also say something deeper.

It’s a mix of intensity and quiet joy. There’s focus, frustration, and sometimes surprise—like solving a puzzle that starts as a feeling.

There’s always a mix of vulnerability and quiet pride. To see something that started as an abstract feeling take shape—and then see it worn and interpreted by someone else—feels both intimate and humbling.

A successful design is one that communicates clearly—visually, emotionally, and functionally. It doesn’t just look good; it resonates, solves a problem, or tells a story.

I look for intention and coherence. Does every element serve a purpose? Is there tension and resolution in the form? Good design feels inevitable, not decorative.

Designers have the power to shape narratives—and therefore, we have a responsibility to challenge harmful norms, promote inclusivity, and rethink our material choices. We influence not just what people wear, but how they feel, live, and consume.

Design is evolving into a more interdisciplinary and value-driven field. The future lies in integration: of technology with craft, of sustainability with sensuality, of data with intuition. Design will be less about output and more about systems and meaning.

I haven’t held a formal exhibition yet, as I’ve been focusing on refining my design language and building a cohesive body of work. However, I do look forward to holding my first solo exhibition in the near future

My inspiration often comes from contrast—between materials, identities, or emotional states. I’m fascinated by structure in architecture, choreography in movement, and tension in music. To feed creativity, I observe how people inhabit space, how fabric moves with the body, or how an idea transforms through iteration. I also revisit old sketches or archive fragments that once felt unresolved.

My style blends structural minimalism with emotional depth. I’m drawn to tension—between control and release, strength and softness. I build garments as emotional containers, using proportion, contrast, and restrained drama to hold inner states.

I currently live in Los Angeles, but my cultural roots are in China. This duality influences my perspective—I often merge Eastern restraint with Western expressiveness. The challenge is navigating two systems of aesthetics, but the benefit is depth and cross-boundary thinking.

I treat collaborations as a conversation. I take time to understand the brand’s values and propose creative directions that respect their identity while pushing boundaries. Clarity, mutual trust, and shared goals are essential.

Look beyond the visuals—pay attention to how a designer thinks. A good designer listens well, asks the right questions, and offers clarity through form. Don’t just hire a style; hire a perspective.

I usually begin with an abstract emotion or conceptual tension, which I translate into silhouettes, materials, and structure. I sketch, test on forms, and refine through both physical mockups and digital prototyping. It’s an ongoing dialogue between feeling and construction.

Tailor’s shears; sketch pencils; sewing machine; mannequin; inspo wall

During the day, I work full-time as a fashion designer for a company, focusing on commercial collections and tight schedules. Evenings are my own—I use that time to sketch, experiment, reflect, or simply be with materials without pressure. That quiet space is where I reconnect with my creative voice.

Don’t rush to find your “style”—focus on your questions first. What bothers you? What do you want to change, reveal, or explore? Let your curiosity lead, and your voice will follow.

The positive: You get to shape meaning and offer beauty as a form of care.

The challenge: It’s easy to tie your worth to validation, and hard to pause when the process gets uncertain.

Design should hold both intention and integrity. Every line, fold, or cut must serve a reason—whether it’s structural, emotional, or symbolic.

Critical thinking, empathy, and a deep sensitivity to material and space.

You need both your hands and your eyes—and the ability to ask: “What if?”

Sketchbook, fabric swatches, CLO 3D, Adobe Illustrator, tailoring chalk, sewing machine, and music.

I plan in creative sprints. I allow chaos in early phases, but structure my deadlines clearly. I also try to protect time for rest—it’s not wasted, it’s design in disguise.

It varies widely. A conceptual piece can take weeks or months, while a single garment might take 2–4 weeks depending on complexity. Some ideas take years to mature emotionally before they are ever drafted.

“Where do your ideas come from?”

Transitioning from a business background into fashion design after my MBA. It taught me that logic and intuition are not opposites—they’re partners in design.

As of now, I work full-time for a fashion company while building my own design portfolio and artistic identity. I am also exploring future collaborations with artists, stylists, and independent brands.

I enjoy projects that allow emotional depth and structural experimentation—designs that speak both to the body and the mind. That’s where I feel most expressive and challenged.

I’m planning to launch my own fashion brand that combines strong structure with emotional storytelling in the future. At the same time, I will continue developing new collections and refining my design language step by step.

For my personal works, I design independently—from concept to prototype. But, during my full-time job, I collaborate with sample makers or pattern drafters when needed.

Yes, I’m designing a new capsule collection while preparing for the launch of my independent label. The focus is on structure, versatility, and wearable expression.

You can reach me via email. I’m always open to meaningful collaborations and conversations. Email: xixi.chen62@gmail.com

Design, for me, is not just about aesthetics—it’s a language that reflects how we see the world and how we wish to shape it. I hope to continue designing with empathy, intention, and quiet boldness.