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Guo Pei, the Gamechanger of Chinese Couture
Vogue Contributing Editor Harriet Quick celebrates Chinese designer Guo Pei, as one of her spectacular designs is offered in GOLD: The Midas Touch.
W hen Chinese couturier, Guo Pei, appeared on the Paris haute couture schedule as a guest member in 2016, the fashion firmament raised numerous pairs of highly groomed eyebrows. Chinese? Haute Couture? The notion seemed absurd. At that time, China was known for two things in the industry – a rapacious appetite for luxury Western goods, and a reputation for poorly executed and conceived ‘Made in China’ fast fashion. The design business in the Middle Kingdom was still in a nascent form and largely driven by derivative brands, but Guo Pei proved an outlier. Her work was sumptuous, flamboyant, exquisitely detailed and buoyed up on an imperial sense of grandeur.
Guo Pei showed her collection – inspired by imperial courtyards – on a white marble and gold installed floor of a noble building on the Quai Malaquais. A blue and white Swarovski crystal lace corseted princess gown, with a grand feather-trimmed train, was the finale of the fairytale presentation. Her fusion of Western and Eastern silhouettes – bustled ballgowns that referenced the grand couturier Charles James, sweeping capes and hourglass red carpet gowns glistening with talismanic embroidery, crystal lace, silk gazar and pearls – defied expectations. As did Guo Pei’s robust clientele list that includes a subscription-paying ‘club’ of stateswomen, business moguls and celebrities (the Chinese movie star Angelbaby chose Guo Pei for her red and gold wedding party dress).
When Rihanna appeared at the Met Gala in a 25kg gold thread embroidered gown for the opening of the 2015 exhibition ‘China: Through the Looking Glass,’ Guo Pei’s name was jettisoned onto the international stage, pivoting the perception of Chinese fashion. There was nothing drab or utilitarian here. The exhibition was the most visited in the museum’s history. “It was a turning point in my career,” says fifty-two-year-old Guo Pei, who will stage shows at the V&A on 1 November as part of the museum’s Fashion in Motion series.
Andrew Bolton, chief curator of the Costume Institute at the Met, praises Pei’s synthesis of Western and Eastern aesthetics, haute couture artisan techniques and beauty ideals – what he refers to as ‘auto-orientalism.’ Guo Pei’s historically infused sense of grandeur is a romantic cipher for the might and power of modern China, and she could equal European counterparts in artistry and excellence. Guo Pei also runs a semi couture brand, Rose Studio and a bridal service.
Guo Pei’s work is proudly Chinese from her love of gold and the embrace of traditional crafts and talismans including the phoenix, dragon and butterfly to her use of ravishing silks, guipure lace and jacquards. Guo Pei’s Spring Summer 2019 collection took inspiration from ancient palaces and Autumn Winter 2019 from the concept of ‘Alternative Universe'. It opened with a surreal panniered gown made for two bodies. Her skill at playing off opposites – architectural yet soft, daring yet elegant, dark and delicate – gives her designs a vibrant modernity.
In her wake, a new generation of Chinese couturiers and ready to wear designers (many trained in New York and in the UK) are now setting up businesses and establishing a Chinese identity within fashion. The old mantra ‘west is best’ no longer holds strong as China creates its first generation of independent designers.
The new guard includes the winner of the BOF China Prize, Caroline Hu, who excels in intricate, painterly hand smocked, pleated deconstructed gowns, while ready to wear brands such as Huishan Zhang, Ms. Min, Yuhan Wang and ShuShuTong are making their mark on a global stage. There is now a niche Chinese couturier circle including Wang Peiyi (known as the ‘goddess maker’ who crafted actress Yang Mi’s sculpted bodice wedding gown), Grace Chen and Yang Fang.
When both Peiyi and Guo Pei were growing up in the seventies, Chinese clothes came in blue, brown and black and the notion of fashion did not exist. It wasn’t until the late 70s and early 80s that western labels including Pierre Cardin and Yves Saint Laurent held fashion shows in Beijing. They escaped into their imaginations and into dynastic history to calibrate their design that resonates with a league of powerful, wealthy women who are seeking ‘post luxury’ individualistic couture.
With China emerging as the world’s largest luxury consuming nation, the spotlight is firmly on homegrown Chinese designers who collectively celebrate and act as cipher for the nation’s prowess and prosperity.
