These days, I’ve been reading up a lot about 1920s/1930s Chinese silent cinema. In a world where words are meaningless, and visuals convey the story (which I’m totally ok with), a head scarf can suggest a domestic wife living in the countryside, and heels and cosmetics point towards the metropolitan and urban Chinese woman frequenting dance halls and smoking cigarettes. Gonna keep it short and sweet and just leave it here. Happy halloween weekend guys.

I want to talk about the Wangsical. That’s a thing now. After Alexander Wang, Vera Wang, Vega Zaishi Wang, another Wang you defos need to know is Uma Wang. When I finally met her clothes in person, I felt like I had rekindled a childhood friendship that didn’t exist. Why does that sound creepy? It isn’t, but I probably did look creepy when I was looking through her AW collection. The emo typography nerd inside me also growled admiringly when I saw her black/white logo. It was what it is. Wait what?

The textures are absolutely exquisite, and also an experimental joy to wear. What I mean by the experimentally joyful is that all the pieces are kind of like Lego – you can layer, overlap, turn around, wear upside down. There’s a certain structural versatility in her clothes that certain puts a proud ‘Made In China’ stamp on the wearer’s face. If I was a personal shopper/stylist for a modern Chinese businesswoman looking to represent her company and employees abroad, I would lead her to Uma. This is quality understatement at its finest and a reminder that the air of GIRLBOSS-ness cannot be bought with logos and designer flashing.

I’m not gonna lie, wearing this sheer dress, pictured above, with only my nipple stickers and cycle shorts for underwear and shooting photos with a self-timer on the streets probably wasn’t the best idea. But then again, being a winter-h8er and studying in Edinburgh probably wasn’t the smartest one either.

Photographed by Craig McDean, Model is Yuan Bo Chao @ Next New York, Fashion by Olivier Rizzo, Hair by Anthony Turner, Make-up Val Garland, Set design Andy Hillman