Thea Si Xu is a recent graduate of Central Saint Martins with a BA in fashion. We were intrigued with her stunning final-year project that was also nominated for the prestigious Maison/0 Green Trail Award 2024. This award is a collab between Central Saint Martins and LVMH and highlights the best nature-positive graduating projects across design disciplines at CSM. The question she asked herself was,
How to turn the discarded fishing nets into a delicate show piece?
and goes on to say
My graduation design is inspired by my hometown: the traditional and ancient winter fishing culture in Northeast China. During winter fishing activities on Chagan Lake in Northeast China, people perform a ritual to wake up the net on the lake and make holes in the two-metre-thick ice. Then dozens of metres of fishing nets are spread in the ice holes, and the nets are pulled after the fish are caught. After the fish are pulled out of the ice, they will still throw out a lot of splashes because they are not frozen so quickly, and because the temperature is so low, all those splashes will turn into ice splashes, and the nets will gradually freeze. This warm cultural ceremony, where everything underwater is gradually frozen as it leaves the ice surface, becoming ghostly and cold, became my inspiration.
In this interview, she shares the inspirations behind her journey into fashion design, the challenges of working with unconventional materials, and how she balances tradition with contemporary practices.
No Kill Mag/Katya: What inspired you to pursue a career in fashion design, and how has your journey shaped your approach to the craft?
Thea Si Xu: Perhaps it all started with my love for dressing up as a child. There’s a funny story from my childhood: when I was in kindergarten, I wore a brand-new mauve puffer jacket with a pointed hood that looked like an elf’s hat.
I was so proud and happy wearing it―until I noticed another child on the street wearing the exact same jacket. In that moment, I felt like I wasn’t unique anymore, and I made a vow to create clothing that would be one of a kind, something truly my own. That experience planted the seed for my journey into fashion design and has shaped my approach to creating distinctive and personal designs ever since.
Who or what has been the most significant influence on your work as a designer, and how has that influence evolved over time?
I have always been deeply fascinated by exquisite craftsmanship. When I see intricate embroidery, richly detailed prints, or elaborately designed haute couture gowns, my blood races, and my heart pounds with excitement.
Whenever I feel temporarily drained or bored with life, I recharge myself by watching haute couture documentaries, visiting museums, or exploring exhibitions. These experiences reignite my passion and constantly remind me of why I love what I do.
What aspects of the traditional winter fishing culture in Northeast China inspired your project, and how did you translate these cultural elements into your designs?
I was deeply captivated by this traditional culture from my hometown, which represents a profound interaction between humans and nature. During winter, people gather on the frozen lake and hold a ritual before fishing begins.
They worship the lake god beneath the ice to announce the start of the fishing activity. Then, they break through the several-meter-thick ice and cast hundreds of meters of fishing nets into the water. I drew inspiration from the frozen forms of the fishing nets as they are pulled out of the water and incorporated this into my material experiments. This led to the development of a series of textile designs made from recycled fishing nets.
Can you elaborate on your process of transforming discarded fishing nets into delicate showpieces, and what challenges did you face in working with these unconventional materials?
First and foremost, you need an eye for discovering beauty in unexpected places. Discarded fishing nets, as they sit piled up in harbors, don’t appear very appealing―they are tangled with seaweed, covered in dust, and look rather dull. However, once cleaned, they shimmer beautifully in the sunlight. Inspired by this transformation, I began experimenting with different techniques such as sewing, heat pressing, and combining them with resin. After numerous trials, I finally discovered the most suitable process to turn these unconventional materials into delicate showpieces.
How did you balance the use of traditional cultural elements with contemporary fashion design practices in your collection?
An essential aspect of my collection is embracing counter-intuitive thinking. Instead of applying traditional cultural elements in the most obvious or expected ways, I intentionally avoid following my first instinct about where they “should” go. By stepping outside of this mindset, I was able to make unexpected discoveries and create a unique balance between tradition and contemporary fashion design practices.
The imagery of fish splashes turning into ice as they are pulled from the lake is quite evocative. How did you incorporate this transformation into the visual and tactile aspects of your garments?
I used experimental materials to convey the image of water splashes frozen on fishing nets, such as resin, recycled plastic, and lampworked glass. At the same time, I had to consider the practicality and wearability of these elements.
To address this, I chose to hand-stitch the treated fishing nets onto a layer of translucent tulle, creating a barrier to prevent direct contact between the nets and the skin. This approach ensured both the aesthetic impact and the comfort of the wearer, avoiding any discomfort for the models.
What does being nominated for the Maison/0 Green Trail 2024 award mean to you, and how do you anticipate it will influence your future work in sustainable fashion?
This nomination is a significant affirmation for me, as it shows that my efforts have been recognized by experts within the industry. It has strengthened my confidence in sustainable fashion and motivated me to continue pushing boundaries. I am committed to further exploring the limits and possibilities of material usage in my future work.
What were some of the most significant technical challenges you encountered while working with materials like recycled monofilament fishing nets and lampwork glass, and how did you overcome them?
The biggest challenge was figuring out how to transform non-traditional materials into wearable garments. Due to the unique nature of fishing nets, they couldn’t be used with industrial sewing or embroidery machines as they would break the needles. As a result, all the final pieces had to be entirely hand-stitched.
For lampwork glass, the main difficulties were preventing it from breaking and ensuring it could be worn. I repeatedly adjusted the structure of the glass look, conducted weight-bearing tests, and disassembled and reassembled the design multiple times. Additionally, I developed unique glass buttons, allowing the glass dress to function like a traditional garment with openings and closures. This balance between structural integrity and functionality was key to overcoming these challenges.
Your project involved collaboration, such as the 3D-printed headpiece with Steven Si. How do you view the role of collaboration in your design process, especially concerning sustainability?
My collection would not have been possible without the incredible creative talents I collaborated with―it is truly the result of a collective effort. Collaboration is an essential part of my design process, especially when it comes to sustainability. By working with experts from different disciplines, such as Steven Si for the 3D-printed headpiece, we were able to push boundaries, experiment with innovative techniques, and explore more sustainable approaches. Each collaborator brought unique perspectives and skills that enriched the final outcome, making it a more thoughtful and forward-thinking collection.
What advice would you offer to emerging fashion designers interested in incorporating sustainable practices and cultural heritage into their work?
My advice is to think beyond immediate materials and possibilities―don’t limit yourself to what’s already available. Be bold in breaking boundaries, exploring new approaches, and embracing innovation. Incorporating sustainability and cultural heritage requires vision, curiosity, and the courage to step outside conventional frameworks.
–Katya Moorman
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